[ Vancouver:]: Heavenly Monkey Press, 2019. One of twenty deluxe “written” copies bound by Claudia Cohen and with the calligraphy handwritten by Martin Jackson (as opposed to reproduced with red polymer plates, as it was in the “printed” edition), featuring a gilded “flourish” on the title-page and essay opening, containing the “liveliest” Kelmscott leaves available, signed in ink and numbered in red on the colophon by Martin. With two original leaves tipped-in. Red calligraphy by Martin Jackson, which appears on the title-page, the essay’s opening, A fine copy in a fine Japanese cloth-covered clamshell case with ephemera from the press announcing new projects and featuring calligraphy by Martin laid in. Quarter vellum over handmade paste paper boards, tooled in gilt, gilt-lettered spine. Japanese echizen metallic silver endpapers, red leather hinges. Folio. Item #16073
Pollard’s introduction to the catalogue of William Andrews Clark Jr.’s Kelmscott and Doves collections [was] originally printed in 1921 by John Henry Nash and issued in an edition of 150 copies. HM’s edition [is] enhanced by the inclusion of leaves from the Kelmscott Press’s ‘The Golden Legend’ (1892) and the Doves Press’s English Bible (vol. 1, 1902.
Pollard’s essays provides an overview of each press’s aims, with particular emphasis on typography and aesthetics, and specific references to ‘The Golden Legend’ and the Bible. Having pages from those books will provide readers the opportunity to consider Pollard’s comments on type design and page layout while examining actual samples of the work. Pollard also discusses the Doves Press’s use of calligraphy in its books, and this was the spark for the idea of recruiting Martin for the project” (Heavenly Monkey Press).