Editing Eric Gill

{{Short description|English sculptor, typeface designer, and printmaker (1882–1940)}}
{{For|the footballer|Eric Gill (footballer)}}
{{Use British English|date=March 2022}}
{{Use dmy dates|date=March 2022}}
{{Infobox artist
| honorific_suffix = {{post-nominals|country=GBR|ARA|RDI|size=100%}}
| image            = Eric Gill - self portrait.jpg
| caption          = Self-portrait, c. 1927
| birth_name       = Arthur Eric Rowton Gill
| birth_date       = {{birth date|df=yes|1882|2|22}}
| birth_place      = [[Brighton]], Sussex, England
| death_date       = {{death date and age|df=yes|1940|11|17|1882|2|22}}
| death_place      = [[Middlesex]], England
| education        = {{ubl|Chichester Technical and Art School|[[Westminster Technical Institute]]|[[Central School of Art and Design|Central School of Arts and Crafts]]}}
| known_for        = Sculpture, [[typography]]
| movement         = [[Arts and Crafts movement]]
| spouse           = {{marriage|Ethel Hester Moore|1904}}
| children         = 4 <!-- Three daughters, one adopted son -->
}}
'''Arthur Eric Rowton Gill''' {{post-nominals|country=GBR|ARA|RDI}} (22 February 1882 – 17 November 1940) was an English sculptor, [[letter cutter]], [[typeface designer]], and [[printmaker]]. Although the ''[[Oxford Dictionary of National Biography]]'' 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 [[sexual abuse]] of two of his daughters and of his pet dog.

Gill was born in [[Brighton]] and grew up in [[Chichester]], 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.

As a young man, Gill was a member of the [[Fabian Society]], but later resigned. Initially identifying with the [[Arts and Crafts Movement]], 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 [[Ditchling]] in Sussex, where Gill established [[The Guild of St Joseph and St Dominic]] for Catholic craftsmen. Many members of the Guild, including Gill, were also members of the [[Third Order of Saint Dominic]], a [[Laity|lay]] division of the [[Dominican Order]]. At Ditchling, Gill and his assistants created several war memorials including those at [[Chirk]] in north Wales and at [[Trumpington]] near Cambridge, along with numerous works on religious subjects.

In 1924, the Gill family left Ditchling and moved to an isolated, disused monastery at [[Capel-y-ffin]] 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 ''The Sleeping Christ'' (1925), ''Deposition'' (1925), and ''Mankind'' (1927). He created engravings for a series of books published by the [[Golden Cockerel Press]] considered among the finest of their kind, and it was at Capel that he designed the typefaces [[Perpetua (typeface)|Perpetua]], [[Gill Sans]], and [[Solus (typeface)|Solus]]. After four years at Capel, Gill and his family moved into a quadrangle of properties at [[Speen, Buckinghamshire|Speen]] 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 ''The Creation of Man'' was the British Government's gift to the new [[League of Nations]] building in [[Geneva]]. 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.

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

==Biography==
=== Early life ===
Eric Gill was born in 1882 in Hamilton Road, [[Brighton]], the second of the 13 children of the Reverend Arthur Tidman Gill and (Cicely) Rose King (died 1929), formerly a professional singer of [[light opera]] under the name Rose le Roi.<ref name="ODNB">{{cite ODNB |title=Gill, (Arthur) Eric Rowton |author= Fiona MacCarthy |author-link=Fiona MacCarthy |date= 25 September 2014 |orig-date= 23 September 2004 |url=https://doi.org/10.1093/ref:odnb/33403}}</ref> Arthur Tidman Gill had left the [[Congregational Union of England and Wales|Congregational Church]] in 1878 over doctrinal disagreements and became a minister of the [[Countess of Huntingdon's Connexion]], a grouping of Calvinist Methodists.<ref name="FMacCarthy">{{Cite book |author=Fiona MacCarthy |title=Eric Gill |year=1989 |publisher=Faber & Faber |isbn=0-571-14302-4 |author-link=Fiona MacCarthy}}</ref>{{rp|7}} Arthur was born in the South Seas, where his father, George Gill, was a Congregational minister and missionary.<ref name="FMacCarthy" />{{rp|5}} Eric Gill was the elder brother of the graphic artist [[MacDonald Gill|MacDonald "Max" Gill]] (1884–1947).<ref name="ODNB" /> Two of his other brothers, Romney and Cecil, became Anglican missionaries while their sister, Madeline, became a nun and also undertook missionary work.<ref name="FMacCarthy" />{{rp|5}} The film historian [[David Gill (film historian)|David Gill]] was a nephew.

In 1897, the family moved to [[Chichester]], when Arthur Tidman Gill left the Countess of Huntingdon's Connexion, became a mature student at [[Chichester Theological College]] and joined the [[Church of England]].<ref name="ODNB" /><ref name="FMacCarthy" />{{rp|19}} 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.<ref name="FMacCarthy" />{{rp|26}} Later in his life, Gill cited the Norman and medieval carved stone panels in [[Chichester Cathedral]] as a major influence on his sculpture.<ref name="JWilliams">{{cite web|url=https://www.apollo-magazine.com/eric-gills-fall-from-grace/|title=Eric Gill's fall from grace |author=James Williams |work=Apollo |date=27 April 2017|access-date=19 January 2022}}</ref><ref name="FMC2006">{{Cite news |author=Fiona MacCarthy |author-link=Fiona MacCarthy|date=22 July 2006|title=Written in stone |work=[[The Guardian]]|url=http://arts.guardian.co.uk/features/story/0,,1826081,00.html|access-date=9 November 2017}}</ref> In 1900, Gill became disillusioned with Chichester and moved to London to train as an architect with the practice of [[W. D. Caröe]], specialists in ecclesiastical architecture with a large office close to [[Westminster Abbey]].<ref name="ODNB" />

=== London 1900–1907 ===
Frustrated with his architectural training, Gill took evening classes in [[stonemasonry]] at the [[Westminster Technical Institute]] and, from 1901, in [[calligraphy]] at the [[Central School of Art and Design|Central School of Arts and Crafts]] while continuing to work at Caröe's.<ref name="Ruth&JoeC">{{Cite book |author=Ruth Cribb & Joe Cribb |title=Eric Gill: Lust for Letter & Line |year=2011 |publisher=The British Museum Press |isbn=978-0-7141-1819-2}}</ref> The calligraphy course was run by [[Edward Johnston]], creator of the [[Johnston (typeface)|London Underground typeface]], who became a strong and lasting influence on Gill.<ref name="FMacCarthy" />{{rp|42}} For a year, until 1903, Gill and Johnston shared lodgings at [[Lincoln's Inn]] in central London.<ref name="FMacCarthy" />{{rp|49}} 
[[File:Gill bronze.jpg|thumb|upright|Rubbing of a memorial bronze created by Eric and Max Gill in 1905]]
During 1903, Gill gave up training in architecture to become a calligrapher, letter-cutter and monumental mason.<ref name="WatSCA">{{Cite web |title=Eric Gill archival and book collection |url=https://uwaterloo.ca/library/special-collections-archives/collections/gill-eric |access-date=18 May 2016 |website=University of Waterloo Library|date=14 July 2014 }}</ref> 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.<ref name="FMacCarthy" />{{rp|45}} Through a contact at the Central School, Gill was employed to cut the inscription for a tombstone at [[Brookwood Cemetery]] in Surrey.<ref name="FMacCarthy" />{{rp|45}} Other work quickly followed, including an inscription for [[Holy Trinity, Sloane Street]], plus commissions from architects and private individuals, including [[Harry Graf Kessler|Count Kessler]].<ref name="FMacCarthy" />{{rp|93}} Kessler, on Johnston's recommendation, employed Gill to design chapter headings and title pages for the [[Insel Verlag]] publishing house.<ref name="Ruth&JoeC"/> [[WHSmith|W.H. Smith & Son]] employed Gill to paint the lettering on the fascias of several of their bookshops including, in 1903, their Paris store.<ref name="FMacCarthy" />{{rp|55}} 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.<ref name="FMacCarthy" />{{rp|88}} After Gill died, his brother, Evan, compiled an inventory of 762 inscriptions known to have been carved by him.<ref name="FMacCarthy" />{{rp|45}}

