Batman is Trapped Inside a Warehouse – May 2026 M&A Activity

Somewhere in a Mississippi warehouse, Batman is waiting for a bankruptcy judge.

He is not alone. Millions of comic books, graphic novels, games, figurines, and collectibles tied to the collapse of Diamond Comic Distributors are reportedly caught in a dispute among JPMorgan Chase, publishers, creditors, a landlord, and the bankruptcy estate. For comic book fans, the image is irresistible: superheroes, villains, and entire imagined universes boxed up and immobilized, not by kryptonite or a master criminal, but by secured lending, consignment claims, and warehouse liens.

For the printing industry, the story is more than a curiosity from the comic book business. It is a reminder that printed products do not become revenue when ink hits paper, and the signatures get stitched and trimmed. Printed products become revenue when the product moves, reaches the customer, and gets paid for. This simple flow from order to revenue becomes even more complicated when the product is a publication or other finished goods inventory in the printing industry.

There is another lesson unfolding as well: the Diamond case may influence how suppliers use consignment arrangements in the printing industry.

The Decline of Diamond’s Comic Book Business

Diamond was not a printer. As the name implies, the company was a distributor, essentially a middleman, but one that once held a dominant spot in the comic book business. For decades, Diamond was the most important channel through which printed comic books and related products moved from publishers to retailers. Through a series of missteps, the company lost exclusive contracts with DC Comics and Marvel Comics, among others. Diamond’s hold on the channel weakened and crumbled. Eventually, the high fixed costs associated with about one million square feet of warehouse space, freight infrastructure, and labor costs led Diamond to file for protection under the courts in a Chapter 11 bankruptcy.

JPMorgan stepped in with a $41 million Chapter 11 loan, with repayment expected from the sale of Diamond’s business. The sale process fell apart amid charges that Diamond was withholding information related to the distribution deal for Magic: The Gathering. JPMorgan was eventually unwilling to continue funding the company, and Diamond moved its bankruptcy to a Chapter 7 liquidation.

As the process deteriorated, the inventory, approximately 8.2 million comic books, graphic novels, figurines, and table-top games, became hostage and is now stuck in a 600,000 square-foot warehouse in Mississippi. In addition to Batman, there are others locked in limbo. James Bond, Doctor Who, Garfield, Spider-Man, Mickey Mouse, Donald Duck, and the Power Rangers, among others, are stuck while the parties to the bankruptcy fight over a simple question: who owns all this stuff?

Publishers have taken the position that they supplied the products on consignment and never transferred ownership to Diamond. Therefore, their respective inventory should just be returned to them. JPMorgan, reportedly still owed approximately $7 million, has argued that its senior secured position gives it priority over the publishers’ consignment claims. The bankruptcy estate wants to sell the inventory to pay off debt, at least to the extent it can. The landlord has raised the possibility that it may have a lien on the inventory for past due rent. The bankruptcy court is adjudicating the dispute.

When Consigned Supplies Are on the Printer’s Floor

Consignment is a common and useful practice in the printing industry. Paper merchants, plate suppliers, ink companies, chemistry providers, toner suppliers, and other vendors often place inventory inside a printer’s facility. The understanding is usually straightforward: the supplier owns the product until the printer pulls it from stock, uses it in production, or otherwise triggers payment. For the printer, the arrangement reduces working capital needs and helps ensure the availability of materials. For the supplier, it keeps products close to the customer and strengthens the relationship.

That arrangement works well while the printing company is operating normally. The questions begin when the printer closes, defaults, enters receivership, files bankruptcy, or is sold in a distressed “tuck-in” transaction. At that point, everyone may have a different view of the same skid of paper, box of plates, or tote of ink. The supplier may say the goods are consigned and still belong to the supplier. The printer’s lender may say all inventory in the plant is collateral under its blanket lien. A bankruptcy trustee, receiver, or fiduciary agent may ask whether the supplier properly documented and perfected its interest. A buyer of the failed business may ask whether the inventory and supplies in the building are included in the sale. The answer may depend less on industry customs than on contracts, filings, notices, records, and the ability to identify the goods.

