Eric Gill - Knowledge

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of his son-in-law, David Pepler, and he became increasingly antagonistic towards the Church and towards other artists. Paradoxically, alongside this despondent world view Gill dropped his long-standing opposition to the use of modern home comforts and appliances. A bathroom was installed at Pigotts, a chauffeur and a gardener were appointed and his secretaries were allowed to use typewriters. Religious observance was no longer expected of the workshop staff and among the additional apprentices and assistants Gill employed were a number of non-Catholics, including

687:. Gill was a surprising choice for the commission as he had only recently become a Catholic and had only been a sculptor for three years. However he was prepared to do the work quicker and for a lower fee than more established sculptors would. Gill modelled both the Christ figure in panel ten and a soldier in the second panel on himself. The Stations were not universally well received when they were erected with criticism of their simple appearance and how starkly they contrasted with the rest of the cathedral interior. A minority, that eventually included 540: 1266: 1277: 1140: 1840: 532:

and delivering lectures, while his wife Ethel organised their household and smallholding in Sussex. In London, Gill would stay at his old lodgings in Lincoln's Inn with his brother Max or with his sister Gladys and Ernest Laughton, her future husband. Gill continued to concentrate on lettering and inscriptions for stonework and employed a pupil for his signwriting business. He also began to use wood engraving techniques for his book illustration work, notably for a 1907 edition of

1938: 1152: 1164: 1590:. He also worked on a set of panels depicting the stations of the cross for the Anglican St Alban's Church in Oxford, finishing the drawings three weeks before he died and completing nine of the pieces himself. For the Chapel of Saint George and the English Martyrs, in Westminster Cathedral, Gill designed a low relief sculpture to occupy the wall behind the altar. Gill's design showed a life-sized figure of Christ the Priest on the cross attended by Sir 51: 5372: 5389: 1314:, and four other works for the BBC, on site in central London. Carving in the open air up on scaffolding in the middle of London further increased Gill's public profile. Although Gill had accepted the BBC's choice of subject matter when he took the commission, he did not see its relevance and frequently claimed that the figures he created represented God the Father and God the Son, the latter complete with the marks of the 1128: 945: 1176: 5355: 429: 229:, where he attended the local college before moving to London. There he became an apprentice with a firm of ecclesiastical architects and took evening classes in stone masonry and calligraphy. Gill abandoned his architectural training and set up a business cutting memorial inscriptions for buildings and headstones. He also began designing chapter headings and title pages for books. 240:, by 1907 he was lecturing and campaigning against the movement's perceived failings. He became a Roman Catholic in 1913 and remained so for the rest of his life. Gill established a succession of craft communities, each with a chapel at its centre and with an emphasis on manual labour as opposed to more modern industrial methods. The first of these communities was at 691:, praised their uncluttered design and unsentimental treatment of the subject. They are now considered among Gill's most accomplished large scale works. Subsequently, Gill submitted proposals for decorations and works in other parts of the Cathedral building and, eventually, his design for the Chapel of Saint George and the English Martyrs was commissioned. 799:, again with Cribb, he created the war memorial in that museum's entrance hall. Previously, in 1911, Gill had cut the inscription for the foundation stone of the British Museum's new King Edward VII building. Gill's other significant work from this period was the Stations of the Cross that he carved, with Chute, for the Church of St Cuthbert in the 1598:. Gill died before the work was completed and Lawrence Cribb was tasked with finishing the piece by the Cathedral authorities who insisted he remove an element of Gill's original design, a figure of a pet monkey. When the chapel was eventually opened to the public this censorship of Gills' last work was a matter of some considerable controversy. 748:, often with a symbolic cord of chastity added. In his family home, Gill determined that the household was to be free of modern appliances, with no bathroom, water drawn by a pump and cooking done on a log fire. One guest who brought a typewriter into the house was scolded for doing so. The children did not attend school. 2286:, which was to be published by Kessler's Cranach Press. Kessler recorded his impressions of his friend in his diary: "He really is an extraordinary and noteworthy personality, with his great artistic talent, utter repudiation of modern commercialism and eccentric piety translated into an all-embracing sensuousness". 1262:, and she and Eric appear, from his diary entries, to have resumed their incestuous relationship. Later that same year the diaries record what Gill called his 'experiments' with a dog. In September 1930 he was taken seriously ill with a variety of symptoms, including amnesia, and spent several weeks in hospital. 1578:

both of which included drawings of Daisy Hawkins, the teenage daughter of the Gills' housekeeper with whom Gill began an affair in 1937. The affair lasted two years during which time Gill drew her on an almost daily basis. When Hawkins was sent away from Pigotts, to the boarding house at Capel-y-ffin

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Gill's two visits to Jerusalem had a profound impact on his state of mind. He became increasingly unhappy with the impact of humanity upon the world and also become convinced of his own role as one chosen by God to change society. Returning to England, Gill's mood of pessimism deepened with the death

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of his adolescent daughters, an incestuous relationship with at least one of his sisters, and also sexual experiments with a dog. Since these revelations became public in 1989, there have been a number of calls for works by Gill to be removed from public buildings and art collections. This aspect of

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These dates are not precise, since a lengthy period could pass between Gill creating a design and it being finalised by the Monotype drawing office team (who would work out many details such as spacing) and cut into metal. In addition, some designs such as Joanna were released to fine printing use

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after the initial shock, as Gill's history of adulteries, incest, and experimental connection with his dog became public knowledge in the late 1980s, the consequent reassessment of his life and art left his artistic reputation strengthened. Gill emerged as one of the twentieth century's strangest

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The following two years were among the most creatively accomplished of Gill's career, with several notable achievements. The Hague and Gill press was established at Pigotts in 1931 and eventually printed 16 of Gill's own books and booklets while he also illustrated six other books for the company.

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in Sussex, which would later become the centre of an artists' community inspired by Gill. Although by April 1908 Gill had established a workshop in Ditchling and dissolved his business partnership with Lawrence Christie, he continued to spend considerable amounts of time in London visiting clients

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During 1903, Gill gave up training in architecture to become a calligrapher, letter-cutter and monumental mason. After making a copy of a small stone tablet from Westminster Abbey, Gill's first public inscription was for a stone memorial tablet, to a Percy Joseph Hiscock, in Chichester Cathedral.

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Gill was a prolific writer on religious and social matters, with some 300 printed works including books and pamphlets to his name. He frequently courted controversy with his opposition to industrialisation, modern commerce, and the use of machinery in both the home and the workplace. In the years

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caused considerable controversy in Roman Catholic circles and led to protracted arguments between Gill and members of the clergy. The Golden Cockerel printed four of Gill's own books and he illustrated a further thirteen works for the press. In addition, between 1924 and his death, Gill wrote 38

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However, Gill became disillusioned with the direction of the Guild and fell out badly with his close friend Pepler, partly over the latter's wish to expand the community and form closer ties with Ditchling village and also because Gill's daughter, Betty, wanted to marry Pepler's son, David. Gill

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employed Gill to paint the lettering on the fascias of several of their bookshops including, in 1903, their Paris store. For a time, Gill combined this work with his job at Caröe's but eventually the scale and frequency of these commissions required him to leave the company. After Gill died, his

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in Buckinghamshire. Around a quadrangle with a central pigsty were a large farmhouse housing Eric and Mary Gill, a cottage for Petra and her husband Denis Tegetmeier and another for Joanna and René Hague. Stables and barns were converted to studios and workshops and to house printing presses. A

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in the Black Mountains of Wales. The isolation of Capel-y-ffin suited Gill's wish to distance himself from what he regarded as an increasingly secular and industrialised society, and his time there proved to be among the most productive of his artistic career. At Capel, Gill made the sculptures

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which he and his wife, Moira, had recently acquired, Gill initially refused to work with the couple as they were not Catholics. Gill changed his mind when they sought to publish a volume of poems by his sister Enid. The relationship between Gill and the Gibbingses grew such that throughout the

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she was unembarrassed. The children were educated at home and, according to Tegetmeier, she was then unaware of how her father's behaviour would seem to others. Despite the acclaim the book received, and the widespread revulsion towards aspects of Gill's sexual life that followed publication,

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were his sister Gladys Gill and her husband Ernest Laughton. The incestuous relationships between Gill and Gladys that continued during their lives had already begun at this point. There is also some evidence, from Gill's own writings, of an incestuous relationship with Angela, another of his

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the following year. After a period of intense involvement with the Fabians, Gill became disillusioned with both them and the Arts and Craft movement. By 1907 he was writing and making speeches about the failures, both theoretical and practical, of the craft movement to resist the advance of

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but showing contemporary merchants as the money-changers Jesus was driving from the Temple. While fully aware that this was an inappropriate subject for a war memorial and one likely to cause great offence in a commercial centre such as Leeds, Gill persisted with the design regardless. The

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at Ditchling. The Guild's emphasis was on manual labour as opposed to more modern industrial methods, such that they did not use mechanised tools and considered craft working a form of holy worship. All members of the Guild were Catholics and most, including Gill, were also members of the

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in Buckinghamshire. From there, in the last decade of his life, Gill became an architectural sculptor of some fame, creating large, high profile works for central London buildings, including both the headquarters of the BBC and the forerunner of London Underground. His mammoth frieze

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In 1904, Gill married Ethel Hester Moore (1878–1961), a former art student, later known as Mary, the daughter of a businessman who was also the head verger at Chichester Cathedral. Gill and Moore would eventually have three daughters and foster a son. After a short period in

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In his diaries, Gill records two affairs while living at Hammersmith. He had a brief affair with the family maid while his wife was pregnant and then a relationship with Lillian Meacham, who he met through the Fabian Society. Gill and Meacham visited the Paris Opera and

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After Gill died an inventory of over 750 of his carved inscriptions was compiled, in addition to the over 100 stone sculptures and reliefs, 1000 engravings, the several typeface designs he created and his 300 printed works including books, articles and pamphlets.