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.<ref name="FMacCarthy" />{{rp|31}} Gill and Moore would eventually have three daughters and foster a son.<ref name="ODNB" /> After a short period in [[Battersea]] the couple moved into 20 [[Black Lion Lane]], [[Hammersmith]], in west London, near the, recently married, Johnstons' home on Hammersmith Terrace.<ref name="HFHBG 2015">{{cite journal |title=Eric Gill in Hammersmith |url=http://www.hfhbg.org.uk/newsletters/Newsletter-33-Win-15.pdf |journal=Hammersmith and Fulham Historic Buildings Group Newsletter |issue=33 (Winter 2015) |access-date=13 August 2021 |page=6 |date=2015}}</ref> Artists associated with the [[Arts and Crafts movement]], including [[Emery Walker]], [[T. J. Cobden-Sanderson]] and [[May Morris]], were already based in the area, as were several printers, including the [[Doves Press]].<ref name="FMacCarthy" />{{rp|64}} Gill formed a business partnership with Lawrence Christie and recruited staff, including the 14-year-old [[Joseph Cribb]], to work in his studio.<ref name="FMacCarthy" />{{rp|66}} Gill began giving lectures at the Central School and taught courses in monumental masonry and lettering for stonemasons at the [[City of Westminster College|Paddington Institute]].<ref name="FMacCarthy" />{{rp|102}} In 1905 he was elected to the [[Arts and Crafts Exhibition Society]] and joined the [[Fabian Society]] the following year.<ref name="FMacCarthy" />{{rp|101}} 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 mass production.<ref name="FMacCarthy" />{{rp|93}}

In his diaries Gill records two affairs while living at Hammersmith. He had a brief affair with the family's maid while his wife was pregnant, and then a relationship with Lillian Meacham, who he had met through the Fabian Society.<ref name="FMacCarthy" />{{rp|95}} Gill and Meacham visited the Paris Opera and [[Chartres Cathedral]] together and when their affair ended she became an apprentice in Gill's workshop and remained a family friend throughout his life.<ref name="FMacCarthy" />{{rp|95}}

=== Ditchling Village 1907–1913 ===
In 1907 Gill moved with his family to Sopers, a house in the village of [[Ditchling]] 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 time in London visiting clients and delivering lectures while his wife, Ethel, organised their household and smallholding in Sussex.<ref name="FMacCarthy" />{{rp|120}} 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.<ref name="FMacCarthy" />{{rp|122}} Gill continued to concentrate on lettering and inscriptions for stonework and employed a pupil for his signwriting business.<ref name="FMacCarthy" />{{rp|126}} He also began to use wood-engraving techniques for his book illustration work, including a 1907 edition of ''Homer'' for Count Kessler.<ref name="FMacCarthy" />{{rp|126}}
[[File:Gill Mother and Child 26 June 2018 2.jpg|thumb|''Mother and Child'', 1910]]
Late in 1909 Gill decided to become a sculptor.<ref name="FMacCarthy" />{{rp|126}} 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 [[pointing machine]] in favour of directly carving the final figure.<ref name="FMC2006"/><ref name="RCribb">{{cite web|url=http://www.antiquesandfineart.com/articles/article.cfm?request=717 |title= Eric Gill at the Victoria and Albert Museum New Sculpture Display|year=2007 |author= Ruth Cribb |website=Antiques & Fine Art Magazine |access-date=18 February 2022}}</ref> His first sculptures included ''Madonna and Child'' (1910), which the art critic [[Roger Fry]] described as a depiction of "pathetic animalism",<ref name="M&C">{{Cite web |title=Madonna and Child |url=https://museum.wales/collections/online/object/999b28f1-8be7-32c8-90d9-c4fa5de356db/ |publisher=National Museum Wales |access-date=23 January 2022}}</ref> and the almost life-size work now known as ''[[Ecstasy (Gill sculpture)|Ecstasy]]'' (1911).<ref name="FMC2006" /> The models for ''Ecstasy'' were his sister Gladys Gill and her husband, Ernest Laughton.<ref name="FMacCarthy" />{{rp|104}}<ref name="fm">{{cite news |author=Fiona MacCarthy |author-link=Fiona MacCarthy |date=17 October 2009|url=https://www.theguardian.com/books/2009/oct/17/eric-gill-exhibition-fiona-maccarthy|title=Mad about sex |newspaper=[[The Guardian]]|access-date=17 October 2009}}</ref> The incestuous relationships between Gill and Gladys that continued during their lives had already begun at this point.<ref name="FMacCarthy" />{{rp|104}}<ref name="FMC2006" /> There is also some evidence, from Gill's own writings, of an incestuous relationship with Angela, another of his sisters.<ref name="FMacCarthy" />{{rp|105}}<ref name="fm"/>

An early admirer of Gill's sculptures was [[William Rothenstein]] and he introduced Gill, who was fascinated by [[Architecture of India|Indian temple sculptures]], to the [[Sri Lanka|Ceylonese]] philosopher and art historian [[Ananda Coomaraswamy]].<ref>{{cite web|url=http://vimeo.com/arrowsmith/cosmopolitanism-and-modernism|title=Video of a Lecture at London University detailing Gill's interest in Indian Sculpture |publisher=[[London University School of Advanced Study]]|date=March 2012}}</ref> Along with his friend and collaborator [[Jacob Epstein]], Gill planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale structures at [[Gwalior Fort]] in [[Madhya Pradesh]].<ref>{{Cite book |author=Rupert Richard Arrowsmith |title=Modernism and the Museum: Asian, African, and Pacific Art and the London Avant-Garde |date=2010 |publisher=[[Oxford University Press]]|isbn=978-0-19-959369-9 |pages=74–103}}</ref> 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 [[Augustus John]] and [[Ambrose McEvoy]], about the formation of a religious brotherhood.<ref name="FMacCarthy" />{{rp|102}} At Ditchling Epstein worked on elements of [[Oscar Wilde's tomb]] in [[Père Lachaise cemetery]], for which Gill designed the inscription before sending Joseph Cribb, who had moved to Ditchling in 1907, to Paris to carve the lettering.<ref name="FMacCarthy" />{{rp|135}}<ref name="SSSmith" />

Gill had his first sculpture exhibition in 1911 at the Chenil Gallery in London.<ref name="M&C" /> Eight works by Gill were included in the Second Post-Impressionism Exhibition organised by Roger Fry at the [[Grafton Galleries]] in London during 1912 and 1913.<ref name="SSSmith">{{cite web|url=https://doi.org/10.1093/gao/9781884446054.article.T032249|title=Gill, (Arthur) Eric (Rowton)|year=2003|author=Stephen Stuart-Smith |website=Grove Art Online|doi=10.1093/gao/9781884446054.article.T032249|access-date=21 January 2022}}</ref>

By 1912, while Gill's main source of income was from gravestone inscriptions, he had also carved [[Madonna (art)|Madonna]] figures and was widely assumed, wrongly at that time, to be a [[Catholic Church|Catholic]] artist. As such he was invited to an exhibition of Catholic art in Brussels and on route stayed for some days at the [[Benedictine]] monastery at [[Mont-César Abbey]] near [[Louvain]].<ref name="FMacCarthy" />{{rp|94}} Gill's experiences at Louvain, seeing the monks at prayer and hearing [[plainsong]] for the first time, persuaded him to become a Catholic.<ref name="DVBarrett">{{cite news |url=https://catholicherald.co.uk/eric-gill-a-moral-problem/|title=Eric Gill: a moral problem |author=David V Barrett |date=5 August 2021|work=The Catholic Herald |access-date=12 February 2022}}</ref> In February 1913, after religious instruction from English Benedictines, Gill and Ethel were received into the Roman Catholic Church and Ethel changed her name to Mary.<ref name="FMacCarthy" />{{rp|147}}

===Westminster Cathedral 1914–1918===
[[File:Westminster Cathedral, Stations of the Cross XIII.jpg|thumb|upright=1.2|[[Westminster Cathedral]], Stations of the Cross XIII]]
In 1913, after Gill and his wife became Catholics, they moved to Hopkin's Crank at [[Ditchling Common]], two miles north of Ditchling village.<ref name="ODNB" /> There Gill worked primarily for Catholic clients, such as his 1914 commission for the 14 [[Stations of the Cross]] in [[Westminster Cathedral]].<ref name="ODNB" /><ref name="PRogers">{{cite web|url=http://www.westminstercathedral.org.uk/tour_stations.php|title=Stations of the Cross|author=Patrick Rogers|year=2005|website=Westminster Cathedral|access-date=20 January 2022|archive-date=20 January 2022|archive-url=https://web.archive.org/web/20220120215654/http://www.westminstercathedral.org.uk/tour_stations.php|url-status=dead}}</ref> Gill was a surprising choice for the commission as he had only recently become a Catholic and had been a sculptor for only three years.<ref name="PDoyle">{{cite book |title=Westminster Cathedral 1895–1995 |author=Peter Doyle |publisher=Geoffrey Chapman |year=1995 |isbn=0225666847}}</ref> He was prepared to do the work more quickly and for a lower fee than more established sculptors would.<ref name="PDoyle"/> Gill modelled both the Christ figure in panel ten and a soldier in the second panel on himself.<ref name="PRogers"/> 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.<ref name="PDoyle"/> A minority, which eventually included [[Nikolaus Pevsner]], praised their uncluttered design and unsentimental treatment of the subject.<ref name="PDoyle"/> They are now considered among Gill's most accomplished large-scale works.<ref name="FMacCarthy" />{{rp|125}} 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.<ref name="PDoyle"/>