The Diamond case puts that issue in plain view. Publishers reportedly placed product with Diamond under consignment arrangements. When Diamond failed, those publishers expected to recover their comic books and other items, or to be paid from the proceeds of the sale of what they presumed was their property. The inventory may have been physically held and controlled by Diamond, but was, at least in the publishers’ view, economically owned by them.

Consolidation continues apace in the printing and packaging industries, with plant closures and related tuck-in transactions especially prevalent in the commercial printing segment. The question of who owns supplies or inventory placed in a plant on consignment may be impacted by the eventual decision in the Diamond Comic Distributors bankruptcy case.

If a printer shuts down with supplier-owned material on the floor, several questions arise immediately. Was the consignment agreement in writing? Did it clearly state when title transfers? Were the materials segregated from the printer’s owned inventory? Were they labeled, tracked, and reconciled? Did the supplier file a UCC financing statement if required? Did it notify the printer’s existing inventory lender? Was the product consumed before the shutdown, and if so, when did payment become due? Can the supplier enter the closed facility to remove the goods, or must it first obtain permission from a receiver, trustee, lender, landlord, or court? These are not abstract legal points. They affect cash, collateral, and transaction value.

In an ordinary sale of a healthy printing company, consigned inventory may be treated as a routine working-capital matter. In a distressed sale, it can become a contested issue. Buyers want clean title to the assets they acquire. Lenders want to know what collateral supports their loan. Suppliers want to avoid becoming unsecured creditors for goods they believed they still owned. Sellers and advisors need to know whether the inventory shown on the floor is actually owned by the company.

The practical consequence of the Diamond case may be a change in supplier behavior. If the Diamond dispute produces rulings or settlements that leave consignors exposed, suppliers to the printing industry may tighten their procedures. We may see more UCC filings, more lender notices, more detailed consignment agreements, more frequent inventory audits, tighter credit limits, shorter billing triggers, and less willingness to leave valuable supplies at customer locations without stronger documentation.

Why This Matters in a Sale or Restructuring

Printers may also see more scrutiny from their lenders. A bank that lends against inventory will want to know whether materials in the building are owned by the borrower or by suppliers. The difference matters when calculating borrowing availability and recovery value. A plant full of paper may appear asset-rich until the lender learns that much of the paper is subject to consignment claims.

For owners considering a sale, an acquisition, a refinancing, or a workout, the lesson is clear. The distinction between owned inventory, customer-owned inventory, supplier-owned inventory, and consigned inventory should be clear before a crisis occurs.

Batman’s Fate

Batman may eventually escape the warehouse. The larger issue will remain. In the printing industry, raw material inputs and finished goods often sit at the intersection of manufacturing, distribution, credit, and secured lending. When business is good, those relationships can appear seamless. When a company fails, the seams and cracks show.

The Diamond bankruptcy is a comic book story only on the surface. Underneath, it is a print-channel story and a consignment story. It reminds publishers that printed products do not become revenue until they are shipped and paid for. It reminds suppliers that ownership may not protect them unless it is properly documented and enforceable. And it reminds printers, lenders, and buyers that what is sitting on the floor may not be as simple as it looks.

   