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of the meeting of Asia and Africa above the front entrance, together with ten stone reliefs illustrating different cultures, and a gargoyle fountain in the inner courtyard. He also carved stone signage throughout the museum in English, Hebrew and Arabic.

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A number of professional craft workers joined the community, such that by the early 1920s the community had grown to 41 people, occupying several houses in the 20 acres surrounding the Guild's chapel and workshops. Notable visitors to the Common included

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at 9pm, but the group at Ditchling, unusually, did so. A chapel, designed by Gill, was built in the centre of the Guild's workshops and a wooden cross, with a Christ figure carved by Gill, was erected on a nearby hill. Gill had also taken to wearing a

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Despite MacCarthy's revelations, for several years Gill's reputation as an artist continued to grow but, following the exposure of other high-profile paedophiles, this changed with groups and individuals calling for the removal of works by Gill.

1353:, produced two seahorses, modelled as Morecambe shrimps, for the outside entrance; a round plaster relief on the ceiling of the circular staircase inside the hotel; a decorative wall map of the north-west of England; and a large stone relief of 1675:

In 1998, a group, Ministers and Clergy Sexual Abuse Survivors, called for the Gill's Stations of the Cross to be removed from Westminster Cathedral, leading to a debate within the British Catholic press. There were calls for Gill's statue of

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and his views on the sexual nature of Christianity were causing alarm within the Roman Catholic hierarchy and distancing Gill from other members of the Ditchling community. The series of life-drawings and prints of his daughters, including

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that he bought. The Press printed books and pamphlets promoting the ideals of the Guilds' traditional craft techniques and also provided an outlet for Gill's engravings and woodcut illustrations. Gill and Pepler together produced issues of

605:. Throughout the second half of 1910, Epstein and Gill would meet on an almost daily basis, but eventually their friendship soured very badly. Earlier in the year they had held long discussions with Rothenstein and other artists, including 1667:

and most original controversialists, a sometimes infuriating, always arresting spokesman for man's continuing need of God in an increasingly materialistic civilization, and for intellectual vigour in an age of encroaching triviality.

377:. Eric Gill studied at Chichester Technical and Art School, where he won a Queen's Prize for perspective drawing and developed a passion for lettering. Later in his life, Gill cited the Norman and medieval carved stone panels in 550:

Late in 1909, Gill decided to become a sculptor. Gill had always considered himself an artisan craftsman rather than an artist. He rejected the usual sculpture technique of first making a model and then scaling up using a

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for the first time convinced him to become a Catholic. In February 1913, after religious instructions from English Benedictines, Gill and Ethel were received into the Catholic Church and Ethel changed her name to Mary.

1035:(1931) are considered classics of specialist book production. Gill created striking designs that unified and integrated illustrations into the text and also created a new typeface for the Press. The erotic nature of 983:

and René Hague, Joan Gill's future husband, all joined shortly after. Joseph Cribb did not make the move to Wales but his younger brother, Lawrence Cribb (1898–1979), did and eventually became Gill's main assistant.

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contacted museums holding Gill's work to question what, if any, impact the abuse revelations had on their policy towards showing material by him, the majority refused to engage with her. A notable exception was the

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for the entrance lounge. While working in Morecambe, Gill met May Reeves, who became a regular visitor to Pigotts before moving there to run a small school and becoming Gill's resident mistress for several years.

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announced in February 2022 that it was considering a 'new interpretation' concerning Gill's statues of John the Baptist and of Christ on the Cross which are on their building. Several organisations, including

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Gill's daughter Petra Tegetmeier, who was alive at the time of the MacCarthy biography, described her father as having "endless curiosity about sex" and that "we just took it for granted", and told her friend

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typeface for Morison, with the uppercase based upon monumental Roman inscriptions. An in-situ example of Gill's design and personal cutting in the style of Perpetua can be found in the nave of the church in

1258:, a historian of typography, an executive of the Monotype Corporation and sometimes Gill's lover. By 1930 Gladys Gill had divorced her second husband after her first, Ernest Laughton, had been killed in the 1082:, a bookseller who published and distributed some of Gill's writings. From 1925 onwards, Gills' secretary, and mistress, was Elizabeth Bill. Bill owned a villa set in several acres in the French Pyrenees at 354:, a grouping of Calvinist Methodists. Arthur was born in the South Seas, where his father, George Gill, was a Congregational minister and missionary. Eric Gill was the elder brother of the graphic artist 213:

describes Gill as "the greatest artist-craftsman of the twentieth century: a letter-cutter and type designer of genius", he is also a figure of considerable controversy following the revelations of his

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to Capel-y-ffin and it was clear that the site had become too remote and isolated for Gill's increasing commercial workload and by May 1928 he was seeking a new home for his family and workshops.

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Gill had his first sculpture exhibition in 1911 at the Chenil Gallery in London. Eight works by Gill were included in the Second Post-Impressionism Exhibition organised by Roger Fry at the

1059:. Morison persuaded Gill to apply the skills and knowledge he had gained in letter cutting to fonts suitable for mechanical reproduction. It was at Capel that Gill designed the typefaces 908:

done at Ditchling, were considered among Gill's finest works. The sexual abuse Gill was perpetrating on his two eldest daughters during the same period only became known after his death.

1743:, compiled by Edward Johnston. He later gave them to the Victoria and Albert Museum so they could be used by students at the Royal College of Art. In 1914, Gill had met the typographer 1402:. Prudence Pelham, the daughter of the Earl of Chichester, became Gill's only female apprentice. During his career, Gill employed at least twenty-seven apprentices including his nephew 924:

ideas the Guild followed. Some young men who had been in combat in World War I came to stay for longer periods. These included Denis Tegetmeier, Reginald Lawson and the artist and poet

358:(1884–1947). Two of his other brothers, Romney and Cecil, became Anglican missionaries while their sister, Madeline, became a nun and also undertook missionary work. The film historian 694:

Gill had been granted exemption from military service while working on the Stations of the Cross and when they were finished spent three months, from September 1918, as a driver at an

1567:. He designed the building around a central altar which, at the time, was considered a radical departure from the Catholic practice of the altar being at the east end of a church. 1535:, and became a founder-member of the RSA's Faculty of Royal Designers for Industry when it was established in 1938. In April 1937, Gill was elected an associate member of the 2236:

in California, designated by the Gill family as the repository for his manuscripts and correspondence. Some of the books in his collection have been digitised as part of the

1078:, enjoying the couple's unconventional and hedonistic lifestyle. He was also spending sizable amounts of time in Bristol with a group of young intellectuals centred around 1230:. Gill started on the project within days of arriving at Pigotts and worked on site in London from November 1928 to carve three of eight relief sculptures on the theme of 1520:

are three marble bas-reliefs in seventeen sections and constitute the largest single work Gill created during his career but are not considered among his finest works.

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that its art was "anti-Christian". Gill became a regular speaker at left-wing meetings and rallies throughout the second half of the 1930s. He was adamantly opposed to

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cartoon-like nature of the finished frieze, which included the Hound of St Dominic knocking over a cash till, only added to the ferocity of the resulting uproar.

321:. Despite failing health Gill was active as a sculptor until the last weeks of his life, leaving several works to be completed by his assistants after his death. 5599: 932:

resigned from the Guild in July 1924 and, after considering a number of other locations in Britain and Ireland, moved his family to a deserted monastery in the

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as a major influence on his sculpture. In 1900, Gill became disillusioned with Chichester and moved to London to train as an architect with the practice of

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frieze that had caused such outrage in Leeds years earlier, but after objections from delegates to the League, submitted an alternative scheme.

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Gill's religious beliefs did not limit his sexual activity, which included several extramarital affairs. His religious views contrast with his

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marked a complete reversal of his previous belief that artists should not concern themselves with political activity. He became a supporter of

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and which the Gills often visited. The Gill family spent the winter of 1926–27 there, and which was where Gill did many of the engravings for

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and a commitment by the museum to include at least one display highlighting Gill's offending in its permanent exhibitions. However in 2022,

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following ten years Gill became the chief engraver and illustrator for the Golden Cockerel Press. Several of the resulting books, including

760:, a small journal, mostly illustrated by Gill and containing articles on craft and social matters. The views promoted by Gill and Pepler in 597:, Gill planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale structures at 2167: 4414: 4380: 1792: 1555: 1539:. Quite why Gill was offered, let alone accepted, these honours from institutions he had openly reviled throughout his career is unclear. 621:

for which Gill designed the inscription before sending Joseph Cribb, who had moved to Ditchling in 1907, to Paris to carve the lettering.

