Access to Collection
Acquisition and Provenance
Arrangement of Collection
Biographical Note
Preferred Citation Format
Processing History
Related Materials
Scope and Contents
Publication Rights Information
Contributing Institution:
William Andrews Clark Memorial Library
Title: Eric Gill Artwork Collection
Identifier/Call Number: Gill Artwork
Physical Description:
56 boxes
Date (inclusive): 1887-2003
Abstract: This collection contains original artwork and other visual material produced by or related to British artist, designer and
sculptor Eric Gill. In addition to drawings, woodblocks, and other unique works, it also contains reproductions, photographs
and supporting documentation. Gill's archive of correspondence, business records, and other primarily textual material is
cataloged in a separate Clark finding aid as the
Eric Gill Archive.
Language of Material:
English
.
Access to Collection
Collection is open for research; access requires at least 24 hours advance notice.
Acquisition and Provenance
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 Gill's manuscripts and correspondence. The Clark Library has also collected Gill artwork through
additional purchases and gifts over time.
Arrangement of Collection
This container list is currently organized in CEG number order. Related works are not necessarily grouped together, so keyword
searching for specific materials is strongly recommended. Though most of these materials are digitized and available via the
UCLA Digital Library , individual links to items are not yet included here.
Biographical Note
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. 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, attending masonry classes at Westminster Technical School
& lettering courses at the Central School of Arts and Crafts. His teacher at the Central School was Edward Johnston, an expert
calligrapher and an eloquent proponent of Arts and Crafts techniques. By 1904 Gill was self-employed, supporting himself and
his wife by carving lettering on public buildings as well as tombstones & 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 influential artists and critics who 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. 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 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 and founded there a reconstituted religious community linked with the Dominican order,
the Guild of SS. Joseph and Dominic. 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. He also began to experiment with printmaking
and book illustration, trying his hand at the handpress and learning the first principles of typography and composition. In
1924 Gill moved his family and studio to a deserted, half-ruined monastery in South Wales. 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. 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. 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 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, carved massive public sculptures for the BBC headquarters and of the London Underground,
as well as 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. translation of the Psalms, kept up his accounts, and wrote the last entries in his voluminous diaries. He
died on November 17, 1940 at the age of fifty-eight after an unsuccessful operation. When he died, he left behind more than
a thousand engravings; at least one hundred and fifty books with his illustrations; designs for eleven different typefaces;
and countless sculptures and inscriptions on city buildings, Catholic churches, and public squares throughout England.
Preferred Citation Format
[Title of Item], [CEG number], [Box/Folder]. Eric Gill Artwork Collection. UCLA. Clark (William Andrews) Memorial Library
Processing History
Previous to 2010, the majority of the Clark's Gill Artwork collection was described in an in-house card catalog. From 2010-2013,
Jennifer Bastian described and photographed the majority of the collection, giving each artwork a unique identifier, referred
to in this finding aid as a "CEG number." From 2020-2022, Rebecca Fenning Marschall physically reprocessed portions of the
collections and created this EAD finding aid.
Related Materials
Scope and Contents
This collection consists of original artwork, printing blocks, photographs and other visual material produced by or related
to artist and designer Eric Gill. Items include prints, printing blocks, drawings, sketchbooks, photographs, architectural
plans, ephemera, and artists' proofs, as well as broadsides, posters and printed reproductions.
Publication Rights Information
The Clark Library owns the property rights to its collections but does not hold the copyright to these materials and therefore
cannot grant or deny permission to use them. Researchers are responsible for determining the copyright status of any materials
they may wish to use, investigating the owner of the copyright, and obtaining permission for their intended publication or
other use. In all cases, you must cite the Clark Library as the source with the following credit line: The William Andrews
Clark Memorial Library, University of California, Los Angeles.