	2026 May - Mergers and Acquisitions in the Printing, Packaging, Paper & Related Industries
	Deal Party #1 (Surviving Entity)	Pre-Deal Revenue (US$Mil)	Party #1 Address	Deal Party #2	Pre-Deal Revenue (US$Mil)	Party #2 Address	Date Deal Public	Deal Value (US$Mil)	Deal Structure (Intermediary)	Notes	Press Links
	Hitchcock Printing	No Data	New Britain, CT	Marketing Solutions	No Data	West Hartford, CT	5/25/26	No Data	Acquisition (Graphic Arts Advisors)	Commercial printing	Link
	Chicago Tribune (Port co. Alden Global Capital)	No Data	Chicago, IL	Daily Herald (Prop. Paddock Publications)	No Data	Arlington Heights, IL	5/21/26	No Data	Acquisition (Dirks, Van Essen)	Community newspaper	Link
	Mat-Su Sentinel	No Data	Palmer, AK	Mat-Su Valley Frontiersman (Prop. Wick Communications)	No Data	Wasilla, AK	5/20/26	No Data	Acquisition (Dirks, Van Essen)	Community newspaper	Link
	Image360 South Bay	No Data	El Segundo, CA	Custom Quick Sign	No Data	Los Angeles, CA	5/19/26	No Data	Acquisition	Wide-format & signage	Link
	International Paper	$24,970	Memphis, TN	Delmarva Corrugated Packaging	No Data	Dover, DE	5/18/26	No Data	Acquisition	Corrugated boxes	Link
	Image360 Rochester (New Franchisee Nick Hatcher)	No Data	Rochester, NY	Image360 Rochester	No Data	Rochester, NY	5/14/26	No Data	Acquisition	Wide-format & signage	Link
	Emerald Packaging	No Data	Union City, CA	Pacific Flexible Solutions Div. Blower-Dempsey	No Data	Santa Ana, CA	5/12/26	No Data	Acquisition	Flexible packaging	Link
	TRG (The Royal Group)	No Data	Cicero, IL	Columbia Container	No Data	Baltimore, MD	5/12/26	No Data	Acquisition	Corrugated boxes	Link
	Cimpress	$3,660	Dundalk, Ireland	Commercial Online Print Business Saxoprint & Viaprinto div. of CEWE	No Data	Oldenburg, Germany	5/11/26	No Data	Acquisition	Commercial printing	Link
	Amtech Software (Port co. Vista Equity Partners)	No Data	Fort Washington, PA	Clarico Systems	No Data	Los Angeles, CA	5/6/26	No Data	Acquisition	Packaging estimating system	Link
	Ascent Industries	No Data	Schaumburg, Il	Midwest Graphic Sales and Sigma Coatings	No Data	Addison, IL	5/6/26	No Data	Acquisition	Packaging coatings	Link
	Total Specific Solutions (Div. Topicus.com)	No Data	Utrecht, The Netherlands	Keypoint Intelligence (Port co. Atar Capital)	No Data	Fairfield, NJ	5/6/26	No Data	Acquisition	Printing business intelligence	Link
	Ryan Ervin	No Data	Corning, NY	Multimedia Services	No Data	Corning, NY	5/6/26	No Data	Acquisition	Commercial printing	Link
	Twin Rivers Paper (Port co. Atlas Holdings)	No Data	Madawaska, ME	Potsdam Specialty Paper	No Data	Potsdam, NY	5/5/26	No Data	Acquisition	Specialty paper manufacturing	Link
	Smart Source	No Data	Palm Beach, FL	Foley Creative Solutions	No Data	Richmond, VA	5/4/26	No Data	Acquisition (Corp Dev Assoc)	Print management	Link
	Harlen Publishing	No Data	Harlen, IA	Creston News Advertiser (5 Titles) Prop. Shaw Media	No Data	Creston, IA	5/4/26	No Data	Acquisition (Dirks, Van Essen)	Community newspapers	Link
	BindTech	No Data	Nashville, TN	Dekker Bookbinding	No Data	Grand Rapids, MI	5/4/26	No Data	Acquisition	Bookbinding	Link

   

	2026 May - Bankruptcy Filings in the Printing, Packaging, Paper & Related Industries
	Filing Party	Date Case Filed	Pre-Petition Revenue (US$Mil)	Case #	Filing Party Address	Circuit	Region & City	Judge	Attorney for Debtor	Notes
	Chapter 11 Filings:
	Quick Prints, LLC	5/11/26	No Data	26-16091	Sunrise, FL	11th	Southern FL Fort Lauderdale	Scott M. Grossman	Andrew Kamensky	Printing & copying
	Chapter 7 Filings:
	Quality Signs & Printing Corp.	5/11/26	No Data	26-42278	Mount Sinai, NY	2nd	Eastern NY Brooklyn, NY	Jil Mazer-Marino	Dean J. Despotovich	Printing & signs