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 [[Royal Air Force|RAF]] camp in Dorset before returning to Ditchling.<ref name="FMacCarthy" />{{rp|138}}

=== Ditchling Common 1918–1924 ===
After World War I, together with [[Hilary Pepler]] and [[Desmond Chute]], Gill founded a guild association to promote the ideals of medieval, or pre-industrial, craft production, [[the Guild of St Joseph and St Dominic]] at Ditchling.<ref name="RCribb"/><ref name="DVBarrett"/> 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.<ref name="DVBarrett"/> All members of the Guild were Catholics and most, including Gill, were also members of the [[Third Order of Saint Dominic]], a [[third order]] of the [[Dominican Order]].<ref name="DVBarrett"/> Lay members were not expected to follow the Dominicans' daily [[Liturgy of the Hours]], a schedule of prayers from the [[Angelus]] at 6am to [[Compline]] at 9pm, but the group at Ditchling, unusually, did so.<ref name="FMacCarthy" />{{rp|146}} 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.<ref name="FMacCarthy" />{{rp|147}} Gill had also taken to wearing a [[Religious habit|habit]], often with a symbolic cord of chastity added.<ref name="FMacCarthy" />{{rp|143}} 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.<ref name="FMacCarthy"/>{{rp|127}} The children did not attend school.<ref name="PNuttgens">{{Cite web|author=Patrick Nuttgens|date=6 January 1999|title=Petra Tegetmeier obituary|url=https://www.theguardian.com/news/1999/jan/06/guardianobituaries|access-date=19 February 2016|website=[[The Guardian]]}}</ref>

[[File:V & A Gill 1963 Plate 046 Handscrew G-clamp Plane.jpg|thumb|left|upright=1.2|Engraving by Gill from ''Woodwork'' published by the St. Dominic Press<ref name=Picture63>{{cite book |last1=Victoria and Albert Museum |title=The Engraved Work of Eric Gill (Picture Book) |date=1963 |publisher=Her Majesty's Stationery Office |location=London |url=https://archive.org/details/engraved-work-eric-gill-picture-book}}</ref>{{rp|3}}]]
Alongside the Guild, Pepler set up the St Dominic's Press with a 100-year old [[Stanhope press]] that he bought.<ref name="Ruth&JoeC"/> 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.<ref name="DVBarrett"/> Gill and Pepler together produced issues of ''The Game'', a small journal, mostly illustrated by Gill and containing articles on craft and social matters.<ref name="FMacCarthy"/>{{rp|122}} The views promoted by Gill and Pepler in ''The Game'' and their other publications were often deliberately provocative, anti-capitalist and opposed to industrialisation.<ref name="Ruth&JoeC"/>

Along with his Guild work and illustrations, Gill designed several war memorials in this period. These included the [[Trumpington War Memorial]] in Cambridgeshire, the [[Chirk War Memorial]] in north Wales, the memorial at Ditchling, and the wall panel recording 228 names of the fallen in the ante-chapel at [[New College, Oxford]].<ref name="ODNB" /><ref>{{NHLE |num=1245571|desc=Trumpington War Memorial |access-date=11 January 2020}}</ref><ref>{{Cite web |title=War Memorials Register: Chirk |url=https://www.iwm.org.uk/memorials/item/memorial/17780 |access-date=3 April 2020 |website=Imperial War Museum}}</ref><ref>{{NHLE |num=1438295|desc=Ditchling War Memorial |access-date=11 January 2020}}</ref> Gill also created the memorial at [[Briantspuddle]] in Dorset and, with Chute and [[Hilary Stratton]], the monument at [[South Harting]].<ref>{{NHLE |num=1171702|desc=Briantspuddle War Memorial |access-date=7 March 2020}}</ref><ref name="Harting">{{NHLE |num=1438494|desc=Harting War Memorial |access-date=7 March 2020}}</ref> Beside the main entrance to the [[British Museum]], Gill designed and carved, with Joseph Cribb, the memorial inscription to the museum staff killed in the conflict and for the [[Victoria and Albert Museum]], again with Cribb, he created the war memorial in that museum's entrance hall.<ref>{{cite web|url=https://www.iwm.org.uk/memorials/item/memorial/46094 |title=War Memorials Register: Victoria and Albert Museum Staff − WW1|access-date= 10 February 2022|website= [[Imperial War Museum]]}}</ref><ref>{{cite web|url=https://collections.vam.ac.uk/item/O71756/memorial-tablet-commemorating-museum-personnel-memorial-tablet-gill-arthur-eric/|title=Memorial tablet commemorating Museum personnel killed in the First World War |website=Victoria & Albert Museum |access-date=12 February 2022}}</ref> Previously, in 1911, Gill had cut the inscription for the foundation stone of the British Museum's new King Edward VII building.<ref name="Ruth&JoeC"/> 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 [[Manningham, Bradford|Manningham]] area of Bradford.<ref>{{NHLE |num=1376263 |desc=Church of St Cuthbert (Roman Catholic)|access-date=16 February 2022}}</ref>

<gallery mode="packed" heights="200">
File:South Harting War Memorial, St. George.jpg|St George, detail of South Harting war memorial, West Sussex
File:Ditchling War Memorial, showing inscription.jpg|Ditchling war memorial, Sussex
File:War Memorial, Chirk (geograph 2343527).jpg|[[Chirk War Memorial]], Wrexham
File:Victoria & Albert Museum staff war memorial.jpg|Victoria & Albert Museum staff war memorial
File:Briantspuddle war memorial close up 2.JPG|Detail of Briantspuddle war memorial, Dorset
</gallery>

Commissioned to produce a war memorial for the [[University of Leeds]], Gill produced a [[frieze]] depicting the [[Cleansing of the Temple]] but showing contemporary merchants as the money-changers Jesus was driving from the Temple.<ref name="Leeds">{{Cite web |title=Eric Gill – Christ driving the Moneychangers from the Temple |url=https://library.leeds.ac.uk/special-collections/collection/970 |publisher=[[University of Leeds]]}}</ref><ref>{{cite web|url=https://www.iwm.org.uk/memorials/item/memorial/22161 |title=War Memorials Register: University of Leeds − WWI Eric Gill Frieze |access-date= 10 February 2022|website= Imperial War Museum}}</ref> 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 nonetheless. The 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.<ref name="FMacCarthy"/>{{rp|166}}<ref>{{cite web|url=https://artuk.org/discover/stories/memory-and-mourning-on-sculpting-modern-memorials|title=Memory and mourning: on sculpting modern memorials|date=4 November 2021|author=Penelope Curtis|access-date=4 July 2022|website=Art UK}}</ref>

[[File:V & A Gill 1963 Plate 068 Nuptials of God.jpg|thumb|Nuptials of God]]
[[File:Gill Engravings 1929 053 049.jpg|thumb|Girl in Bath, 1923]]
Even before the Leeds memorial controversy, Gill's series of illustrations that included the ''Nuptials of God'', ''The Convert'' and ''Divine Lovers'' and his views on the sexual nature of Christianity were causing alarm within the Catholic hierarchy and distancing Gill from other members of the Ditchling community.<ref name="FMacCarthy"/>{{rp|164}} The series of life-drawings and prints of his daughters, including ''Girl in Bath'' and ''Hair Combing'' 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.<ref name="FMC2006"/>

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.<ref name="FMacCarthy"/>{{rp|148}} Visitors to the Common included [[G. K. Chesterton]] and [[Hilaire Belloc]], whose [[Distributist]] ideas the Guild followed.<ref name="DVBarrett"/> 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 [[David Jones (artist-poet)|David Jones]], who was to become engaged for a time to Gill's second daughter, Petra.<ref name="FMacCarthy"/>{{rp|151}} 
 
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.<ref name="DVBarrett"/> Gill resigned from the Guild in July 1924 and, after considering other locations in Britain and Ireland, moved his family to a deserted monastery in the [[Black Mountains, Wales|Black Mountains]] of Wales.<ref name="FMacCarthy" />{{rp|170}}

=== Capel-y-ffin 1924–1928 ===
In August 1924 the Gills left Ditchling and with two other families moved to a disused Anglican monastery, [[Llanthony Abbey]], at [[Capel-y-ffin]] in the Black Mountains of Wales.<ref name="FMacCarthy" />{{rp|179}} The dilapidated building was high in an isolated valley about fourteen miles from [[Abergavenny]]. The monastery chapel was beyond repair, so a new one was quickly built and a [[Benedictine]] monk from [[Caldey Abbey]] was assigned to the group to hold a daily Mass.<ref name="FMacCarthy" />{{rp|182}} [[Donald Attwater]] arrived at Capel-y-ffin shortly before the Gills, [[David Jones (artist-poet)|David Jones]] and René Hague, Joan Gill's future husband, all joined shortly after.<ref name="FMacCarthy" />{{rp|182}} 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.<ref name="Ruth&JoeC"/>