5659: 4976:. Papers read at a Clark Library symposium, 22 April 1967. Los Angeles: William Andrews Clark Memorial Library, University of California. 3788: 1899:, with many additional styles created by Monotype both during and after Gill's lifetime. In the 1990s, the BBC adopted Gill Sans for its 342:, the second of the 13 children of the Reverend Arthur Tidman Gill and (Cicely) Rose King (died 1929), formerly a professional singer of 4315: 2843: 2210: 2966: 1713:, which holds many examples of Gill's work and also Gill family objects. Previously, in October 2016, the museum had held a workshop, 5564: 4513: 1617:

on the morning of Sunday 17 November 1940 and, after a funeral mass at the Pigotts chapel, was buried in Speen's Baptist churchyard.

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Gill was commissioned to produce a sequence of seven bas-relief panels for the façade of The People's Palace, now the Great Hall of

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together and when their affair ended, she became an apprentice in Gill's workshop and remained a family friend throughout his life.

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in the early design of the Underground typeface, but dropped out of the project before it was completed. In 1925, he designed the

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During 1938 and 1939 Gill designed his only complete piece of architecture, the Roman Catholic Church of St Peter the Apostle at

209: 5331: 1804: 1302:, widely considered to be the finest of all the books produced by the Golden Cockerel Press, and began working on the sculpture 5744: 5654: 5649: 5589: 2229: 1452: 795:, Gill designed and carved, with Joseph Cribb, the memorial inscription to the museum staff killed in the conflict and for the 5579: 5137: 4832: 4223: 3542: 3421: 2870: 2670: 1438: 833: 715: 351: 187: 36: 474:

in west London, near the, recently married, Johnstons' home on Hammersmith Terrace. A number of artists associated with the

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The Passion of Our Lord Jesus Christ, according to the four evangelists. Hague & Gill Printers. 1934 Faber & Faber

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reported that it appeared that the museum had decided to reduce the prominence given to Gill's work among its exhibits.

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artist. As such he was invited to an exhibition of Catholic art in Brussels and, on route, stayed for some days at the

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in north Wales, the memorial at Ditchling, and the wall panel recording 228 names of the fallen in the ante-chapel at

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style but was considered unacceptably far from the norms of Arabic script. It was rejected and never cut into type.

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Along with his Guild work and illustrations, Gill designed several war memorials in this period. These included the

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and their other publications were often deliberately provocative, anti-capitalist and opposed to industrialisation.

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in the Black Mountains of Wales. The dilapidated building was high in an isolated valley about fourteen miles from

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Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women

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Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women

1071:(1929). Gill Sans is considered one of the most successful typefaces ever designed and remains in widespread use. 421:, who became a strong and lasting influence on Gill. For a year, until 1903, Gill and Johnston shared lodgings at 5714: 5679: 5634: 5629: 5584: 3939: 1524: 1490: 1486: 1382: 402: 115: 4289: 1953:

Gill published numerous essays on the relationship between art and religion, and a number of erotic engravings.

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In August 1924, the Gills left Ditchling and, with two other families, moved to a disused Anglican monastery,

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By 1912, while Gill's main source of income was from gravestone inscriptions, he had also carved a number of

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The success of his 1928 exhibition at the Goupil Gallery had raised Gill's profile considerably and led to

1004: 720: 714:, Gill founded a guild association to promote the ideals of medieval, or pre-industrial, craft production, 249: 1658:

MacCarthy received some criticism for revealing Gill's incest in his daughter's lifetime. Others, notably

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Gill's life was little known beyond his family and friends until the publication of the 1989 biography by

449:. Kessler, on Johnston's recommendation, employed Gill to design chapter headings and title pages for the 5704: 1946: 1900: 996: 499: 442: 359: 191: 40: 4905: 5724: 5684: 5502: 3409: 1858:; 1929) Designed bolder than some of Gill's other typefaces to provide a complement to wood engravings. 796: 5270: 3504: 5296: 4094: 3855: 2753: 1830: 1497: 980: 925: 437:

Through a contact at the Central School, Gill was employed to cut the inscription for a tombstone at

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as an emulation of Gill's stone carving designs, with separate styles for smaller and larger text.

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One of the most widely used British typefaces, Gill Sans, was used in the classic design system of

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Eric Gill: the inscriptions; a descriptive catalogue; based on the inscriptional work of Eric Gill

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typeface in 1927–30. Gill Sans was based on the sans-serif lettering originally designed for the

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Facsimile edition published by Christopher Skelton at the September Press, Wellingborough, 1987.

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series for the post office. In 1938 Gill was commissioned to create a mammoth artwork for the

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considered among the finest of their kind, and it was at Capel that he designed the typefaces

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While living at Capel-y-ffin, Gill spent many weekends at Robert and Moira Gibbings' home in

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Even before the Leeds memorial controversy, Gill's series of illustrations that included the

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described as a depiction of "pathetic animalism", and the almost life-size work now known as

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for Catholic craftsmen. Many members of the Guild, including Gill, were also members of the

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brother, Evan, compiled an inventory of 762 inscriptions known to have been carved by him.

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Essay: Eric Gill,: a Man of Many Parts. Images of God, The Consolations of lost Illusions

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chapel was fitted into one corner and licensed within six months for the saying of Mass.

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From the end of 1939 into the middle of 1940, Gill had a series of illnesses, including

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In 1913, after Gill and his wife became Roman Catholics they moved to Hopkin's Crank at

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Manuscript and Inscription Letters for Schools and Classes and for the Use of Craftsmen

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In 1924, the Gill family left Ditchling and moved to an isolated, disused monastery at

4581: 2240:. Additional archival and book collections related to Gill and his work reside at the 1083: 5454: 5249: 5230: 5211: 5192: 5173: 5167: 5152: 5133: 5114: 5095: 5076: 5048: 5026: 5005: 4986: 4958: 4951: 4937: 4828: 4816: 4781: 4757: 4715: 4693: 4685: 4664: 4642: 3718: 3693: 3662: 3631: 3595: 3538: 3445: 3417: 3018: 2866: 2666: 2551: 1777: 1698: 1501: 1294: 1079: 625: 386: 374: 314: 200: 5319: 5311: 4734: 4540: 2859:

Modernism and the Museum: Asian, African, and Pacific Art and the London Avant-Garde

1455:. Gill became a pacifist and helped set up the Catholic peace organisation Pax with 1298:

typeface, which was eventually adapted for commercial use by Monotype. He completed

1007:. A war memorial altarpiece in oak relief for Rossall School was completed in 1927. 5464: 5325: 5040: 4623: 4376: 3273: 3190: 3156: 3125: 3069: 2898: 2245: 2237: 1922: 1896: 1861: 1826: 1654: 1587: 1564: 1493: 1415: 1068: 1051:

The other key working relationship Gill established while at Capel-y-ffin was with

913: 688: 676: 552: 422: 301: 4224:"Airbrushing claim as 'Eric Gill museum' shuns legacy of artist and sexual abuser" 3822: 3738: 3561: 2360: 2276:

and Kessler wanted to persuade Gill to provide some calligraphy for a version of

1437:

position. In 1934, Gill contributed art to an exhibition mounted by the left-wing

1276: 490:

were already based in the area, as were a number of printing presses, notably the

5719: 5290: 3916: 2808: 2611: 2543: 2340: 2273: 1918: 1760: 1744: 1646: 1642: 1504:. Gill's original proposal was to create a larger, international, version of the 1460: 1407: 1103: 1052: 1011: 976: 956: 784: 745: 728: 695: 636: 467: 414: 257: 5169:

Typography: An Encyclopedic Survey of Type Design and Techniques Through History

1265: 1250:, an image of a naked women stepping out of some woods. The various versions of 967:. Finding the monastery chapel beyond repair, a new one was quickly built and a 555:, in favour of directly carving the final figure. His first sculptures included 5526: 5286: 3887: 1926: 1811: 1559:

Altar of the Chapel of St George and the English Martyrs, Westminster Cathedral

1399: 1346: 1255: 1215: 1127: 1099: 917: 792: 752: 610: 602: 507: 355: 233: 196: 3249:"Memorial tablet commemorating Museum personnel killed in the First World War" 1579:

run by Betty Gill, Eric Gill followed her there to continue the relationship.