   

	2026 May - Non-Bankruptcy Closures in the Printing, Packaging, Paper & Related Industries
	Closed Company / Facility	Date of Closure	Pre-Closure Revenue (US$Mil)	Closing Address	Related Party	Related Party Address	Date Closure Public	Notes	Press Links
	J.A.R.M. dba Master Business Forms	6/30/26	No Data	Clifton, NJ	None	N/A	May-26	Commercial & business forms printing	Link
	Mittera web offset printing plant	Dec-26	No Data	Jacksonville, FL	Mittera	Des Moines, IA	5/18/26	Commercial printing	Link
	Hilex Poly Co. (Div. Novolex)	9/11/26	No Data	Richmond, VA	Novolex	Hartsville, SC	5/11/26	Plastic shopping bags	Link

Madonna, Bob Dylan & the Sistine Chapel – April 2026 M&A Activity

“Print is evolving from being just another media channel to becoming the stage where a brand proves its artistry and permanence.”
- Cherry Collins, strategy partner at Havas Media UK

“Print issues no longer move into the collectible category, they start there. Print is both our best foot forward, and a document for posterity.”
- Mark Guiducci, Global Editorial Director, Vanity Fair

“This is not about loss. This is about gain, reinvesting resources and strategizing how we position print so that it feels less like the old-school idea of a newsboy delivering your daily news and more like a premium parcel, a special treat you want to keep and dig into in a rarefied way.”
- Chloe Malle, Head of Vogue’s Editorial Content

Quotes from article “The Future of Fashion Magazines,” Vogue Business, October 3, 2025, with reflections on Conde Nast’s decision to shift Vogue’s publication from monthly to eight times per year, timed to correspond with major fashion events, with bigger issues and a commitment to print on heavier paper.

Print as Premium Luxury Channel

Callaway Arts & Entertainment, the publisher behind some of the most elaborate art, celebrity, and collectible books of the past four decades, recently filed for protection under Chapter 11 of the US Bankruptcy Code. The extraordinary part of the story is not that a publisher of $22,000 art-book sets eventually faced financial pressure. The remarkable part is that books of this ambition were produced at all.

For decades, Callaway pursued its rebuttal to the commoditization of print with unusual conviction. If ordinary information was moving online, then print had to become more tactile, more permanent, more collectible, and more luxurious. The company’s bankruptcy filing now shows both sides of that strategy. Premium print can escape commoditization, but it can also create a business model burdened by high production costs, long development cycles, expensive rights, specialized vendors, and a narrow audience of buyers.

The Legacy of Success

The person behind that feat is Nicholas Callaway. Born in 1953, he grew up surrounded and preceded by generations of successful entrepreneurs. His father, Ely Callaway Jr., founded Callaway Golf, the leading global manufacturer of golf clubs and golf-related products. His brother, Reeves Callaway, was the founder of Callaway Cars, a designer and manufacturer of high-performance vehicle customization packages. Callaway Gardens resort, now a National Natural Landmark, was founded by his family. Heady stuff for a young person seeking to carve out their own niche in such a family.

After graduating from Harvard with degrees in Classics and Fine Art, and a stint as a director of an art gallery in Paris, Callaway embarked on a publishing career, eventually responsible for more than seventy Miss Spider titles and other children’s books. His efforts also included producing limited editions of fine art and celebrity biographies; the first of these is a book of photographs by Alfred Stieglitz, published in 1983. In 1987, he followed that up with a book of photographs by Romanian sculptor Constantine Brancusi.

Many other titles followed, many with the common theme of high art, celebrity subjects, luxury photography, collectibles, and museum-scale projects, all with luxurious production standards. Books about Georgia O’Keeffe, a book of Issey Miyake fashion photos by Irving Penn, a picture book of custom-built Ferrington Guitars featuring the bespoke instruments’ celebrity musician owners, among many others.