Within a few weeks of arriving at Capel-y-ffin, Gill completed ''Deposition'', a black marble torso of Christ, and made ''The Sleeping Christ'', a stone head now in [[Manchester City Art Gallery]].<ref name="FMacCarthy" />{{rp|185}} In 1926 he completed a sculpture of ''Tobias and Sara'' for the library of [[St John's College, Oxford]].<ref name="Oxford">{{Cite web|url=https://www.oxfordmail.co.uk/news/9404460.eric-gill-oxford/|title=Eric Gill in Oxford|author=Martin Stott |date= 8 December 2011 |access-date=16 January 2022 | website=[[Oxford Mail]]}}</ref> A war memorial altarpiece in oak relief for [[Rossall School]] was completed in 1927.<ref name="ODNB" />

When approached, in 1924, by [[Robert Gibbings]] to produce designs for the [[Golden Cockerel Press]] 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 following ten years Gill became the chief engraver and illustrator for the Golden Cockerel Press. Several of the resulting books, including ''The Song of Songs'' (1925), ''Troilus and Criseyde'' (1927), ''The Canterbury Tales'' (1928), and ''The Four Gospels'' (1931) are considered classics of specialist book production.<ref name="FMacCarthy" />{{rp|187}} Gill created striking designs that unified and integrated illustrations into the text and also created a new typeface for the Press.<ref name="Ruth&JoeC"/> The erotic nature of ''The Song of Songs'' and of the illustrations for [[Edward Powys Mathers]]'s ''Procreant Hymn'' caused considerable controversy in Catholic circles and led to protracted arguments between Gill and members of the clergy.<ref name="FMacCarthy" />{{rp|211}}<ref name="PLord">{{cite book|author=[[Peter Lord (art historian)|Peter Lord]] |publisher=Parthian|year=2006|title=The Tradition A New History of Welsh Art 1400–1990 |isbn=978-1-910409-62-6}}</ref> The Golden Cockerel printed four of Gill's own books and he illustrated a further thirteen works for the press.<ref name="Ruth&JoeC"/> In addition, between 1924 and his death, Gill wrote 38 books and illustrated a further 28.<ref name="Ruth&JoeC"/> 

{{Gallery | width=275 | height= 275
| File:Gill Song of Songs 1925 Physick 318 His left hand under my head.jpg
  |His left hand under my head, from ''Song of Songs''
| File:V & A Gill 1963 Plate 105 Earth Waiting.jpg
  |Earth waiting, from ''The Procreant Hymn''
| File:Mankind 231096 (cropped).jpg
  | ''Mankind'', 1927
}}

The other key working relationship Gill established while at Capel-y-ffin was with [[Stanley Morison]], the Typographic Advisor to the [[Monotype Corporation]]. Morison persuaded Gill to apply the skills and knowledge he had gained in letter cutting to fonts suitable for mechanical reproduction.<ref name="FMacCarthy" />{{rp|187}} It was at Capel that Gill designed the typefaces [[Perpetua (typeface)|Perpetua]] (1925) and [[Gill Sans]] (1927 onwards) and began work on [[Solus (typeface)|Solus]] (1929).<ref name="ODNB" /> Gill Sans is considered one of the most successful typefaces ever designed and remains in widespread use.<ref name="PLord"/>{{efn|The German diplomat [[Harry Graf Kessler]] visited Gill in Wales in January 1925.<ref name="Kessler">{{cite book|author=[[Harry Graf Kessler]] |editor=Charles Kessler | year = 2000 | title = The Diaries of a Cosmopolitan: 1918-1937 | location = London | publisher = Phoenix Press | isbn = 1-84212-061-1}}</ref>{{rp|245-246}} They had known each other before the [[First World War]] and Kessler wanted to persuade Gill to provide some calligraphy for a version of  [[Virgil]]'s ''[[Eclogues]]'', 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".<ref>Kessler</ref>{{rp|257}}}}

While living at Capel-y-ffin, Gill spent many weekends at Robert and Moira Gibbings' home in [[Waltham St Lawrence]], enjoying the couple's unconventional and hedonistic lifestyle.<ref name="FMacCarthy" />{{rp|191}} He was also spending sizable amounts of time in Bristol with a group of young intellectuals centred around [[Douglas Cleverdon]], a bookseller who published and distributed some of Gill's writings.<ref name="FMacCarthy" />{{rp|192}} From 1925 onwards Gills' secretary, and mistress, was Elizabeth Bill. Bill owned a villa set in several acres in the French Pyrenees at [[Salies-de-Béarn]], which the Gills often visited.<ref name="FMacCarthy" />{{rp|205}} The Gill family spent the winter of 1926–27 there and Gill did many of the engravings for ''Troilus and Criseyde''.<ref name="FMacCarthy" />{{rp|215}} For the last months of 1927 he worked in a studio in London at Glebe Place in Chelsea creating the sculpture originally known as ''Humanity'' and now called ''Mankind''. The work, a giant torso, was modelled by Angela Gill and shown at the [[Goupil Gallery]] in London to considerable acclaim before being purchased by the artist [[Eric Kennington]].<ref name="FMacCarthy" />{{rp|220}}<ref>{{cite web| url=https://www.tate.org.uk/art/artworks/gill-mankind-n05388#tabs0__section-catalogue-entry |title=Catalogue entry: ''Mankind'' 1927-8 |year=2004 |website=Tate |access-date=8 March 2022}}</ref> Some years later Kennington offered the work to [[Whipsnade Zoo]]. The zoo refused the offer and the work is now in the [[Tate]] collection but displayed at the Victoria and Albert Museum.<ref name="FMacCarthy" />{{rp|220}}<ref name="RCribb"/>

It had been too impractical to transport the stone for ''Mankind'' 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.<ref name="FMacCarthy" />{{rp|221}}<ref name="PLord"/>

<gallery mode="packed" heights="175">
File:GillSansEG.svg|Gill Sans
File:Joanna Nova sample image.png|Joanna Nova
File:Perpetua_font_sample.png|Perpetua
File:GoldenCockerel-1.jpg|Golden Cockerel type
File:GillFaces.png|Three typefaces by Gill
</gallery>

===Pigotts, Buckinghamshire 1928–1934===
In October 1928, the Gill family moved to Pigotts at [[Speen, Buckinghamshire|Speen]], five miles from [[High Wycombe]] 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.<ref name="FMacCarthy" />{{rp|225}} A chapel was fitted into one corner and licensed within six months for the saying of Mass.<ref name="FMacCarthy" />{{rp|226}}
[[File:St James's Park Station sculptures – North Wind by Eric Gill.jpg|thumb|''North Wind'', St James's Park Station, London]]
The success of his 1928 exhibition at the Goupil Gallery had raised Gill's profile considerably and led to [[Charles Holden]] commissioning him to lead a team of five sculptors, including [[Henry Moore]], in creating some of the external sculptures for the new headquarters building of the [[Underground Electric Railways Company of London|London Electric Railway]], the forerunner of [[London Underground]].<ref name="FMacCarthy" />{{rp|228}} 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 ''The Four Winds'' for the building.<ref name="FMacCarthy" />{{rp|229}}

[[File:Belle Sauvage IV. Cropped from MacRobert 1957 Plate 46 Art-Nonsense Title Page.jpg|thumb|left|Belle Sauvage IV. From the title page of ''Art-Nonsense'']]
''Art-Nonsense And Other Essays by Eric Gill'' was published in 1929 and marked the first commercial use of the ''[[Perpetua (typeface)|Perpetua]]'' typeface. The frontispiece of the book had an engraving of ''Belle Sauvage'', an image of a naked women stepping out of some woods. The various versions of ''Belle Sauvage'' became among the most popular of Gill's illustrations and were modelled by [[Beatrice Warde]], a historian of typography, an executive of the Monotype Corporation and sometimes Gill's lover.<ref name="FMacCarthy" />{{rp|232}} 

In 1929, [[Douglas Cleverdon]] published ''Engravings by Eric Gill''. This edition reproduced over a hundred of Gill's engravings on wood and metal up to the year 1927, and also included a complete chronological list of engravings, and a preface by Gill.<ref>{{cite book |last1=Gill |first1=Eric |title=Engravings by Eric Gill |date=1929 |publisher=Douglas Cleverdon |location=Bristol |url=https://archive.org/details/eric-gill-selected-engravings-1929_2}}</ref>

By 1930 Gladys Gill had divorced her second husband after her first, Ernest Laughton, had been killed in the [[Battle of the Somme]], and she and Eric appear, from his diary entries, to have resumed their incestuous relationship.<ref name="FMacCarthy" />{{rp|239}} Later that same year, the diaries record what Gill called his "experiments" with a dog.<ref name="FMacCarthy" />{{rp|239}} In September 1930, he was taken seriously ill with a variety of symptoms, including amnesia, and spent several weeks in hospital.<ref name="FMacCarthy" />{{rp|237}}

