1926. Ditchling: St. Dominic's Press, 1926.
Slim 8vo, , 69 pp. Illustrated with several woodcuts and wood-engravings throughout including five wood engravings by David Jones, three engravings by Eric Gill, and twelve other illustrations by Desmond Chute, Harold Purney, Joseph Cribb, Hilary Pepler, and John Beedham. Original quarter cloth and boards, as new. Bookplate of Peter Summers FSA.
§ Limited to 200 hand-numbered copies. Highly important association copy inscribed at the front by Eric Gill: “Printer Poet Publisher Prig PEPLER 18 xii 26”. In Gill’s typical calligraphy, with a large ‘P’ supplying the first letter to each line. By 1926 Gill had fallen out with Pepler who was the owner of the St. Dominic’s Press and this inscription is testimony to the bad feelings Gill had towards Pepler after several years of fruitful collaboration. “The Catholic convert Eric Gill, also exempt from war service while carving the stations of the cross at Westminster Cathedral, produced wood engravings for the book. This collaboration marked the beginning of nine years of close friendship between Gill and Pepler... [by 1924] there were disputes brewing between him and Gill over guild finances. Pepler came from an affluent background and favoured a pooling of resources between families, but Gill was more cautious. Further strain was caused by Gill's possessiveness as a father; he mistrusted the relationship of his eldest daughter, Elizabeth, with David Pepler. Gill left Ditchling and the guild in 1924. Pepler was devastated by his departure and for many years sought a reconciliation. David and Elizabeth married, despite the breach. Pepler missed Gill, as a working companion and as a singing companion in chapel or at rowdy press suppers. Gill on the other hand referred to Pepler as ‘Hilario Bottomlessfinance’ and resisted all pleas for a reunion.” In retrospect Gill’s hypocrisy is evident especially with regard to his relationships with his daughters, and calling Pepler a “prig” is deeply ironic. Item #107193