751:

Alongside the Guild, Pepler set up the St Dominic's Press with a 100-year old

382: 5548: 4090:"Man takes hammer to BBC headquarters to smash statue by paedophile sculptor" 3569: 1888: 1659: 1536: 1430: 1419: 1411: 1350: 1107: 788: 780: 711: 707: 632: 606: 594: 2272:

visited Gill in Wales in January 1925. They had known each other before the

50: 4719: 4668: 4410: 4311: 4248: 4038: 3977: 3860: 3047: 2817: 2620: 1937: 1723: 1705: 1456: 1254:

became among the most popular of Gill's illustrations and were modelled by

1196: 972: 960: 921: 598: 495: 479: 450: 398: 272: 215: 5378: 4172:"Sometimes a statue is indefensible – the BBC should get rid of Eric Gill" 928:, who was to become engaged for a time to Gill's second daughter, Petra. 385:, specialists in ecclesiastical architecture with a large office close to 4476: 3382: 2345: 1907: 1689: 1662:, thought she had been too indulgent towards Gill. MacCarthy commented: 1606: 1595: 1591: 1489:, which opened in 1936. In 1937, he designed the background of the first 1342: 1219: 1102:

in London, to considerable acclaim, before being purchased by the artist

968: 964: 724: 640: 527:

In 1907, Gill moved with his family to Sopers, a house in the village of

491: 471: 406: 397:

Frustrated with his architectural training, Gill took evening classes in

343: 265: 204: 4415:"Robert Gibbings and the quest for types suitable for illustrated books" 1098:. The work, a giant torso, was modelled by Angela Gill and shown at the 651:. Gill's experiences at Louvain, seeing the monks at prayer and hearing 4941: 4148: 4116: 2248:. Much of Gill's work and memorabilia is held and is on display at the 1390: 487: 413:

while continuing to work at Caröe's. The calligraphy course was run by

366: 226: 134: 5395: 2103:

Gill provided woodcuts and illustrations for several books including:

445:, plus commissions from architects and private individuals, including 5449: 5281:

Biography of Gill on website of The Guild of St Joseph and St Dominic

4281: 4034:"Man uses hammer to attack statue on front of BBC Broadcasting House" 1914: 1752: 1681: 1614: 1434: 1064: 652: 586: 560: 528: 463: 441:

in Surrey. Other work quickly followed, including an inscription for

297: 288:(1927). He created engravings for a series of books published by the 241: 97: 4813:

A Holy Tradition of Working: passages from the writings of Eric Gill

3323:"War Memorials Register: University of Leeds − WWI Eric Gill Frieze" 2097:

A Holy Tradition of Working: passages from the writings of Eric Gill

1451:, and was one of the few Catholics in Britain to openly support the 1381:

In 1934 Gill, with Lawrence Cribb, visited Jerusalem to work at the

5283:, with commentary on his 'unorthodox' interpretation of Catholicism 3827: 3763: 2754:"Eric Gill at the Victoria and Albert Museum New Sculpture Display" 2282: 1605:, but managed to write his autobiography that summer. Gill died of 1358: 1354: 1330: 1315: 740: 339: 325:

preceding World War II, he embraced pacifism and left-wing causes.

222: 78: 350:

in 1878 over doctrinal disagreements and became a minister of the

1602: 1448: 1240:

was published in 1929 and marked the first commercial use of the

944: 736: 648: 454: 432:

Rubbing of a memorial bronze created by Eric and Max Gill in 1905

268:

near Cambridge, along with numerous works on religious subjects.

3222:"War Memorials Register: Victoria and Albert Museum Staff − WW1" 731:. Lay members were not expected to follow the Dominicans' daily 5274: 4066: 2277: 2132:. Translated by Krapp, George Philip. New York: Literary Guild. 1913:

Gill was commissioned to develop a typeface with the number of

987:

Within a few weeks of arriving at Capel-y-ffin, Gill completed

876: 318: 195:(22 February 1882 – 17 November 1940) was an English sculptor, 16:

English sculptor, typeface designer, and printmaker (1882–1940)

4381:"The Golden Cockerel Press, Private Presses and Private Types" 3982:"Eric Gill: Can we separate the artist from the abuser ?" 3305:"Eric Gill – Christ driving the Moneychangers from the Temple" 1582:

Among Gill's last sculptures were a series of commissions for

1218:

commissioning him to lead a team of five sculptors, including

635:

figures and was widely assumed, wrongly at that time, to be a

428: 5337: 261: 253: 5404: 5307:

Prints and drawings by Gill in the British Museum collection

4144:"Eric Gill sculptures under scrutiny at Guildford Cathedral" 1500:

building in Geneva, as the British Government's gift to the

1114:

collection but displayed at the Victoria and Albert Museum.

815:

St George, detail of South Harting war memorial, West Sussex

346:

under the name Rose le Roi. Arthur Tidman Gill had left the

3532: 2233: 1246:

typeface. The frontispiece of the book had an engraving of

1111: 5302:

Portraits by Gill in the National Portrait Gallery, London

5297:

Portraits of Gill in the National Portrait Gallery, London

2722:

Hammersmith and Fulham Historic Buildings Group Newsletter

2660: 5186: 3789:"Stations of the Cross by Eric Gill at St Alban's Church" 2856: 2114:. Waltham St. Lawrence, Berkshire: Golden Cockerel Press. 1310:

in London. Throughout 1931 and into 1932, Gill worked on

5166:

Fiedl, Frederich; Ott, Nicholas; Stein, Bernard (1998).

4972:

Gill, Cecil; Warde, Beatrice; Kindersley, David (1968).

4241: 3715:

Great Britain King George VI Low Value Definitive Stamps

3685:

A Revolution of the Heart: Essays on the Catholic Worker

1884:

long before they became widely available from Monotype.

1110:. The zoo refused the offer, and the work is now in the 4496: 4494: 4008:"Villagers furious over plinth for paedophile sculptor" 3931: 3623:

Pacifism in Britain, 1914–1945: The Defining of a Faith

1636:, including, as described in his personal diaries, the 1523:

In 1935, Gill was elected an Honorary Associate of the

1117:

It had been too impractical to transport the stone for

5187:

Pincus, J.W; Turner Berry, W.; Johnson, A. F. (2001).

4904:. Rare Books & Special Collections. Archived from 4532: 1688:

with a hammer, while another man shouted about Gill's

5332:

Works by Gill in the National Museum Wales collection

1701:, resolved to stop using typefaces designed by Gill. 1441:, and defended the exhibition against accusations in 1191:

In October 1928, the Gill family moved to Pigotts at

1186: 236:, but later resigned. Initially identifying with the 4491: 4322:. International Typeface Corporation. Archived from 4282:"Eric Gill (1882–1940), Fonts designed by Eric Gill" 3566:

East Meets West: The Story of the Rockefeller Museum

3349:"Memory and mourning: on sculpting modern memorials" 2888: 1776:. In the period 1930–31, Gill designed the typeface 4971: 4529:

Dan Rhatigan is (or was) Type Director at Monotype.

