Scope and Content
Title: Eric Gill Archive
Identifier/Call Number: MS.Gill
William Andrews Clark Memorial Library
Language of Material:
76.2 Linear feet
114 boxes, 14 flat files, 9 tubes, 8 items
Date (inclusive): 1887-2003 (bulk 1905-1940)
This collection of materials accumulated by the William Andrews Clark Memorial Library documents the personal and artistic
development and activities of Eric Gill, a twentieth-century English stone-cutter, sculptor, artist, author, typographer/type
designer, printer, book illustrator; and champion of social reforms. The collection includes manuscripts, diaries, correspondence,
legal and financial documents, scrapbooks, clippings, periodicals, photographs, Gill's books and library, as well as several
printing items and a substantial amount of art.
William Andrews Clark Memorial Library.
Gill, Eric, 1882-1940
William Andrews Clark Memorial Library.
Collection is open for research.
Copyright has not been assigned to the William Andrews Clark Memorial Library. All requests for permission to publish or quote
from manuscripts must be submitted in writing to the Librarian. Permission for publication is given on behalf of the William
Andrews Clark Memorial Library as the owner of the physical items and is not intended to include or imply permission of the
copyright holder, which must also be obtained.
[Identification of item], Collection on Eric Gill, MS Gill, William Andrews Clark Memorial Library, University of California,
The Clark's first Director, Lawrence Clark Powell, began collecting Eric Gill's art and manuscripts in the late 1940s and
1950s. He arranged with a London bookseller to act as liaison with the Gill family, which eventually designated the Clark
to be the major repository of manuscripts and correspondence. Along with the manuscripts came four hundred volumes from the
Gill's library as well as six volumes of scrapbooks and twenty folders of press clippings. The Clark also acquired Gill's
own file of magazines and journals with his essays, articles and other contributions. Additional material has since been acquired
by the Clark Library, including a related collection of ephemera, insurance documents and publisher's contracts and art items.
In early 2002 the Delmas Foundation provided grant funding to the Clark to arrange its archival collection on Eric Gill. An
Assistant Librarian was hired to organize, rehouse and inventory the collection as well as to create an online finding aid
in EAD for the Online Archive of California (OAC).
Processed by: Jennifer Alcoset, January 2004
Son of a non-conformist minister, one of twelve children, Eric Gill was born in Brighton in 1882 and brought up in Chichester,
where he attended art school and learned the rudiments of drawing. At the age of eighteen he went to London to work in an
architect's office, a prosperous firm specializing in church buildings. Here he acquired more of a draftsman's skills, although
not entirely in sympathy with modern building methods, which Gill believed to favor the designer and contractor at the expense
of the craftsman.
The Arts and Crafts movement, then in its first flowering, offered an exciting alternative to the "wage slavery" of the office
as well as the opportunity to make his living independently. Instead of studying architecture in the evenings, Gill learned
the art of carving inscriptions in stone. He attended classes in masonry at the Westminster Technical School and lettering
at the Central School of Arts and Crafts, both schools specializing in practical, hands-on instruction in materials and methods.
His teacher at the Central School was Edward Johnston, an expert calligrapher and an eloquent proponent of Arts and Crafts
techniques. Gill not only shared Johnston's rooms for a few years, but even contributed a chapter to Johnston's Writing &
Illuminating & Lettering, still a standard text on penmanship. By 1904 Gill was self-employed, supporting himself and his
wife by carving lettering on public buildings for architects as well as tombstones and memorial tablets for private clients.
At this time, Gill's interest in art, religion, and politics were developing in diverse, often contradictory directions. His
first experiments in sculpture won the approval of such influential artists and critics as Augustus John, Jacob Epstein, Roger
Fry, and William Rothenstein. They admired the primitive vigor of his work and also its technical polish, a combination that
prompted flattering comparisons with archaic sculpture on one hand and the newly fashionable Post-Impressionist art on the
other. A German patron introduced him to Aristide Maillol, hoping the two artists would work together and learn from one another.