[[File:Prospero and Ariel (94216050).jpg|thumb|''Prospero and Ariel'', BBC Broadcasting House]]
[[File:Ariel between Wisdom and Gaiety.jpg|thumb|''Ariel between Wisdom and Gaiety'' with the Latin inscription ''obsculta'' (obey), BBC Broadcasting House]]
The following two years were among the most creatively accomplished of Gill's career, with several 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.<ref name="Ruth&JoeC"/> For the Hague and Gill press he created the ''[[Joanna (typeface)|Joanna]]'' typeface, which was eventually adapted for commercial use by Monotype. He completed ''The Four Gospels'', widely considered to be the finest of all the books produced by the Golden Cockerel Press, and began working on the sculpture ''Prospero and Ariel'' for the BBC's [[Broadcasting House]] in London.<ref name="FMacCarthy" />{{rp|243}} Throughout 1931 and into 1932, Gill worked on ''Prospero and Ariel'', and four other works for the BBC, on site in central London.<ref name="FMacCarthy" />{{rp|245}} Carving in the open air up on scaffolding in the middle of London further increased Gill's public profile.<ref name="FMacCarthy" />{{rp|247}} 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 [[stigmata]].<ref name="RCribb"/><ref>{{cite web |url=https://www.tate.org.uk/art/artworks/gill-prospero-and-ariel-n04808 |title= Catalogue entry: ''Prospero and Ariel'' 1931 |website= Tate |access-date=8 March 2022}}</ref>

The [[Midland Hotel, Morecambe]] was built in 1932–33 by the [[London Midland & Scottish Railway]] to the [[Art Deco]] design of [[Oliver Hill (architect)|Oliver Hill]] and included [[Eric Gill works at the Midland Hotel, Morecambe|several works]] by Gill, [[Marion Dorn]], and [[Eric Ravilious]]. For the project Gill, with Lawrence Cribb and [[Donald Potter]], 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 [[Odysseus]] being welcomed from the sea by [[Nausicaa]] for the entrance lounge.<ref name="tmh">{{cite book|title=The Midland Hotel. Morecambe's White Hope|author=Barry Guise & Pam Brook|publisher=Palatine Books |location=Lancaster, England|year=2008|isbn=978-1-874181-55-2}}</ref> 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.<ref name="FMacCarthy" />{{rp|256}}

===Jerusalem and Pigotts, 1934–1938===
In 1934 Gill, with Lawrence Cribb, visited Jerusalem to work at the [[Palestine Archaeological Museum]], now the [[Rockefeller Archaeological Museum]].<ref name="FMacCarthy" />{{rp|263}}<ref name="IM">{{Cite web |title=Eric Gill, 1882–1940 |url=http://www.imj.org.il/rockefeller/eng/Gill.html |access-date=31 January 2016 |website=East Meets West: The Story of the Rockefeller Museum |publisher=[[Israel Museum]]}}</ref> There they carved a stone [[bas-relief]] 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.<ref name="IM"/>
[[File:East Jerusalem, the Rockefeller Museum Rockefeller Museum P1190108.JPG|thumb|''Canaanite culture'', the Rockefeller Museum, Jerusalem, 1934]]
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.<ref name="FMacCarthy" />{{rp|263}} Returning to England, Gill's mood of pessimism deepened with the death of his son-in-law, David Pepler, and he became increasingly antagonistic towards the Church and towards other artists.<ref name="FMacCarthy" />{{rp|265}} 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.<ref name="FMacCarthy" />{{rp|266}} Religious observance was no longer expected of the workshop staff and among the additional apprentices and assistants Gill employed were non-Catholics, including [[Walter Ritchie]].<ref name="FMacCarthy" />{{rp|249}} Prudence Pelham, the daughter of the Earl of Chichester, became Gill's only female apprentice.<ref name="FMacCarthy" />{{rp|250}} During his career, Gill employed at least twenty-seven apprentices including his nephew [[John Skelton (sculptor)|John Skelton]], [[Hilary Stratton]], [[Desmond Chute]], [[David Kindersley]] and [[Donald Potter]].<ref name="RCribb"/><ref name="Harting"/><ref>{{Cite book |author= Donald Potter |title=My Time with Eric Gill: A Memoir |publisher=Gamecock Press |year=1980 |isbn=0-9506205-1-3}}</ref>

Gill's 1935 essay ''All Art is Propaganda'' marked a complete reversal of his previous belief that artists should not concern themselves with political activity.<ref name="FMacCarthy" />{{rp|272}} He became a supporter of [[social credit]] and later moved towards a [[socialist]] position.<ref name="mc">{{Cite book |author=Martin Ceadel |url=https://archive.org/details/pacifisminbritai0000cead/page/281 |title=Pacifism in Britain, 1914–1945: The Defining of a Faith |publisher=Clarendon Press |year=1980 |isbn=0-19-821882-6 |location=Oxford, England |pages=[https://archive.org/details/pacifisminbritai0000cead/page/281 281, 289–91, 295, 321]}}</ref> In 1934, Gill contributed art to an exhibition mounted by the left-wing [[Artists' International Association]], and defended the exhibition against accusations in ''[[The Catholic Herald]]'' that its art was "anti-Christian".<ref>{{Cite book |author=Charles Harrison |url=https://archive.org/details/englishartmodern0000harr/page/251 |title=English Art and Modernism 1900–1939 |publisher=Allen Lane |year=1981 |isbn=0-253-13722-5 |location=London |pages=[https://archive.org/details/englishartmodern0000harr/page/251 251–2]}}</ref> Gill became a regular speaker at left-wing meetings and rallies throughout the second half of the 1930s.<ref name="FMacCarthy" />{{rp|273}} He was adamantly opposed to [[fascism]], and was one of the few Catholics in Britain to openly support the [[Republican faction (Spanish Civil War)|Spanish Republicans]].<ref name="mc"/> Gill became a pacifist and helped set up the Catholic peace organisation Pax with [[E. I. Watkin]] and [[Donald Attwater]].<ref>{{Cite book |author=Patrick G. Coy |url=https://archive.org/details/revolutionofhear0000unse/page/76 |title=A Revolution of the Heart: Essays on the Catholic Worker |publisher=Temple University Press |year=1988 |isbn=0-87722-531-1 |location=Philadelphia |page=[https://archive.org/details/revolutionofhear0000unse/page/76 76]}}</ref> Later, Gill joined the [[Peace Pledge Union]] and supported the British branch of the [[Fellowship of Reconciliation]].<ref name="mc"/>
[[File:2017 UN Geneva Open Day Council Chamber.jpg|thumb|''The Creation of Man'', 1938]]
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 [[Queen Mary University of London]], which opened in 1936. In 1937, he designed the background of the first [[George VI of the United Kingdom|George VI]] [[definitive stamp]] series for the post office.<ref>{{cite book|author=Peter Worsfold|title=Great Britain King George VI Low Value Definitive Stamps|publisher=The Great Britain Philatelic Society|year=2001|isbn=0-907630-17-0}}</ref><ref name="KRPress">{{Cite web |title=Eric Gill Postage Stamps by Type Designer |url=http://www.katranpress.com/stamps_gill_1_1.html |access-date=31 January 2018 |website=The Offices of Kat Ran Press}}</ref> In 1938 Gill was commissioned to create a mammoth artwork for the [[Palace of Nations, Geneva|Palace of Nations]] building in Geneva, as the British Government's gift to the [[League of Nations]].<ref name="FMacCarthy" />{{rp|275}} Gill's original proposal was to create a larger, international, version of the ''Moneychangers'' frieze that had caused such outrage in Leeds years earlier, but after objections from delegates to the League, submitted an alternative scheme. ''The Creation of Man'' flanked by ''Man's Gifts to God'' and ''God's Gifts to Man'' 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.<ref name="FMacCarthy" />{{rp|276}}<ref>{{cite web |url=https://www.un.org/es/node/36363 |title=Lobby of the Council Chamber |website=United Nations |access-date=11 March 2022}}</ref>

In 1935, Gill was elected an Honorary Associate of the [[Institute of British Architects]] and in 1937 was made a [[Royal Designers for Industry|Royal Designer for Industry]], the highest British award for designers, by the [[Royal Society of Arts]], and became a founder-member of the RSA's Faculty of Royal Designers for Industry when it was established in 1938.<ref name="FMacCarthy" />{{rp|271}} In April 1937, Gill was elected an associate member of the [[Royal Academy]]. Quite why Gill was offered, let alone accepted, these honours from institutions he had openly reviled throughout his career is unclear.<ref name="ODNB" />

===Final works, 1939–1940===
[[File:St. Peter's Catholic Church Gorleston.jpg|thumb|right|St Peter the Apostle at Gorleston-on-Sea, (1938–9)]]
[[File:Alter of the Chapel of St George and the English Martyrs, Westminster Cathedral, London.jpg|thumb|Altar of the Chapel of St George and the English Martyrs, Westminster Cathedral]]
During 1938 and 1939 Gill designed his only complete piece of architecture, the Catholic Church of St Peter the Apostle at [[Gorleston-on-Sea]].<ref name="ODNB" /> 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.<ref name="FMacCarthy" />{{rp|280}}