4259:. London, England: Printing History Society: 63–67. 3272: 3189: 3155: 3124: 3068: 1680:to be removed from St Patrick's Catholic Church in 1365: 1106:. Some years later, Kennington offered the work to 4950: 3823:"Can the art of a paedophile be celebrated ?" 3436: 3414:The Tradition A New History of Welsh Art 1400–1990 3278:"Church of St Cuthbert (Roman Catholic) (1376263)" 2344: 1551:St Peter the Apostle at Gorleston-on-Sea, (1938–9) 1531:, the highest British award for designers, by the 979:arrived at Capel-y-ffin shortly before the Gills, 659: 5595:Academics of the Central School of Art and Design 5039: 4169: 4062:"Can you separate the artist from the art ?" 3688:. Philadelphia: Temple University Press. p. 5546: 5045:Mr. Eric Gill: Further Thoughts by an Apprentice 4347:"The Digital Development of ITC Golden Cockerel" 3937: 3650: 3040: 1349:. For the project Gill, with Lawrence Cribb and 975:was assigned to the group to hold a daily Mass. 4195: 4117:"Man scales BBC HQ and hits statue with hammer" 4087: 4059: 3853: 3346: 2935: 2807: 2656: 2654: 2652: 2650: 2648: 2646: 2644: 2642: 2640: 2638: 2610: 2542: 2339: 1943:The Devil's devices, or, Control versus Service 1925:. The typeface was loosely based on the Arabic 1903:and many of its on-screen television graphics. 871:Commissioned to produce a war memorial for the 854:Victoria & Albert Museum staff war memorial 698:camp in Dorset, before returning to Ditchling. 5600:Alumni of the Central School of Art and Design 5071:Corey, Steven; MacKenzie, Julia, eds. (1991). 5070: 5002:The letter forms and type designs of Eric Gill 4141: 3712: 3681: 2964: 2573: 2228:Gill's papers and library are archived at the 581:and he introduced Gill, who was fascinated by 522: 5420: 5165: 4025: 3626:. Oxford, England: Clarendon Press. pp. 3619: 3589: 2538: 2536: 2534: 2532: 2530: 2528: 2526: 2524: 2522: 2520: 2518: 2516: 2514: 2512: 2510: 2508: 2506: 2504: 2502: 2500: 2498: 2496: 2494: 2492: 2490: 2488: 2486: 2484: 2482: 2480: 2478: 2476: 2474: 2472: 2470: 2468: 2466: 2464: 2462: 2460: 2458: 2456: 2454: 2452: 2450: 2448: 2446: 2444: 2442: 2440: 2438: 2436: 2434: 2432: 2430: 2428: 2426: 2424: 2422: 2420: 2418: 2416: 2414: 2412: 2410: 2408: 2406: 2404: 2402: 2400: 2398: 2396: 2394: 2392: 2390: 1772:, on a wall plaque commemorating the life of 1730: 701: 338:Eric Gill was born in 1882 in Hamilton Road, 313:was the British Government's gift to the new 4221: 4031: 3976: 3909: 3375: 3036: 3034: 2931: 2929: 2927: 2925: 2923: 2921: 2919: 2635: 2388: 2386: 2384: 2382: 2380: 2378: 2376: 2374: 2372: 2370: 1292:For the Hague and Gill press he created the 866:Detail of Briantspuddle war memorial, Dorset 218:of two of his daughters and of his pet dog. 5092:Eric Gill & David Jones at Capel-y-ffin 4902:University of Notre Dame Hesburgh Libraries 4756:. (published posthumously). Jonathan Cape. 4005: 3820: 3739:"Eric Gill Postage Stamps by Type Designer" 3012: 2569: 2567: 2355:(online ed.). Oxford University Press. 1751:. Commissioned by Morison, he designed the 991:, a black marble torso of Christ, and made 5427: 5413: 5108: 4810: 3849: 3847: 3845: 3408: 3185: 3183: 2960: 2958: 2884: 2882: 2844:London University School of Advanced Study 2751: 1238:Art-Nonsense And Other Essays by Eric Gill 577:An early admirer of Gill's sculptures was 49: 5328:, translated by George Philip Knapp, 1932 5243: 5127: 4712:Trousers & The Most Precious Ornament 3972: 3970: 3968: 3966: 3964: 3962: 3816: 3814: 3535:The Midland Hotel. Morecambe's White Hope 3371: 3369: 3031: 3008: 3006: 3004: 3002: 3000: 2998: 2996: 2994: 2992: 2916: 2903:10.1093/gao/9781884446054.article.T032249 2776: 2774: 2707: 2606: 2604: 2602: 2600: 2598: 2596: 2367: 1747:, later a typographic consultant for the 1542: 1377:, the Rockefeller Museum, Jerusalem, 1934 939: 593:. Along with his friend and collaborator 232:As a young man, Gill was a member of the 5205: 5094:. Bridgend, Mid Glamorgan: Seren Books. 4980: 4948: 4852:. William Andrews Clark Memorial Library 4500: 4276: 4274: 4272: 4270: 4268: 4266: 4163: 3717:. The Great Britain Philatelic Society. 3442:The Diaries of a Cosmopolitan: 1918-1937 3404: 3402: 3400: 2747: 2745: 2743: 2741: 2739: 2690:"Eric Gill archival and book collection" 2684: 2682: 2564: 1958: 1936: 1554: 1546: 1473: 1467:and supported the British branch of the 1369: 1275: 1264: 1202: 943: 663: 538: 427: 5710:English typographers and type designers 5605:Alumni of the Westminster School of Art 5146: 5128:Peace, David; Gill, Evan, eds. (1994). 4999: 4621:Graalfs, Gregory (1998). "Gill Sands". 4620: 4253:Journal of the Printing History Society 3842: 3731: 3430: 3180: 2955: 2879: 2352:Oxford Dictionary of National Biography 2335: 2333: 2331: 2329: 2327: 2325: 2323: 1876:Pilgrim (recut version of Bunyan; 1953) 210:Oxford Dictionary of National Biography 5547: 5061: 4247: 3959: 3811: 3537:. Lancaster, England: Palatine Books. 3366: 3161:"Briantspuddle War Memorial (1171702)" 2989: 2771: 2593: 2321: 2319: 2317: 2315: 2313: 2311: 2309: 2307: 2305: 2303: 2230:William Andrews Clark Memorial Library 999:. In 1926 he completed a sculpture of 244:in Sussex, where Gill established the 5408: 5089: 5018: 4931: 4872:"Gill, Eric, 1882–1940, former owner" 4838: 4519:from the original on 15 February 2015 4263: 4170:Catherine Bennett (16 January 2022). 3903: 3615: 3613: 3611: 3556: 3554: 3397: 3297: 2803: 2801: 2799: 2736: 2679: 2663:Eric Gill: Lust for Letter & Line 1906:The family Gill Facia was created by 1327:London Midland & Scottish Railway 1048:books and illustrated a further 28. 716:the Guild of St Joseph and St Dominic 5344: 5287:Manuscript & Inscription Letters 5224: 4890: 4751: 4732: 4709: 4658: 4602:from the original on 21 October 2021 4443: 4344: 4251:(2001). "Review: A Tally of Types". 4060:Ruth Millington (16 February 2022). 3781: 3533:Barry Guise & Pam Brook (2008). 3074:"Trumpington War Memorial (1245571)" 2044:Journal of the Royal Society of Arts 1979:, Cassell 1929 (pocket edition 1934) 1879:Jubilee (also known as Cunard; 1934) 1854:Golden Cockerel Press Type (for the 1780:which he used to hand-set his book, 779:. Gill also created the memorial at 4827:(reprinted 2021 by Angelico Press, 4409: 4292:from the original on 5 October 2021 4088:Sabrina Johnson (12 January 2022). 3654:English Art and Modernism 1900–1939 3526: 3347:Penelope Curtis (4 November 2021). 3041:Patrick Nuttgens (6 January 1999). 2661:Ruth Cribb & Joe Cribb (2011). 2300: 2244:and the University of Notre Dame's 1956:Gill's published writings include: 1570:Gill's final publications included 392: 112:Chichester Technical and Art School 13: 5660:Deaths from lung cancer in England 5022:Eric Gill: Man of Flesh and Spirit 4924: 4811:Gill, Eric; Keeble, Brian (1983). 4450:International Typeface Corporation 4419:International Typeface Corporation 4385:International Typeface Corporation 4375: 4351:International Typeface Corporation 4316:"Eric Gill and the Cockerel Press" 4310: 4198:"Ditchling comes clean about Gill" 4142:Patrick Hudson (2 February 2022). 3608: 3551: 3283:National Heritage List for England 3200:National Heritage List for England 3166:National Heritage List for England 3135:National Heritage List for England 3130:"Ditchling War Memorial (1438295)" 3079:National Heritage List for England 2857:Rupert Richard Arrowsmith (2010). 2796: 2141:. New York: Limited Editions Club. 1932: 1439:Artists' International Association 1187:Pigotts, Buckinghamshire 1928–1934 791:. Beside the main entrance to the 504:Arts and Crafts Exhibition Society 352:Countess of Huntingdon's Connexion 14: 5766: 5316:, Gill, 1938 (collected drawings) 5271:67 artworks by or after Eric Gill 5264: 5151:. Woodstock, NY: Overlook Press. 