During a brief and intense friendship with Jacob Epstein, he collaborated on the monument for Oscar Wilde and joined in wild
plans to build a modernist Stonehenge in the Sussex countryside. On a much smaller scale, Gill carved in Hoptonwood stone
a Golden Calf, originally intended for a London cabaret but eventually loaned to Roger Fry for the Second Post-Impressionist
exhibition, where it was surrounded by paintings of Picasso, Matisse and Cézanne.
Gill never quite renounced his heritage in the Arts and Crafts or the patronage of the London art world, but he adamantly
refused to be identified simply as a craftsman or an artist. He constantly sought other labels, other ways to fix a special
place for himself in a society that he believed to be oppressive and unjust. He had a disputatious streak, a craving to be
heard, a compulsive urge to take sides on the social issues of his day that could be satisfied only by sampling, asserting,
and rejecting a profusion of political and religious allegiances. He dabbled in socialism, attended meetings of the Fabian
Society, and spoke vociferously against the factory system. But he soon wearied of the discipline and obligations of political
action, left London, and joined a community of craftsmen in Ditchling, Sussex. While at Ditchling, he and his wife converted
to Catholicism, moved to another part of the village, and founded there a reconstituted religious community linked with the
Dominican order. The Guild of SS. Joseph and Dominic operated on Distributist rather than socialist principles, extolling
the sanctity of individual labor and advocating a return to private property and a self-sufficient rural economy. Some members
of the Guild helped Gill in the studio, others tended livestock and tilled gardens.
Sculpture continued to occupy Gill during the Ditchling period (1907-1924) - perhaps most importantly the Stations of the
Cross at Westminster Cathedral and the War Memorial at Leeds University - but at the same time Gill mastered other skills
and developed other sources of income. His lettering was in great demand not just for stone inscriptions, but also for painted
signs and printing, particularly buildings, title pages, and chapter headings. Characteristically, Gill learned wood engraving
to have better control over how his lettering was printed. Once he became proficient with boxwood and graver, he began to
experiment with printmaking and book illustration, and in turn tried his hand at the handpress, learning the first principles
of typography and composition. The Guild founded its own private press, more to make a political than an artistic statement,
yet its rudely printed broadsides and pamphlets are fetchingly illustrated with some of Gill's first engravings.
In 1924 Gill moved his family and studio to a deserted, half-ruined monastery in South Wales, having quit the Ditchling community
in a dispute over finances. Although remote, inconvenient, and uncomfortable, the monastery of Capel-y-ffin provided a perfect
setting for Gill to build his ideal religious community without unwelcome publicity or intrusions from the outside world.
He found a new market for his wood engravings in the Golden Cockerel Press, publisher of far more ambitious books than the
Guild, with higher standards of presswork, better design, and a more sophisticated clientele, willing and able to pay handsomely
for sumptuously illustrated books. Increasingly intrigued by typography and its possibilities for independent self-expression,
Gill not only catered to book collectors and bibliophiles but also to trade printers through the Monotype Corporation, which
commissioned from him a series of distinguished typefaces. This lucrative relationship seems to have overcome his aversion
for industrial capitalism, even though he was being paid by businessmen to design types for machine composition - and on retainer
at that. He also put his business in sculpture on a sound financial footing by having his work regularly exhibited at the
Goupil Gallery in London. Assured of steady sales, he undertook one of his largest, most impressive, and highly regarded carvings,
Mankind, now at the Tate Gallery. Some critics consider it a companion piece to the earlier Mulier at UCLA, which is equally
monumental if not a bit portentous and cold.
As his fame and business grew, so did the demands on his facilities, time, and energy. Gill brought his family closer to London
in 1928, settling at Pigotts, near High Wycombe, Buckinghamshire, in a commodious red-brick farmhouse with outbuildings providing
ample space for studios, cottages, and a chapel. This too was intended to be a community of craftsmen, though now defined
more as employees and family members than as adherents of a religious or political doctrine. Nevertheless Gill still attracted
pupils, disciples, and pilgrims, who came to learn from the master craftsman, to share in his sense of high purposefulness,
and to observe how he and his associates managed to live and work together apart from modern society.
In 1929 Gill reached the highpoint of his career: several major monographs appeared on his sculpture; a complete collection
of his engravings was published in a lavishly printed limited edition; and a selection of his polemical essays was printed
at his own press inaugurating a typeface of his own design. Within a year he suffered a breakdown from overwork. Although
he never fully recovered, he remained formidably busy during the rest of his life. He designed and built a church, noteworthy
for its stark interior and the central placement of its altar, a practical and symbolic expression of his views on liturgy.