Outrageous and Collectible

Most famously, or more correctly, infamously, in 1992, Callaway produced the book Sex by Madonna. The book featured many provocative images, some of which bordered on pornographic. The book was highly controversial and, in retrospect, was a significant pop culture event at the height of Madonna’s fame. The art and alternative-lifestyle communities feted the book, while conservative-leaning organizations sought to limit its distribution. Despite the controversy, or more likely because of it, the book sold 150,000 copies on its first day in the United States and topped the New York Times Best Seller list within three weeks. Sex went on to sell more than 1.5 million copies worldwide and to this day remains the best- and fastest-selling book in the coffee-table book category.

The book was a production masterpiece. Madonna was convinced that Warner Books, the publisher, could not produce the book to her standards, so she arranged to transfer the production to Nicholas Callaway’s bespoke production company, Callaway Editions. The company, the predecessor to Callaway Arts & Entertainment, was known for producing beautiful art books. Madonna specified an aluminum cover that was stamped, anodized, die-cut, and spiral-bound. The finished book measures 11” x 14” and is 128 pages in length. Each copy is serial numbered and was originally sealed in a metallic Mylar plastic wrapper. R.R. Donnelley was engaged to print and bind the book, with subcontractors brought in to produce specialty components. The avant-garde design and elaborate packaging resulted in a product that felt more like a prestige collectible media object than a traditional book.

From the outset, the Callaway company specialized in projects that conventional publishers often considered too elaborate, risky, or unconventional. Callaway books were frequently oversized, lavishly produced, heavily illustrated, and physically complex. Many involved unusual materials, intricate bindings, custom packaging, inserts, or extensive photographic reproduction challenges.

Print as Multi-Channel Component

Throughout the 1990s and early 2000s, while much of the publishing industry focused on economies of scale and retail distribution, Callaway increasingly pursued what might be described as event publishing. Rather than releasing large numbers of conventional titles, the company concentrated on fewer, highly differentiated projects tied to art, music, entertainment, or cultural prestige.

After the success of Sex, Callaway produced books that functioned as multimedia cultural experiences rather than conventional publishing products. Callaway repeatedly emphasized that books should stimulate multiple senses simultaneously. He often described publishing in cinematic or theatrical terms, arguing that physical books possessed emotional and tactile qualities impossible to replicate digitally. In interviews, he spoke about paper, binding, scale, texture, typography, and reproduction quality in the language of a designer or filmmaker rather than that of a conventional publisher.

This philosophy eventually led the company into increasingly ambitious multimedia territory. Callaway experimented with hybrid publishing forms: books integrated with music, interactive publishing, children’s entertainment properties, digital applications, and branded intellectual property extensions.

The company’s Miss Spider franchise evolved into television and merchandising properties. Callaway also developed “BoundSound” multimedia publishing concepts that combined physical books with digital and audio experiences. Later, Nicholas Callaway became an early advocate for tablet publishing and interactive book applications after conversations with Apple founder Steve Jobs reportedly encouraged him to explore the iPad ecosystem.

Although the company became associated with lavish printed books, Callaway himself was never anti-digital. Quite the opposite. He understood earlier than many publishers that digital distribution would eventually dominate routine informational content. His response was not to reject digital media but to reposition print toward areas where physicality itself created value.

In effect, Callaway anticipated the modern premiumization strategy now visible across much of the printing industry: bespoke packaging, embellishments, collector-edition books, boutique magazines, premium direct mail, and experiential graphics.

Luxury on Overdrive

As routine printed communication became increasingly disposable or migrated online, Callaway pursued the opposite extreme: printed objects so elaborate, tactile, and permanent that they could function as cultural artifacts. This philosophy reached perhaps its most ambitious expression through Callaway’s Vatican publishing project, The Sistine Chapel trilogy. The project represented an extraordinary combination of technology, art preservation, photographic reproduction, and sumptuous manufacturing.