5111:The Elements of Typographic Style 4754:Autobiography: Quod Ore Sumpsimus 4565: 4538: 4474: 4222:John Sturgis (18 December 2022). 3940:"A Lover's Quest for Art and God" 2936:David V Barrett (5 August 2021). 2069:Autobiography: Quod Ore Sumpsimus 1917:limited to what could be used on 1387:Rockefeller Archaeological Museum 1210:, St James's Park Station, London 1067:(1927 onwards) and began work on 1055:, the Typographic Advisor to the 735:, a schedule of prayers from the 706:After World War I, together with 502:. In 1905, he was elected to the 411:Central School of Arts and Crafts 246:Guild of St Joseph and St Dominic 121:Central School of Arts and Crafts 5565:20th-century British printmakers 5387: 5370: 5353: 4501:Rhatigan, Dan (September 2014). 4032:Jim Waterson (12 January 2022). 3854:Fiona MacCarthy (24 July 2004). 3821:Finlo Roher (5 September 2007). 3592:My Time with Eric Gill: A Memoir 3376:Martin Stott (8 December 2011). 3195:"Harting War Memorial (1438494)" 2758:Antiques & Fine Art Magazine 2574:James Williams (27 April 2017). 2209: 2194: 2180: 2166: 2151: 2079:Christianity and the Machine Age 1893:London and North Eastern Railway 1838: 1819: 1803: 1791: 1366:Jerusalem and Pigotts, 1934–1938 1174: 1162: 1150: 1138: 1126: 859: 847: 832: 820: 808: 628:in London during 1912 and 1913. 5625:British architectural sculptors 5620:Associates of the Royal Academy 5047:. Cardozo Kindersley Editions. 4974:The Life and Works of Eric Gill 4864: 4804: 4791: 4770: 4745: 4726: 4703: 4675: 4652: 4631: 4614: 4574: 4559: 4468: 4437: 4403: 4369: 4338: 4304: 4215: 4196:Michéle Woodger (12 May 2017). 4189: 4135: 4109: 4081: 4053: 4006:Adrian Imms (1 November 2016). 3999: 3938:Barbara Harrison (7 May 1989). 3910:Lottie Hoare (9 January 1999). 3875: 3756: 3706: 3675: 3657:. London: Allen Lane. pp. 3644: 3583: 3497: 3467: 3458: 3440:(2000). Charles Kessler (ed.). 3340: 3315: 3266: 3241: 3214: 3149: 3118: 3101:"War Memorials Register: Chirk" 3093: 3062: 3015:Westminster Cathedral 1895–1995 2850: 2832: 2262: 2250:Ditchling Museum of Art + Craft 2085:On the Birmingham School of Art 2015:Art and a Changing Civilization 1711:Ditchling Museum of Art + Craft 1624: 1525:Institute of British Architects 1487:Queen Mary University of London 1383:Palestine Archaeological Museum 1357:being welcomed from the sea by 1281:Ariel between Wisdom and Gaiety 660:Westminster Cathedral 1914–1918 403:Westminster Technical Institute 163: 116:Westminster Technical Institute 5575:20th-century English sculptors 5570:20th-century English essayists 4846:"Eric Gill Artwork Collection" 3883:"The Darker Side of Ditchling" 3764:"Lobby of the Council Chamber" 2891:"Gill, (Arthur) Eric (Rowton)" 2694:University of Waterloo Library 2242:University of Waterloo Library 2122:. Golden Cockerel Press. 1931. 1704:When, in 2017, the journalist 1287:(obey), BBC Broadcasting House 827:Ditchling war memorial, Sussex 783:in Dorset and, with Chute and 589:philosopher and art historian 371:Chichester Theological College 1: 5745:Members of the Fabian Society 5655:Converts to Roman Catholicism 5650:Child sexual abuse in England 5590:20th-century English diarists 5434: 5191:. London: Cassell Paperback. 5172:. Black Dog & Leventhal. 4815:. Ipswich: Golgonooza Press. 3793:Ss Mary & John Churchyard 2889:Stephen Stuart-Smith (2003). 2576:"Eric Gill's fall from grace" 2293: 2137:Shakespeare, William (1939). 1977:Art-nonsense and other essays 1798:Alphabets and Numerals (1909) 1759:. Gill had collaborated with 1039:and of the illustrations for 1010:When approached, in 1924, by 559:(1910), which the art critic 365:In 1897, the family moved to 333: 5580:20th-century Roman Catholics 5075:. St Paul's Bibliographies. 4957:. London: Methuen & Co. 4878:. California Digital Library 4850:Online Archive of California 3743:The Offices of Kat Ran Press 3253:Victoria & Albert Museum 2938:"Eric Gill: a moral problem" 2665:. The British Museum Press. 2361:UK public library membership 2346:"Gill, (Arthur) Eric Rowton" 1850:Gill's other types include: 1469:Fellowship of Reconciliation 1389:. There they carved a stone 1325:was built in 1932–33 by the 721:Third Order of Saint Dominic 671:, Stations of the Cross XIII 328: 250:Third Order of Saint Dominic 7: 5109:Bringhurst, Robert (1992). 5004:. Westerham: Eva Svensson. 4714:. London: Faber and Faber. 4637:Christopher Skelton (ed.), 3912:"Petra Tegetmeier obituary" 3043:"Petra Tegetmeier obituary" 2724:(33 (Winter 2015)): 6. 2015 1941:Illustration from the book 1529:Royal Designer for Industry 1283:with the Latin inscription 1014:to produce designs for the 997:Manchester City Art Gallery 523:Ditchling Village 1907–1913 466:, the couple moved into 20 443:Holy Trinity, Sloane Street 419:London Underground typeface 10: 5771: 5503:Tomb of Marigold Churchill 5227:From Gutenberg to OpenType 5189:Encyclopædia of Type Faces 4898:"The Eric Gill Collection" 4799:Christian Newsletter Books 2715:"Eric Gill in Hammersmith" 2223: 2128:Chaucer, Geoffrey (1932). 1997:Beauty Looks After Herself 1731:Typefaces and inscriptions 1433:and later moved towards a 797:Victoria and Albert Museum 702:Ditchling Common 1918–1924 18: 5670:English graphic designers 5519: 5473: 5442: 5248:. Yale University Press. 5132:. London: Herbert Press. 5073:Eric Gill: A Bibliography 4981:Attwater, Donald (1969). 4949:Speaight, Robert (1966). 4936:. London: Jonathan Cape. 4639:Eric Gill, The Engravings 4570:. p. 606, Fig. 13.7. 3651:Charles Harrison (1981). 3444:. London: Phoenix Press. 1870:Floriated Capitals (1932) 1831:Lowestoft railway station 1463:. Later, Gill joined the 1005:St John's College, Oxford 173: 150: 140: 129: 105: 86: 60: 48: 30: 5615:Arts and Crafts movement 5493:Trumpington War Memorial 5246:An A–Z of Type Designers 5244:Macmillan, Neil (2006). 5206:Holliday, Peter (2002). 5149:Eric Gill: The Sculpture 5147:Collins, Judith (1998). 5090:Miles, Jonathan (1992). 5000:Harling, Robert (1976). 2255: 1678:St Michael the Archangel 1649:mentioned none of it. 1323:Midland Hotel, Morecambe 1272:, BBC Broadcasting House 769:Trumpington War Memorial 583:Indian temple sculptures 476:Arts and Crafts movement 238:Arts and Crafts Movement 145:Arts and Crafts movement 19:For the footballer, see 5695:English Roman Catholics 5640:British stamp designers 5293:, 1909 (plates by Gill) 5229:. Hartley & Marks. 5113:. Hartley & Marks. 5019:Yorke, Malcolm (1981). 4778:Notes on Postage Stamps 4641:, Herbert Press, 1990, 4512:(28). Letter Exchange. 3713:Peter Worsfold (2001). 3682:Patrick G. Coy (1988). 2967:"Stations of the Cross" 2965:Patrick Rogers (2005). 2863:Oxford University Press 2784:. National Museum Wales 2074:Notes on Postage Stamps 2027:The Necessity of Belief 1715:Not Turning a Blind Eye 1527:and in 1937 was made a 1224:London Electric Railway 1181:Three typefaces by Gill 881:Cleansing of the Temple 771:in Cambridgeshire, the 569:(1911). The models for 184:Arthur Eric Rowton Gill 65:Arthur Eric Rowton Gill 5715:English wood engravers 5680:English male sculptors 5635:British letter cutters 5630:British erotic artists 5585:20th-century engravers 5509:An Essay on Typography 5208:Eric Gill in Ditchling 5066:. Chatto & Windus. 5062:Fuller, Peter (1985). 4985:. London: G. Chapman. 4932:Thorp, Joseph (1929). 4683:An Essay on Typography 4503:"Gill Sans after Gill" 4320:Upper & Lower Case 3620:Martin Ceadel (1980). 