He carved massive public sculptures for the headquarters of BBC and of the London Underground. The British government selected
him to carve huge panels for the League of Nations building in Geneva. Along with these prestigious commissions came more
honors: he was elected an Honorary Associate of the Institute of British Architects, and Associate of the Royal Academy, and
one of the first Royal Designers for Industry. Despite failing health, he wrote his Autobiography during 1940 and kept hard
at work to the very end. While awaiting a minor operation, he corrected proofs of the Autobiography, sketched out some book
illustrations, started a translation of the Psalms, kept up his accounts, and wrote the last entries in his voluminous diaries.
Unexpectedly the surgery failed, and he died on November 17, 1940 at the age of fifty-eight.
When he died in 1940, he left behind more than a thousand engravings; at least one hundred and fifty books with his illustrations;
eleven different printing types; and countless sculptures and inscriptions on city buildings, Catholic churches, and public
squares throughout England. He harbored passionate convictions on religion, politics, and art, which he expressed in more
than two hundred articles and more than fifty books. In his own day he was probably best known for his sculpture, his Stations
of the Cross at Westminster Cathedral, his controversial War Memorial at Leeds University, and the monumental relief panels
commissioned by the British government for the League of Nations building in Geneva. Trained by the distinguished calligrapher
Edward Johnston, Gill developed an extraordinary skill in lettering. His vigorous sans-serif lettering is still used for tabular
matter, signage, and advertising, and his elegant Perpetua has long been a favorite display face for fine printing.
Gill's fame nowadays rests on fine printing. The private press movement of his day opened a natural market for his many skills,
not just lettering, but also book illustration and book design. His Four Gospels published by the Golden Cockerel Press in
1931 is considered a modern masterpiece, joining his wood-engraved illustrations, his decorative lettering, and a specially
designed typeface in an uncanny union of image and text. A bitter foe of mass production and industrialized society, Gill
eagerly embraced the ideals of hand craftsmanship propounded by John Ruskin and practiced by William Morris at the Kelmscott
Press. Gill collaborated with the Golden Cockerel Press on several important books and also founded his own printing business,
intended to be an outright commercial venture. Although not exactly a private press, the firm of Hague & Gill resembles the
modern equivalent in that it bore its owner's highly individual stamp in matters of editorial policy, manufacturing, and design.
Gill retained complete artistic control over publications such as his Twenty-Five typefaces. The UCLA Library has published
an annotated checklist of Hague & Gill imprints, based on the Clark holdings and business records.
Scope and Content
This collection of material accumulated by the Clark Library documents the personal and artistic development and activities
of Eric Gill, a twentieth-century English stone-cutter, sculptor, artist, author, typographer/type designer, printer, book
illustrator; and champion of social reforms. The collection includes manuscripts, diaries, correspondence, legal and financial
documents, scrapbooks, clippings, periodicals, photographs, Gill's books and library, as well as several original printing
items and a substantial amount of art.
The collection is organized in nine series:
Series 1. Personal papers, 1895-1982 inclusive and undated, 3.6 linear feet
Series 2. Professional papers, 1905-1945 inclusive and undated, 16.65 linear feet
Series 3. Correspondence, 1913-1940 inclusive and undated, 12 linear feet
Series 4. Photographs 1908-1969 inclusive and undated, 6 linear feet
Series 5. Gill's books and library
Series 6. Legal and financial documents, 1900-1984 inclusive and undated, 4.66 linear feet
Series 7. Printed material, 1909-2003 inclusive and undated, 16.29 linear feet
Series 8. Topical material, 1893-1967 inclusive and undated, 1.5 linear feet
Series 9. Addenda (2008): Correspondence with David Hennessy and Dorothy Day, with related materials, 1935-1953 inclusive
and undated, .5 linear feet.
The Clark Library's collection of art work by Eric Gill is cataloged in a separate guide that is accessible online through
the Online Archive of California:
Subjects and Indexing Terms
Catholic converts--England--20th century