Produced in collaboration with the Vatican Museums and Italian publisher Scripta Maneant, the trilogy reportedly involved more than 270,000 ultra-high-resolution giga-pixel photographs taken inside the Sistine Chapel after a major restoration effort, while the chapel was closed to the public. The resulting three-volume work reproduced Michelangelo’s frescoes at unprecedented detail and 1:1 scale. Color reproduction is reportedly at 99.4% accuracy.

The books themselves, published in November 2020, are finely produced collectible luxury artifacts. Each of the three books measures 24” x 17” and has a total of 822 pages, including 220 gatefolds measuring 24” x 51”. Each volume weighs 25 pounds and is printed in six-color hexachrome lithography. The signatures were hand-gathered and bound in three-piece Bodoniana (lay-flat) sewn binding in silk with metallic ink. The spines are white calf leather from matched hides and are debossed in silver, gold, and platinum foil stamping. The original price for one of the 600 sets in the limited English-language edition was $22,000. (The current price on Callaway’s website is $35,000 for the set.)

Other monumental projects followed. In 2021, Callaway published The Beatles: Get Back, a 240-page hardcover book featuring transcriptions of over 120 hours of audio from the Beatles’ sessions for their final album, Let It Be. Callaway followed this up in 2023 with the publication of Bob Dylan: Mixing Up the Medicine. This 608-page coffee-table-style book has over 1,100 images and is printed in five colors on uncoated paper. Produced in collaboration with The Bob Dylan Center, the book attempts to capture the breadth and depth of the archives there.

Too Much Luxury

The financial pressure from these recent ultra-premium productions shows in Callaway Arts & Entertainment’s bankruptcy filing. Court documents listed liabilities to the top unsecured creditors of approximately $4.15 million. Amounts owed to major unsecured creditors reportedly included $1.7 million to Hachette Book Group (the distributor for Callaway), $1 million to Scripta Maneant (the Italian co-publisher of The Sistine Chapel), $450,000 to Bob Dylan, and an undisclosed amount to Transcontinental Printing. The creditor list tells a revealing story about the economics of prestige publishing: celebrity intellectual property, museum-scale art production, international printing partnerships, and highly specialized manufacturing.

Callaway’s struggles reveal both the promise and the danger of the premium position that it aspired to and achieved over four decades. It is well established that commodity print faces severe pressure as routine and date-sensitive information continues to migrate online. Commercial printing remains intensely competitive and continues to consolidate. Callaway demonstrates that the opposite end of the market carries its own vulnerabilities.

Luxury print can escape commoditization precisely because it is expensive, specialized, tactile, and culturally significant. Yet those same qualities create financial risk due to investment in preparation and price hurdles for buyers. Long timelines, expensive manufacturing, specialized reproduction, premium and increasingly limited materials, and limited-run luxury positioning appear to have contributed to financial instability for this publisher committed to print as objects for posterity. The paradox is that the more the printed content is a bespoke product, the more inaccessible it may become.

   