3590:Donald Potter (1980). 3562:"Eric Gill, 1882–1940" 2343:(25 September 2014) . 1990:An Essay on Typography 1966: 1950: 1783:An Essay on Typography 1737:Alphabets and Numerals 1669: 1645:. A 1966 biography by 1560: 1552: 1543:Final works, 1939–1940 1482: 1378: 1288: 1273: 1211: 995:, a stone head now in 952: 940:Capel-y-ffin 1924–1928 672: 619:Père Lachaise cemetery 547: 484:T. J. Cobden-Sanderson 433: 264:in north Wales and at 21:Eric Gill (footballer) 5730:People from Ditchling 5700:English sex offenders 5665:English anti-fascists 5610:Artists from Brighton 5025:. London: Constable. 4983:A Cell of Good Living 4780:Kat Ran Press, 2011. 4739:J. M. Dent & Sons 4589:The Monotype Recorder 4477:"The Non Solus Story" 4446:"A Publisher's Story" 3628:281, 289–91, 295, 321 3378:"Eric Gill in Oxford" 2971:Westminster Cathedral 2550:. Faber & Faber. 1962: 1940: 1856:Golden Cockerel Press 1735:In 1909, Gill carved 1664: 1558: 1550: 1533:Royal Society of Arts 1477: 1427:All Art is Propaganda 1373: 1279: 1268: 1206: 1016:Golden Cockerel Press 947: 685:Westminster Cathedral 681:stations of the cross 669:Westminster Cathedral 667: 542: 431: 348:Congregational Church 290:Golden Cockerel Press 5750:English pamphleteers 5675:English illustrators 5645:Burials in Berkshire 5527:MacDonald "Max" Gill 5321:Troilus and Criseyde 5225:Dodd, Robin (2006). 4801:, The Sheldon Press. 4776:Gill, Eric. (2011). 4681:Gill, Eric. (1931). 3017:. Geoffrey Chapman. 3013:Peter Doyle (1995). 2268:The German diplomat 2130:Troilus and Criseyde 2057:And Who Wants Peace? 1971:Christianity and Art 1749:Monotype Corporation 1226:, the forerunner of 1169:Golden Cockerel type 1088:Troilus and Criseyde 1057:Monotype Corporation 1041:Edward Powys Mathers 1029:The Canterbury Tales 1025:Troilus and Criseyde 733:Liturgy of the Hours 500:Paddington Institute 455:W.H. Smith & Son 425:in central London. 379:Chichester Cathedral 356:MacDonald "Max" Gill 5755:Writers from Sussex 5498:Midland Hotel works 5210:. Oak Knoll Press. 4908:on 5 September 2015 4752:Gill, Eric (1940). 4735:"Twenty-Five Nudes" 4733:Gill, Eric (1951). 4710:Gill, Eric (1937). 4659:Gill, Eric (1931). 4568:Islamic Calligraphy 3327:Imperial War Museum 3309:University of Leeds 3227:Imperial War Museum 3105:Imperial War Museum 2942:The Catholic Herald 2865:. pp. 74–103. 2811:(17 October 2009). 2782:"Madonna and Child" 2752:Ruth Cribb (2007). 2174:Christ on the Cross 2108:Gill, Eric (1925). 1770:Poling, West Sussex 1719:Eric Gill: The Body 1694:Guildford Cathedral 1584:Guildford Cathedral 1510:The Creation of Man 1479:The Creation of Man 1453:Spanish Republicans 1444:The Catholic Herald 1260:Battle of the Somme 1076:Waltham St Lawrence 1003:for the library of 993:The Sleeping Christ 873:University of Leeds 777:New College, Oxford 591:Ananda Coomaraswamy 579:William Rothenstein 536:for Count Kessler. 453:publishling house. 405:and, from 1901, in 311:The Creation of Man 278:The Sleeping Christ 5705:English socialists 5488:Chirk War Memorial 5334:(woodcuts by Gill) 4444:Yoseloff, Thomas. 3945:The New York Times 3799:on 13 January 2022 3594:. Gamecock Press. 3507:Prospero and Ariel 3505:"Catalogue entry: 3475:"Catalogue entry: 3438:Harry Graf Kessler 2977:on 20 January 2022 2616:"Written in stone" 2270:Harry Graf Kessler 2063:Sacred and Secular 1967: 1951: 1845:Gill Sans typeface 1774:Sir Harry Johnston 1757:London Underground 1686:Prospero and Ariel 1638:child sexual abuse 1611:Harefield Hospital 1576:Drawings from Life 1561: 1553: 1518:God's Gifts to Man 1514:Man's Gifts to God 1483: 1465:Peace Pledge Union 1425:Gill's 1935 essay 1379: 1312:Prospero and Ariel 1308:Broadcasting House 1304:Prospero and Ariel 1289: 1274: 1270:Prospero and Ariel 1234:for the building. 1228:London Underground 1212: 1195:, five miles from 953: 875:, Gill produced a 840:Chirk War Memorial 803:area of Bradford. 787:, the monument at 773:Chirk War Memorial 673: 615:Oscar Wilde's tomb 548: 517:Chartres Cathedral 439:Brookwood Cemetery 434: 156:Ethel Hester Moore 5725:Monumental masons 5685:English pacifists 5542: 5541: 5313:Twenty-five Nudes 5139:978-1-871569-66-7 5041:Kindersley, David 4953:Life of Eric Gill 4833:978-1-62138-681-0 4663:. Jonathan Cape. 4377:Carter, Sebastian 4345:Brignall, Colin. 3856:"Baptism by fire" 3544:978-1-874181-55-2 3423:978-1-910409-62-6 2872:978-0-19-959369-9 2672:978-0-7141-1819-2 2359:(Subscription or 2217:Mrs Ruth Lowinsky 2051:Twenty-five nudes 2033:Work and Property 1923:Linotype machines 1699:Save the Children 1572:Twenty-Five Nudes 1502:League of Nations 1498:Palace of Nations 1375:Canaanite culture 1080:Douglas Cleverdon 1037:The Song of Songs 1021:The Song of Songs 626:Grafton Galleries 557:Madonna and Child 511:mass-production. 417:, creator of the 387:Westminster Abbey 375:Church of England 315:League of Nations 221:Gill was born in 201:typeface designer 181: 180: 81:, Sussex, England 5762: 5429: 5422: 5415: 5406: 5405: 5400: 5392: 5391: 5390: 5383: 5375: 5374: 5373: 5366: 5358: 5357: 5356: 5346: 5326:Geoffrey Chaucer 5259: 5240: 5221: 5202: 5183: 5162: 5143: 5124: 5105: 5086: 5067: 5058: 5036: 5015: 4996: 4977: 4968: 4956: 4945: 4918: 4917: 4915: 4913: 4894: 4888: 4887: 4885: 4883: 4876:Internet Archive 4868: 4862: 4861: 4859: 4857: 4842: 4836: 4826: 4808: 4802: 4795: 4789: 4774: 4768: 4767: 4749: 4743: 4742: 4730: 4724: 4723: 4707: 4701: 4679: 4673: 4672: 4656: 4650: 4635: 4629: 4628: 4618: 4612: 4611: 4609: 4607: 4601: 4586: 4578: 4572: 4571: 4563: 4557: 4556: 4554: 4552: 4536: 4530: 4528: 4526: 4524: 4518: 4507: 4498: 4489: 4488: 4486: 4484: 4472: 4466: 4465: 4463: 4461: 4452:. Archived from 4441: 4435: 4434: 4432: 4430: 4421:. Archived from 4407: 4401: 4400: 4398: 4396: 4387:. Archived from 4373: 4367: 4366: 4364: 4362: 4353:. Archived from 4342: 4336: 4335: 4333: 4331: 4308: 4302: 4301: 4299: 4297: 4278: 4261: 4260: 4245: 4239: 4238: 4236: 4234: 4219: 4213: 4212: 4210: 4208: 4202:The RIBA Journal 4193: 4187: 4186: 4184: 4182: 4167: 4161: 4160: 4158: 4156: 4139: 4133: 4132: 4130: 4128: 4113: 4107: 4106: 4104: 4102: 4085: 4079: 4078: 4076: 4074: 4057: 4051: 4050: 4048: 4046: 4029: 4023: 4022: 4020: 4018: 4003: 3997: 3996: 3994: 3992: 3980:(9 April 2017). 3974: 3957: 3956: 3954: 3952: 3935: 3929: 3928: 3926: 3924: 3907: 3901: 3900: 3898: 3896: 3891:. 9 January 1999 3879: 3873: 3872: 3870: 3868: 3851: 3840: 3839: 3837: 3835: 3818: 3809: 3808: 3806: 3804: 3795:. Archived from 3785: 3779: 3778: 3776: 3774: 3760: 3754: 3753: 3751: 3749: 3735: 3729: 3728: 3710: 3704: 3703: 3679: 3673: 3672: 3648: 3642: 3641: 3617: 3606: 3605: 3587: 3581: 3580: 3578: 3576: 3558: 3549: 3548: 3530: 3524: 3523: 3521: 3519: 3501: 3495: 3494: 3492: 3490: 3471: 3465: 3462: 3456: 3455: 3434: 3428: 3427: 3406: 3395: 3394: 3392: 3390: 3373: 3364: 3363: 3361: 3359: 3344: 3338: 3337: 3335: 3333: 3319: 3313: 3312: 3301: 3295: 3294: 3292: 3290: 3274:Historic England 3270: 3264: 3263: 3261: 3259: 3245: 3239: 3238: 3236: 3234: 3218: 3212: 3211: 3209: 3207: 3191:Historic England 3187: 3178: 3177: 3175: 3173: 3157:Historic England 3153: 3147: 3146: 3144: 3142: 3126:Historic England 3122: 3116: 3115: 3113: 3111: 3097: 3091: 3090: 3088: 3086: 3070:Historic England 3066: 3060: 3059: 3057: 3055: 3038: 3029: 3028: 3010: 2987: 2986: 2984: 2982: 2973:. Archived from 2962: 2953: 2952: 2950: 2948: 2933: 2914: 2913: 2911: 2909: 2895:Grove Art Online 2886: 2877: 2876: 2854: 2848: 2847: 2836: 2830: 2829: 2827: 2825: 2805: 2794: 2793: 2791: 2789: 2778: 2769: 2768: 2766: 2764: 2749: 2734: 2733: 2731: 2729: 2719: 2711: 2705: 2704: 2702: 2700: 2686: 2677: 2676: 2658: 2633: 2632: 2630: 2628: 2614:(22 July 2006). 