The Fleuron, A Journal of Typography, No.7. Edited by Stanley Morison. 4to, pp.xii, 253, 24 + inserts, [Cambridge Uniiversity Press for] The Fleuron, London, 1930.
Number 173 of 210 (1210) edition de luxe copies printed on handmade paper with two extra inserts. 42 illustrations in text by Eric Gill and Heinrich Holz, other illustrations by Frances Clayton and Denis Tegetmeier. 7 very sustantial inserts, being specimens of Perpetua, Centaur Roman, Monotype Bembo and Lutetia. Blue buckram, elaborately blocked in old on the spine and upper board to a design by Jan van Krimpen. Lacking dust-jacket, slight fading to spine. A very good copy.
The final issue, printed in Monotype Barbou and signed by Stanley Morison on the colophon. The issue contains Beatrice Warde's famous essay 'Eric Gill: Sculptor of Letters', this is illustrated with folding plates and other reproductions. Additionally, in this de luxe issue there is a folding photogravure plate of Gill's 'Madonna and Child'. Inset into the essay are eight pages of Initial Letters etc, specially printed at the Golden Cockerel Press on handmade paper; this hand-press printing only appears in the de luxe issue. Following the essay is 'The Passion of Perpetua and Felicity', thirty-two pages with engravings on wood by Eric Gill, and signed by him at the foot of the type specimen. This is the first specimen of Eric Gill's Perpetua type, though the ink of the signature is remarkably similar to that of Morison's upon the colophon. Stanley Morison's Postscript closes with the specially commissioned 'Explicit' engraving by Gill. This final number also includes the first printing of Morison's 'First Principles of Typography', Jan van Krimpen on Typography in Holland, D.B. Updike on T.M. Cleland and Friedrich Ewald on The Officina Bodoni - this last with hand-printed specimens. A feast.