Gill's final publications included ''Twenty-Five Nudes'' and ''Drawings from Life'' both of which included drawings of Daisy Hawkins, the teenage daughter of the Gills' housekeeper with whom Gill began an affair in 1937.<ref name="ODNB" /> 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 run by Betty Gill, Eric Gill followed her there to continue the relationship.<ref name="FMacCarthy" />{{rp|284}}

Among Gill's last sculptures were a series of commissions for [[Guildford Cathedral]]. He spent time between October and December 1939 working at Guildford, on scaffolding carving the figure of [[John the Baptist]].<ref name="ODNB" /> 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.<ref name="SSMJ">{{Cite web |title=Stations of the Cross by Eric Gill at St Alban's Church |url=http://ssmjchurchyard.org.uk/gill_stations_of_the_cross.php |access-date=12 January 2022 |website=Ss Mary & John Churchyard |archive-date=13 January 2022 |archive-url=https://web.archive.org/web/20220113093113/http://ssmjchurchyard.org.uk/gill_stations_of_the_cross.php |url-status=dead }}</ref><ref name="Oxford"/> 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.<ref name="PDoyle"/> Gill's design showed a life-sized figure of Christ the Priest on the cross attended by Sir [[Thomas More]] and [[John Fisher]].<ref name="PDoyle"/> 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.<ref name="PDoyle"/> When the chapel was eventually opened to the public this censorship of Gills' last work was a matter of some considerable controversy.<ref name="PDoyle"/>

From the end of 1939 into the middle of 1940, Gill had a series of illnesses, including [[rubella]], but managed to write his autobiography that summer.<ref name="ODNB" /> Gill died of [[lung cancer]] in [[Harefield Hospital]] in [[Middlesex]] on the morning of Sunday 17 November 1940 and, after a funeral mass at the Pigotts chapel, was buried in Speen's Baptist churchyard.<ref name="ODNB" />

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.<ref name="FMacCarthy" />{{rp|294}}

== Paedophilia, incest, and sexual abuse ==
In his personal diaries, Gill described his [[child sexual abuse|sexual abuse]] of his adolescent daughters, an incestuous relationship with at least one of his sisters, and bestiality.<ref name="FMC2006" /><ref name="fm"/><ref name="FRoher" /> Since these revelations became public in 1989, there have been calls for works by Gill to be removed from public buildings and art collections. This aspect of Gill's life was little known beyond his family and friends until the publication of the 1989 biography by [[Fiona MacCarthy]].<ref name="FMC2004">{{Cite news|author=Fiona MacCarthy|date=24 July 2004|title=Baptism by fire|work=[[The Guardian]]|url=https://www.theguardian.com/artanddesign/2004/jul/24/art.biography|access-date=9 November 2017}}</ref> A 1966 biography by [[Robert Speaight]] mentioned none of it.<ref name="FMC2004" />  

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 [[Patrick Nuttgens]] 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.<ref name="PNuttgens" /><ref>{{Cite web|date=9 January 1999|title=The Darker Side of Ditchling|url=https://www.theargus.co.uk/news/5168823.darker-side-of-ditchling/|access-date=19 February 2016|website=[[Brighton Argus]]}}</ref> Despite the acclaim the book received, and the widespread revulsion towards aspects of Gill's sexual life that followed publication, MacCarthy received some criticism for revealing Gill's incest while Tegetmeier was still living.<ref name="Hoare">{{Cite news|author=Lottie Hoare|date=9 January 1999|title=Petra Tegetmeier obituary |url=https://www.independent.co.uk/arts-entertainment/obituary-petra-tegetmeier-1045848.html|access-date=19 February 2016|newspaper=[[The Independent]]}}</ref><ref name="New York Times Harrison">{{Cite news|author=Barbara Harrison|date=7 May 1989|title=A Lover's Quest for Art and God|url=https://www.nytimes.com/1989/05/07/books/perversity-raised-to-a-principle.html|access-date=19 February 2016|newspaper=[[The New York Times]]}}</ref> Others, like [[Bernard Levin]], thought she had been too indulgent towards Gill.<ref name="FMC2004" /> MacCarthy commented: 
<blockquote>[A]fter 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 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.<ref name="ODNB"/></blockquote>

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.<ref name="RCooke">{{cite news|url=https://www.theguardian.com/artanddesign/2017/apr/09/eric-gill-the-body-ditchling-exhibition-rachel-cooke|title=Eric Gill: Can we separate the artist from the abuser ?|date= 9 April 2017|author=Rachel Cooke|author-link=Rachel Cooke|work=The Observer|access-date=28 January 2022}}</ref>

In 1998, a group, Ministers and Clergy Sexual Abuse Survivors, called for Gill's ''Stations of the Cross'' to be removed from Westminster Cathedral, leading to a debate within the British Catholic press.<ref name="FRoher">{{Cite web |author=Finlo Roher |date=5 September 2007 |title=Can the art of a paedophile be celebrated ? |url=http://news.bbc.co.uk/1/hi/magazine/6979731.stm |access-date=10 August 2008 |website=[[BBC News]]}}</ref><ref name="JWilliams"/> There were calls for Gill's statue of [[St Michael the Archangel]] to be removed from St Patrick's Catholic Church in [[Dumbarton]].<ref name="RCooke"/> In 2016, some residents in Ditchling objected to a proposal to erect a plaque by the village war memorial which would have identified Gill as the maker of the monument.<ref name="RCooke"/><ref>{{cite news|url=https://www.theargus.co.uk/news/14835081.villagers-furious-over-plinth-for-paedophile-sculptor/|title=Villagers furious over plinth for paedophile sculptor|author=Adrian Imms|date=1 November 2016|work=Brighton Argus|access-date=24 January 2022}}</ref>
In January 2022, a man climbed the façade of Broadcasting House and damaged the statue of ''Prospero and Ariel'' with a hammer, while another man shouted about Gill's [[paedophilia]].<ref name="Waterson 2022">{{cite news |author= Jim Waterson|title=Man uses hammer to attack statue on front of BBC Broadcasting House |url=https://www.theguardian.com/media/2022/jan/12/man-uses-hammer-to-attack-statue-on-front-of-bbc-broadcasting-house|work=[[The Guardian]]|access-date=12 January 2022 |date=12 January 2022}}</ref><ref>{{cite web|url=https://artuk.org/discover/stories/can-you-separate-the-artist-from-the-art|title= Can you separate the artist from the art ? |author=Ruth Millington |date=16 February 2022 |website= [[Art UK]] |access-date=23 February 2022}}</ref> Some 2,500 people had previously signed a petition calling on the BBC to take the work down.<ref>{{cite news|author=Sabrina Johnson|url=https://metro.co.uk/2022/01/12/man-takes-hammer-to-bbc-hq-to-smash-statue-by-paedophile-artist-eric-gill-15908513/|title=Man takes hammer to BBC headquarters to smash statue by paedophile sculptor|newspaper=[[Metro (British newspaper)|Metro]]|date=12 January 2022|access-date=13 January 2022}}</ref> In May 2023 the statue was again attacked by a man wielding a hammer.<ref>{{Cite news |date=2023-05-20 |title=Man scales BBC HQ and hits statue with hammer |language=en-GB |work=BBC News |url=https://www.bbc.com/news/uk-65655332 |access-date=2023-05-20}}</ref> Since April 2025, the restored statue has been encased in a protective glass box to prevent further damage.<ref>{{cite news |last1=Savage |first1=Michael |title=BBC reinstalls sculpture by paedophile Eric Gill with new protective screen |url=https://www.theguardian.com/media/2025/apr/09/bbc-reinstalls-sculpture-by-paedophile-eric-gill-with-new-protective-screen |access-date=10 April 2025 |work=The Guardian |date=9 April 2025}}</ref> [[Guildford Cathedral]] 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.<ref>{{cite news |author=Patrick Hudson|url=https://www.thetablet.co.uk/news/14965/eric-gill-sculptures-under-scrutiny-at-guildford-cathedral|title=Eric Gill sculptures under scrutiny at Guildford Cathedral |newspaper=[[The Tablet]]|date=2 February 2022|access-date=6 February 2022}}</ref> Several organisations, including [[Save the Children]], resolved to stop using typefaces designed by Gill.<ref name="CBennett">{{cite news|url=https://www.theguardian.com/commentisfree/2022/jan/16/abuse-victims-find-eric-gill-statue-intolerable-if-only-bbc-had-too|title=Sometimes a statue is indefensible – the BBC should get rid of Eric Gill |author=Catherine Bennett |date= 16 January 2022|work= The Observer |access-date=29 January 2022}}</ref>