2608: 2591: 2590: 2588: 2586: 2571: 2562: 2561: 2540: 2365: 2364: 2356: 2348: 2337: 2287: 2266: 2246:Hesburgh Library 2238:Internet Archive 2213: 2198: 2184: 2170: 2155: 2142: 2139:Henry the Eighth 2133: 2123: 2120:The Four Gospels 2115: 2039:Work and Culture 2021:Work and Leisure 2009:Money and Morals 1964:Songs of Solomon 1919:Monotype systems 1897:British Railways 1842: 1827:British Railways 1823: 1807: 1795: 1655:Patrick Nuttgens 1634:sexual behaviour 1588:John the Baptist 1565:Gorleston-on-Sea 1494:definitive stamp 1416:David Kindersley 1300:The Four Gospels 1178: 1166: 1154: 1142: 1130: 1033:The Four Gospels 914:G. K. Chesterton 863: 851: 836: 824: 812: 689:Nikolaus Pevsner 677:Ditchling Common 645:Mont-César Abbey 553:pointing machine 544:Mother and Child 393:London 1900–1907 256:division of the 194: 167: 165: 93: 90:17 November 1940 75:22 February 1882 74: 72: 53: 43: 28: 27: 5770: 5769: 5765: 5764: 5763: 5761: 5760: 5759: 5690:English rapists 5545: 5544: 5543: 5538: 5515: 5469: 5438: 5433: 5403: 5393: 5388: 5386: 5376: 5371: 5369: 5359: 5354: 5352: 5349: 5345:sister projects 5342:at Knowledge's 5291:Edward Johnston 5267: 5262: 5256: 5237: 5218: 5199: 5180: 5159: 5140: 5121: 5102: 5083: 5055: 5033: 5012: 4993: 4965: 4927: 4925:Further reading 4922: 4921: 4911: 4909: 4896: 4895: 4891: 4881: 4879: 4870: 4869: 4865: 4855: 4853: 4844: 4843: 4839: 4823: 4809: 4805: 4796: 4792: 4775: 4771: 4764: 4750: 4746: 4731: 4727: 4708: 4704: 4680: 4676: 4657: 4653: 4636: 4632: 4619: 4615: 4605: 4603: 4599: 4584: 4580: 4579: 4575: 4564: 4560: 4550: 4548: 4541:"Gill Facia MT" 4537: 4533: 4522: 4520: 4516: 4505: 4499: 4492: 4482: 4480: 4473: 4469: 4459: 4457: 4442: 4438: 4428: 4426: 4408: 4404: 4394: 4392: 4374: 4370: 4360: 4358: 4357:on 14 June 2012 4343: 4339: 4329: 4327: 4326:on 29 July 2012 4309: 4305: 4295: 4293: 4280: 4279: 4264: 4246: 4242: 4232: 4230: 4220: 4216: 4206: 4204: 4194: 4190: 4180: 4178: 4168: 4164: 4154: 4152: 4140: 4136: 4126: 4124: 4115: 4114: 4110: 4100: 4098: 4086: 4082: 4072: 4070: 4058: 4054: 4044: 4042: 4030: 4026: 4016: 4014: 4004: 4000: 3990: 3988: 3975: 3960: 3950: 3948: 3936: 3932: 3922: 3920: 3917:The Independent 3908: 3904: 3894: 3892: 3881: 3880: 3876: 3866: 3864: 3852: 3843: 3833: 3831: 3819: 3812: 3802: 3800: 3787: 3786: 3782: 3772: 3770: 3762: 3761: 3757: 3747: 3745: 3737: 3736: 3732: 3725: 3711: 3707: 3700: 3680: 3676: 3669: 3649: 3645: 3638: 3618: 3609: 3602: 3588: 3584: 3574: 3572: 3560: 3559: 3552: 3545: 3531: 3527: 3517: 3515: 3503: 3502: 3498: 3488: 3486: 3473: 3472: 3468: 3463: 3459: 3452: 3435: 3431: 3424: 3407: 3398: 3388: 3386: 3374: 3367: 3357: 3355: 3345: 3341: 3331: 3329: 3321: 3320: 3316: 3303: 3302: 3298: 3288: 3286: 3271: 3267: 3257: 3255: 3247: 3246: 3242: 3232: 3230: 3220: 3219: 3215: 3205: 3203: 3188: 3181: 3171: 3169: 3154: 3150: 3140: 3138: 3123: 3119: 3109: 3107: 3099: 3098: 3094: 3084: 3082: 3067: 3063: 3053: 3051: 3039: 3032: 3025: 3011: 2990: 2980: 2978: 2963: 2956: 2946: 2944: 2934: 2917: 2907: 2905: 2887: 2880: 2873: 2855: 2851: 2838: 2837: 2833: 2823: 2821: 2813:"Mad about sex" 2809:Fiona MacCarthy 2806: 2797: 2787: 2785: 2780: 2779: 2772: 2762: 2760: 2750: 2737: 2727: 2725: 2717: 2713: 2712: 2708: 2698: 2696: 2688: 2687: 2680: 2673: 2659: 2636: 2626: 2624: 2612:Fiona MacCarthy 2609: 2594: 2584: 2582: 2572: 2565: 2558: 2544:Fiona MacCarthy 2541: 2368: 2358: 2341:Fiona MacCarthy 2338: 2301: 2296: 2291: 2290: 2274:First World War 2267: 2263: 2258: 2226: 2219: 2214: 2205: 2202:Autumn Midnight 2199: 2190: 2185: 2176: 2171: 2162: 2156: 2136: 2127: 2118: 2107: 1935: 1933:Published works 1846: 1843: 1834: 1824: 1815: 1814:memorial plaque 1808: 1799: 1796: 1761:Edward Johnston 1745:Stanley Morison 1733: 1647:Robert Speaight 1643:Fiona MacCarthy 1627: 1545: 1461:Donald Attwater 1408:Hilary Stratton 1368: 1189: 1182: 1179: 1170: 1167: 1158: 1155: 1146: 1143: 1134: 1131: 1104:Eric Kennington 1094:and now called 1084:Salies-de-Béarn 1053:Stanley Morison 1012:Robert Gibbings 1001:Tobias and Sara 977:Donald Attwater 957:Llanthony Abbey 942: 934:Black Mountains 889:Nuptials of God 867: 864: 855: 852: 843: 837: 828: 825: 816: 813: 785:Hilary Stratton 729:Dominican Order 704: 662: 525: 506:and joined the 468:Black Lion Lane 415:Edward Johnston 395: 373:and joined the 336: 331: 258:Dominican Order 225:and grew up in 207:. Although the 186: 169: 166: 1904) 161: 157: 125: 101: 95: 91: 82: 76: 70: 68: 67: 66: 56: 44: 35: 33: 24: 17: 12: 11: 5: 5768: 5758: 5757: 5752: 5747: 5742: 5737: 5732: 5727: 5722: 5717: 5712: 5707: 5702: 5697: 5692: 5687: 5682: 5677: 5672: 5667: 5662: 5657: 5652: 5647: 5642: 5637: 5632: 5627: 5622: 5617: 5612: 5607: 5602: 5597: 5592: 5587: 5582: 5577: 5572: 5567: 5562: 5557: 5540: 5539: 5537: 5536: 5530: 5523: 5521: 5517: 5516: 5514: 5513: 5505: 5500: 5495: 5490: 5485: 5477: 5475: 5471: 5470: 5468: 5467: 5462: 5457: 5452: 5446: 5444: 5440: 5439: 5432: 5431: 5424: 5417: 5409: 5402: 5401: 5384: 5382:from Wikiquote 5367: 5338: 5336: 5335: 5329: 5317: 5309: 5304: 5299: 5294: 5284: 5278: 5266: 5265:External links 5263: 5261: 5260: 5254: 5241: 5235: 5222: 5216: 5203: 5197: 5184: 5178: 5163: 5157: 5144: 5138: 5125: 5119: 5106: 5100: 5087: 5081: 5068: 5059: 5053: 5037: 5031: 5016: 5010: 4997: 4991: 4978: 4969: 4963: 4946: 4928: 4926: 4923: 4920: 4919: 4889: 4863: 4837: 4821: 4803: 4797:In the series 4790: 4769: 4762: 4744: 4725: 4702: 4674: 4651: 4630: 4613: 4573: 4558: 4539:Banks, Colin. 4531: 4490: 4475:Bates, Keith. 4467: 4456:on 20 May 2012 4436: 4425:on 21 May 2012 4402: 4391:on 21 May 2012 4368: 4337: 4303: 4262: 4240: 4214: 4188: 4162: 4134: 4108: 4080: 4052: 4024: 4012:Brighton Argus 3998: 3958: 3930: 3902: 3888:Brighton Argus 3874: 3841: 3810: 3780: 3768:United Nations 3755: 3730: 3723: 3705: 3698: 3674: 3667: 3643: 3636: 3607: 3600: 3582: 3550: 3543: 3525: 3496: 3466: 3457: 3450: 3429: 3422: 3396: 3365: 3339: 3314: 3296: 3265: 3240: 3213: 3179: 3148: 3117: 3092: 3061: 3030: 3023: 2988: 2954: 2915: 2878: 2871: 2849: 2831: 2795: 2770: 2735: 2706: 2678: 2671: 2634: 2592: 2563: 2556: 2366: 2298: 2297: 2295: 2292: 2289: 2288: 2260: 2259: 2257: 2254: 2225: 2222: 2221: 2220: 2215: 2208: 2206: 2200: 2193: 2191: 2188:Angels Trumpet 2186: 2179: 2177: 2172: 2165: 2163: 2157: 2150: 2147: 2146: 2143: 2134: 2125: 2116: 2101: 2100: 2094: 2088: 2082: 2076: 2071: 2066: 2060: 2054: 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102: 96: 94:(aged 58) 88: 84: 83: 77: 64: 62: 58: 57: 54: 46: 45: 34: 31: 15: 9: 6: 4: 3: 2: 5767: 5756: 5753: 5751: 5748: 5746: 5743: 5741: 5738: 5736: 5735:Stone carvers 5733: 5731: 5728: 5726: 5723: 5721: 5718: 5716: 5713: 5711: 5708: 5706: 5703: 5701: 5698: 5696: 5693: 5691: 5688: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5653: 5651: 5648: 5646: 5643: 5641: 5638: 5636: 5633: 5631: 5628: 5626: 5623: 5621: 5618: 5616: 5613: 5611: 5608: 5606: 5603: 5601: 5598: 5596: 5593: 5591: 5588: 5586: 5583: 5581: 5578: 5576: 5573: 5571: 5568: 5566: 5563: 5561: 5558: 5556: 5553: 5552: 5550: 5534: 5531: 5528: 5525: 5524: 5522: 5518: 5511: 5510: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5483: 5479: 5478: 5476: 5472: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5448: 5447: 5445: 5441: 5437: 5430: 5425: 5423: 5418: 5416: 5411: 5410: 5407: 5399:from Wikidata 5398: 5397: 5385: 5381: 5380: 5368: 5364: 5363: 5351: 5350: 5347: 5341: 5333: 5330: 5327: 5323: 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