Pollard’s essay was written for the catalogue of William Andrews Clark Jr.’s collection, published in 1921 by John Henry Nash. Rather than a straight historical account of the two presses, Pollard offers a meditation on their influences and influence, particularly in matters of design and typography. It is embellished here with calligraphy by Martin Jackson, and accompanied by a leaf from both of the presses: the Kelmscott's Golden Legend and the Doves' English Bible.
The book's size (10 x 15 inches) was dictated by the Bible leaf. The text is set in Centaur and Martin's calligraphy is printed, in red, from polymer plates. The Arches paper was dampened for printing. The edition is 55 copies: five (I-V) hors de commerce; 30 (21-50, the "Printed" issue) with Martin's calligraphy printed, in red, from polymer plates; and 20 (1-20, the "Written" issue) with all of the calligraphy actually written in by him, plus a gilded flourish on the title page and essay opening.
The Printed copies (25 pp., issued at $750) were cased at HM in quarter cloth with painted paper over boards.
The Written copies were quarter-bound in vellum by Claudia Cohen. The sections were sewn on vellum slips which were then laced through the vellum spine. The boards were covered in a subtle paste paper Claudia made for the project. The tooling on the front board reflects parts of Pollard's essay, about page proportions. The endpapers are Japanese echizen metallic silver, with a red leather hinge. In addition to adding all of the calligraphy to each of these copies, Martin Jackson signed the colophon. They also include the liveliest Kelmscott leaves from what was available. The book is issued in a box covered in light gray Japanese cloth, edged with the echizen.