	2026 April - Mergers and Acquisitions in the Printing, Packaging, Paper & Related Industries
	Deal Party #1 (Surviving Entity)	Pre-Deal Revenue (US$Mil)	Party #1 Address	Deal Party #2	Pre-Deal Revenue (US$Mil)	Party #2 Address	Date Deal Public	Deal Value (US$Mil)	Deal Structure (Intermediary)	Notes	Press Links
	Labelink	No Data	Anjou, QC	Litho Québec	No Data	Pointe-Claire, QC	4/21/26	No Data	Acquisition	Folding cartons	Link
	Associates International	No Data	Wilmington, DE	Ace Twill (Advised by Graphic Arts Advisors)	No Data	Berkeley Heights, NJ	4/16/26	No Data	Acquisition (Graphic Arts Advisors)	Commercial printing	Link
	International Paper	$24,340	Memphis, TN	North Pacific Paper Company (Port co. One Rock Capital Partners)	No Data	Longview, WA	4/16/26	$360.0	Acquisition	Containerboard mill	Link
	Walker360	$15.0	Montgomery, AL	Sull Graphics	$6.8	Ball Ground, GA	4/15/26	No Data	Acquisition (New Direction)	Commercial printing	Link
	United Business Mail	No Data	Minneapolis, MN	Enru Logistics (Div. LSC Communications)	No Data	Bolingbrook, IL	4/15/26	No Data	Acquisition	Marketing Mail Logistics	Link
	OSP Holdings	$727.3	Osaka, Japan	Global Venture	No Data	Kent, WA	4/14/26	No Data	Acquisition	Seal & label manufacturer	Link
	Venetoulis Institute for Local Journalism	No Data	Baltimore, MD	The Pittsburgh Post-Gazette (Prop. Block Communications)	No Data	Pittsburgh, PA	4/14/26	No Data	Acquisition	Community newspaper	Link
	Allegra Marketing Print Mail	No Data	Clinton, MI	American Speedy Printing	No Data	Shelby, MI	4/13/26	No Data	Acquisition	Printing & copying	Link
	Kornit Digital	$208.2	Rosh-Ha’Ayin, Israel	PrintFactory	No Data	North Brabant, Netherlands	4/13/26	No Data	Acquisition	Print workflow system	Link
	Salem One (Port co. Granite Creek Capital)	$53.1	Winston-Salem, NC	SmashBrand	No Data	Boise, ID	4/9/26	No Data	Acquisition	Packaging design agency	Link
	Welch Packaging Group	No Data	Elkhart, IN	Jamel Containers	No Data	Chattanooga, TN	4/9/26	No Data	Acquisition	Corrugated boxes	Link
	OnTheGoMedia	No Data	Hampton, IA	Hampton Chronicle (Prop. Mid-America Publishing)	No Data	Hampton, IA	4/4/26	No Data	Acquisition	Community newspaper	Link
	TRG (The Royal Group)	No Data	Cicero, IL	Chillicothe Packaging	No Data	Chillicothe, OH	4/2/26	No Data	Acquisition	Corrugated boxes	Link
	Grand Junction Media (Sub. Seaton Publishing)	No Data	Grand Junction, CO	Colorado Newspaper Group (Prop. Wick Communications)	No Data	Montrose, CO	4/1/26	No Data	Acquisition (Dirks, Van Essen)	Community newspapers	Link
	Burke Group	No Data	Edmonton, AB	Houghton Boston	No Data	Saskatoon, SK	4/1/26	No Data	Acquisition	Commercial printing	Link

   

     

	2026 April - Bankruptcy Filings in the Printing, Packaging, Paper & Related Industries
	Filing Party	Date Case Filed	Pre-Petition Revenue (US$Mil)	Case #	Filing Party Address	Circuit	Region & City	Judge	Attorney for Debtor	Notes
	Chapter 11 Filings:
	Signmakers Custom Signage & Fabrication LLC	4/2/26	No Data	26-13217	Los Angeles, CA	9th	Central CA Los Angeles	Deborah J. Saltzman	Michael R. Totaro	Signs & wide-format printing
	Chapter 7 Filings:
	Fullerton Digital Print & Display Inc.	4/28/26	No Data	26-11310	Anaheim, CA	9th	Central CA Santa Ana	Scott C. Clarkson	Ethan Chin	Wide-format printing

      

	2026 April - Non-Bankruptcy Closures in the Printing, Packaging, Paper & Related Industries
	Closed Company / Facility	Date of Closure	Pre-Closure Revenue (US$Mil)	Closing Address	Related Party	Related Party Address	Date Closure Public	Notes	Press Links
	Rocket Printing (FKA Taylor Printing)	4/20/26	No Data	Fredericton, NB	None	N/A	Apr-26	Commercial printing	Link
	Nutis Visual Communications Group	5/6/26	No Data	Columbus, OH	None	N/A	Apr-26	Retail display & commercial printing	Link
	Manroland - Manufacturing plant	Jun-26	No Data	Offenbach, Germany	Langley Holdings	Nottinghamshire, UK	4/23/26	Sheetfed press manufacturing	Link
	Kendall Press	4/9/26	No Data	Chelsea, MA	None	N/A	4/9/26	Commercial printing	Link