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拍品專文
David Jones joined Eric Gill's Guild of St Joseph and St Dominic, in Sussex, 1922-4, and then worked with Gill in Wales until 1927. However, their attitudes to lettering were entirely different. Gill was concerned with the design of standard letters which could be used widely.
'For David Jones on the contrary lettering was a 'private' art. He made his inscriptions for himself or occasionally as gifts. He made them at Christmas and sent photographs as greetings to friends, and he made them as illustrations to his own books. In a very few cases they were commissioned; but he always chose the text himself and treated it in his own way, disregarding for instance orthodox ideas of how words should be equally divided, and equally the difficulties which his technique presented for reproduction; with the result that some of those commissioned were never used for the purpose for which they were ordered. He was not in fact concerned with doing a job but with giving a visible, abstract form to the meaning for him of his text' (see Exhibition catalogue, David Jones, London, Tate Gallery, 1981, p. 127).
'For David Jones on the contrary lettering was a 'private' art. He made his inscriptions for himself or occasionally as gifts. He made them at Christmas and sent photographs as greetings to friends, and he made them as illustrations to his own books. In a very few cases they were commissioned; but he always chose the text himself and treated it in his own way, disregarding for instance orthodox ideas of how words should be equally divided, and equally the difficulties which his technique presented for reproduction; with the result that some of those commissioned were never used for the purpose for which they were ordered. He was not in fact concerned with doing a job but with giving a visible, abstract form to the meaning for him of his text' (see Exhibition catalogue, David Jones, London, Tate Gallery, 1981, p. 127).