When, in 2017, the journalist [[Rachel Cooke]] 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.<ref name="RCooke"/> An exception was the [[Ditchling Museum of Art + Craft]], which holds many examples of Gill's work and also Gill family objects. In October 2016, the museum had held a workshop, ''Not Turning a Blind Eye'', with artists, curators and journalists invited to discuss how to address Gill's behaviour in its exhibition programme.<ref name="RCooke"/> This resulted in a 2017 exhibition ''Eric Gill: The Body'' and a commitment by the museum to include at least one display highlighting Gill's offending in its permanent exhibitions.<ref name="RCooke"/><ref>{{cite web|url=https://www.ribaj.com/intelligence/eric-gill-ditchling-museum-east-sussex-uk|title= Ditchling comes clean about Gill |author=Michéle Woodger |date=12 May 2017 |website=The RIBA Journal |access-date=18 February 2022}}</ref> In 2022 ''[[The Observer]]'' reported that it appeared that the museum had decided to reduce the prominence given to Gill's work among its exhibits.<ref>{{cite news|url=https://www.theguardian.com/artanddesign/2022/dec/18/eric-gill-museum-artist-sexual-abuser|title=Airbrushing claim as 'Eric Gill museum' shuns legacy of artist and sexual abuser |author=John Sturgis|date=18 December 2022 |newspaper=The Observer |access-date=7 March 2023}}</ref>

== Typefaces and inscriptions ==
In 1909, Gill carved ''Alphabets and Numerals'' for a book, ''Manuscript and Inscription Letters for Schools and Classes and for the Use of Craftsmen'', 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 [[Stanley Morison]], later a typographic consultant for the [[Monotype Corporation]]. Commissioned by Morison, he designed the [[Gill Sans]] typeface in 1927–30.<ref name="Review: A Tally of Types">{{Cite journal |last=Mosley |first=James |author-link=James Mosley |date=2001 |title=Review: A Tally of Types |journal=Journal of the Printing History Society |publisher=Printing History Society|location=London, England|volume=3|pages=63–67}}</ref> Gill Sans was based on the sans-serif lettering originally designed for the [[London Underground]]. Gill had collaborated with [[Edward Johnston]] in the early design of the Underground typeface, but dropped out of the project before it was completed. In 1925, he designed the [[Perpetua (typeface)|Perpetua]] 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 [[Poling, West Sussex]], on a wall plaque commemorating the life of [[Sir Harry Johnston]].{{CN|date=July 2024}} In the period 1930–31, Gill designed the typeface [[Joanna (typeface)|Joanna]] which he used to hand-set his book, ''[[An Essay on Typography]]''.

<gallery widths="200px" heights="200px">
File:Eric Gill - Alphabets and Numerals (1909) (V%26A).jpg|Alphabets and Numerals (1909)
File:Sir Harry Johnston memorial plaque.JPG|Sir [[Harry Johnston]] memorial plaque
File:Lowestoft Central sign straightened.jpg|[[British Railways]] sign at [[Lowestoft railway station]] in Gill Sans
</gallery>

Gill's other types include:
* Golden Cockerel Press Type (for the [[Golden Cockerel Press]]; 1929)<ref name="Fonts">{{Cite web |title=Eric Gill (1882–1940), Fonts designed by Eric Gill |url=http://www.identifont.com/show?12W |access-date=31 January 2018 |website=Identifont |url-status=live |archive-url=https://web.archive.org/web/20211005083041/http://www.identifont.com/show?12W |archive-date=5 October 2021}}</ref> Designed bolder than some of Gill's other typefaces to provide a complement to wood engravings.<ref>{{Cite web |last=Mosley |first=James |author-link=James Mosley |title=Eric Gill and the Cockerel Press |url=http://www.itcfonts.com/Ulc/OtherArticles/GillCockerel.htm |url-status=dead |archive-url=https://web.archive.org/web/20120729035625/http://www.itcfonts.com/Ulc/OtherArticles/GillCockerel.htm |archive-date=29 July 2012 |access-date=7 October 2016 |website=Upper & Lower Case |publisher=International Typeface Corporation}}</ref><ref>{{Cite web |last=Brignall |first=Colin |title=The Digital Development of ITC Golden Cockerel |url=http://www.itcfonts.com/Ulc/OtherArticles/GoldenCockerelDev.htm |url-status=dead |archive-url=https://web.archive.org/web/20120614052810/http://www.itcfonts.com/Ulc/OtherArticles/GoldenCockerelDev.htm |archive-date=14 June 2012 |access-date=8 February 2017 |publisher=[[International Typeface Corporation]]}}</ref><ref>{{Cite web |last=Carter |first=Sebastian |author-link=Sebastian Carter |title=The Golden Cockerel Press, Private Presses and Private Types |url=http://www.itcfonts.com/Ulc/OtherArticles/PrivatePresses.htm |url-status=dead |archive-url=https://web.archive.org/web/20120521174438/http://www.itcfonts.com/Ulc/OtherArticles/PrivatePresses.htm |archive-date=21 May 2012 |access-date=8 February 2017 |publisher=[[International Typeface Corporation]]}}</ref><ref>{{Cite web |last=Dreyfus |first=John |author-link=John Dreyfus |title=Robert Gibbings and the quest for types suitable for illustrated books |url=http://www.itcfonts.com/Ulc/OtherArticles/RobertGibbings.htm |url-status=dead |archive-url=https://web.archive.org/web/20120521182336/http://www.itcfonts.com/Ulc/OtherArticles/RobertGibbings.htm |archive-date=21 May 2012 |access-date=8 February 2017 |publisher=[[International Typeface Corporation]]}}</ref><ref>{{Cite web |last=Yoseloff |first=Thomas |title=A Publisher's Story |url=http://www.itcfonts.com/Ulc/OtherArticles/PubStory.htm |url-status=dead |archive-url=https://web.archive.org/web/20120520175854/http://www.itcfonts.com/Ulc/OtherArticles/PubStory.htm |archive-date=20 May 2012 |access-date=8 February 2017 |publisher=[[International Typeface Corporation]]}}</ref>
* [[Solus (typeface)|Solus]] (1929)<ref>{{Cite web |last=Bates |first=Keith |title=The Non Solus Story |url=http://www.k-type.com/non-solus-story/ |access-date=21 July 2015 |publisher=K-Type}}</ref><ref name=Fonts />
* Aries (1932)<ref name=Fonts />
* Floriated Capitals (1932)<ref name=Fonts />
* Bunyan (1934)
* Pilgrim (recut version of Bunyan; 1953)<ref name=Fonts />
* Jubilee (also known as Cunard; 1934)<ref name=Fonts />

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.<ref name="Gill Sans after Gill">{{Cite journal |last=Rhatigan |first=Dan |title=Gill Sans after Gill |url=http://image.linotype.com/files/pdf/GillSansArticle.pdf |access-date=28 July 2015 |publisher=Letter Exchange |journal=Forum |issue=28 |date=September 2014 |url-status=live |archive-url=https://web.archive.org/web/20150215150435/http://image.linotype.com/files/pdf/GillSansArticle.pdf |archive-date=15 February 2015}} Dan Rhatigan is (or was) Type Director at Monotype.</ref> In addition, some designs such as Joanna were released to fine printing use long before they became widely available from Monotype.

One of the most widely used British typefaces, Gill Sans, was used in the classic design system of [[Penguin Books]] and by the [[London and North Eastern Railway]] and later [[British Railways]], with many additional styles created by Monotype both during and after Gill's lifetime.<ref name="Gill Sans after Gill" /> In the 1990s, the BBC adopted Gill Sans for its [[wordmark (graphic identity)|wordmark]] and many of its on-screen television graphics.

The family Gill Facia was created by [[Colin Banks]] as an emulation of Gill's stone carving designs, with separate styles for smaller and larger text.<ref name="Gill Facia MT Fontshop">{{Cite web |last=Banks |first=Colin |title=Gill Facia MT |url=https://www.fontshop.com/superfamilies/gill-facia |access-date=30 August 2015 |website=Fontshop |publisher=Monotype}}</ref>

Gill was commissioned to develop a typeface with the number of [[allograph]]s limited to what could be used on [[Monotype system]]s or [[Linotype machine]]s. The typeface was loosely based on the Arabic [[Naskh (script)|Naskh]] style but was considered unacceptably far from the norms of Arabic script. It was rejected and never cut into type.<ref>{{Cite book |last=Blair |first=S.S |title=Islamic Calligraphy |page=606, Fig. 13.7}}</ref><ref>{{Cite journal |date=1958 |title=Eric Gill |url=http://www.metaltype.co.uk/downloads/mr/mr_41_3.pdf |journal=The Monotype Recorder |volume=41 |issue=3 |access-date=16 September 2015 |url-status=live |archive-url=https://web.archive.org/web/20211021180807/http://www.metaltype.co.uk/downloads/mr/mr_41_3.pdf |archive-date=21 October 2021}}</ref><ref>{{Cite journal |last=Graalfs |first=Gregory |date=1998 |title=Gill Sands |journal=[[Print (magazine)|Print]]}}</ref>

== Published works ==
[[File:Gill woodcut Hammersmith.png|thumb|Illustration from the book ''The Devil's devices, or, Control versus Service'' by [[Hilary Douglas Clark Pepler|Hilary Pepler]], 1915]]
Gill published numerous essays on the relationship between art and religion, and erotic engravings.<ref>Christopher Skelton (ed.), ''Eric Gill, The Engravings'', Herbert Press, 1990, {{ISBN|1-871569-15-X}}.</ref>

Gill's published writings include:
[[File:Songs of Solomon - Arthur Eric Rowton Gill - ABDAG006177.jpeg|thumb|''Songs of Solomon'']]
* ''Christianity and Art'', 1927
* ''Art-nonsense and other essays'', Cassell 1929 (pocket edition 1934)
* ''Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women'', 1931<ref>{{cite book |publisher=Jonathan Cape | date=1931 |last1=Gill |first1=Eric |title=Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women |oclc=7320636}}</ref>
* ''[[An Essay on Typography]]'', 1931<ref>Gill, Eric. (1931). ''An Essay on Typography'' {{ISBN|0-87923-762-7}}, {{ISBN|0-87923-950-6}} (reprints).</ref>
* ''Beauty Looks After Herself'', 1933
* ''Unemployment'', 1933
* ''Money and Morals'', 1934
* ''Art and a Changing Civilization'', 1934
* ''Work and Leisure'', 1935
* ''The Necessity of Belief'', 1935
* ''Work and Property'', 1937<ref>{{cite book |last=Gill |first=Eric |date=1937 |title=Trousers & The Most Precious Ornament |location= London |publisher=Faber and Faber |oclc=5034115}}</ref>
* ''Work and Culture'', ''[[Journal of the Royal Society of Arts]]'', 1938
* ''Twenty-five nudes'', 1938<ref>{{Cite web |last=Gill |first=Eric |date=1951 |title=Twenty-Five Nudes |url=https://archive.org/details/twentyfivenudes00gill |publisher=[[J. M. Dent & Sons]]}}</ref>
* ''And Who Wants Peace?'', 1938
* ''Sacred and Secular'', 1940
* ''Autobiography: Quod Ore Sumpsimus''<ref>{{cite book |last=Gill |first=Eric |publisher=Jonathan Cape |date=1940 |others=(published posthumously) |title=Autobiography: Quod Ore Sumpsimus |isbn=1-870495-13-6}}</ref>
* ''Notes on Postage Stamps''<ref>Gill, Eric. (2011). ''Notes on Postage Stamps'' Kat Ran Press, 2011. {{ISBN|0-9794342-1-1}}.</ref>
* ''Christianity and the Machine Age'', 1940.<ref>In the series ''Christian Newsletter Books'', The Sheldon Press.</ref>
* ''On the Birmingham School of Art'', 1940
* ''Last Essays'', 1943
* ''A Holy Tradition of Working: passages from the writings of Eric Gill'' 1983.<ref>{{cite book |title=A Holy Tradition of Working: passages from the writings of Eric Gill |last1=Gill |first1=Eric |first2=Brian |last2=Keeble |date=1983 |publisher= Golgonooza Press |isbn=0-903880-30-X |location=Ipswich}} (reprinted 2021 by Angelico Press, {{ISBN|978-1-62138-681-0}}).</ref>

Gill provided woodcuts and illustrations for several books including:
* {{Cite book |last=Gill |first=Eric |url=https://archive.org/details/song-of-songs-gill-images |title=Song of Songs |date=1925 |publisher=Golden Cockerel Press |location=Waltham St. Lawrence, Berkshire |ref=none}}
* {{Cite book |title=The Four Gospels |date=1931 |publisher=Golden Cockerel Press}} Facsimile edition published by Christopher Skelton at the September Press, Wellingborough, 1987.
* {{Cite book |last=Chaucer |first=Geoffrey |title=Troilus and Criseyde |date=1932 |publisher=Literary Guild |location=New York |translator-last=Krapp |translator-first=George Philip |ref=none}}
* {{Cite book |last=Shakespeare |first=William |title=Henry the Eighth |date=1939 |publisher=Limited Editions Club |location=New York |ref=none}}
* The Passion of Our Lord Jesus Christ, according to the four evangelists. Hague & Gill Printers. 1934 Faber & Faber
<gallery>
File:Arthur Eric Rowton Gill (1882 - 1940) - Eve - ABDAG007776 - Aberdeen City Council (Archives, Gallery and Museums Collection).jpg|''Eve'', 1926
File:Christ on the Cross - Arthur Eric Rowton Gill - ABDAG006172.jpeg|''Christ on the Cross''
File:Angels Trumpet - Arthur Eric Rowton Gill - ABDAG006170.jpeg|''Angels Trumpet''
File:Autumn Midnight - Arthur Eric Rowton Gill - ABDAG006169.jpeg|''Autumn Midnight'', c. 1923
File:Mrs Ruth Lowinsky - Arthur Eric Rowton Gill - ABDAG006173.jpeg|''Mrs Ruth Lowinsky''
</gallery>

== Archives ==
Gill's reference file of his engraved work, including impressions of almost all the engravings together with some related drawings, was donated to the [[Victoria and Albert Museum]] by his widow in 1952. The collection was supplemented by a later donation from [[Douglas Cleverdon]]. The collection formed the basis of a catalogue of Gill's engraved work prepared by John Physick and published in 1963.<ref >{{cite book | last=Physick | first=John |  title=The Engraved Work of Eric Gill | publisher=H.M. Stationery Office | place=London   | year=1963 | isbn= 0-11-290257-X | url=https://archive.org/details/eric-gill-catalgue-physick-1963-images | access-date=2025-01-13 | page=}}</ref>

Gill's papers and library are archived at the [[William Andrews Clark Memorial Library]] at [[UCLA]] in California, designated by the Gill family as the repository for his manuscripts and correspondence.<ref name="WACML">{{Cite web |title=Eric Gill Artwork Collection |url=http://www.oac.cdlib.org/findaid/ark:/13030/c80g3jht/entire_text/ |access-date=18 May 2016 |website=Online Archive of California |publisher=William Andrews Clark Memorial Library}}</ref> Some of the books in his collection have been digitised as part of the [[Internet Archive]].<ref>{{Cite web |title=Gill, Eric, 1882–1940, former owner |url=https://archive.org/search.php?query=creator%3A%22Gill%2C+Eric%2C+1882-1940%2C+former+owner%22 |access-date=18 May 2016 |website=Internet Archive |publisher=California Digital Library}}</ref> Additional archival and book collections related to Gill and his work reside at the [[University of Waterloo#Libraries and museums|University of Waterloo Library]]<ref name="WatSCA" /> and the University of Notre Dame's [[Hesburgh Library]].<ref name="NDSC">{{Cite web |title=The Eric Gill Collection |url=https://rarebooks.library.nd.edu/collections/fine_printing/gill.shtml |access-date=18 May 2016 |website=University of Notre Dame Hesburgh Libraries |publisher=Rare Books & Special Collections |archive-date=5 September 2015 |archive-url=https://web.archive.org/web/20150905111910/http://rarebooks.library.nd.edu/collections/fine_printing/gill.shtml |url-status=dead }}</ref> Much of Gill's work and memorabilia is held and is on display at the [[Ditchling Museum of Art + Craft]].

== Notes ==
{{notelist}}

== References ==
{{Reflist}}

== Further reading ==
{{refbegin|30em}}
* {{Cite book |last=Thorp |first=Joseph |title=Eric Gill |date=1929 |publisher=Jonathan Cape |location=London |asin=B0008B8S9Q}}
* {{Cite book |last=Speaight |first=Robert |url=https://archive.org/details/lifeofericgill0000spea |title=Life of Eric Gill |date=1966 |publisher=Methuen & Co |isbn=0-416-28600-3 |location=London |url-access=registration}}
* {{Cite book |last1=Gill |first1=Cecil |title=The Life and Works of Eric Gill |last2=Warde |first2=Beatrice |last3=Kindersley |first3=David |date=1968 |publisher=William Andrews Clark Memorial Library, University of California |series=Papers read at a Clark Library symposium, 22 April 1967 |location=Los Angeles}}
* {{Cite book |last=Attwater |first=Donald |title=A Cell of Good Living |date=1969 |publisher=G. Chapman |isbn=0-225-48865-5 |location=London}}
* {{Cite book |last=Harling |first=Robert |title=The letter forms and type designs of Eric Gill |date=1976 |publisher=Eva Svensson |isbn=0-903696-04-5 |location=Westerham}}
* {{Cite book |last=Yorke |first=Malcolm |url=https://archive.org/details/ericgillmanoffle0000york |title=Eric Gill: Man of Flesh and Spirit |date=1981 |publisher=Constable |isbn=0-09-463740-7 |location=London}}
* {{Cite book |last=Kindersley, David |title=Mr. Eric Gill: Further Thoughts by an Apprentice |date=1982 |publisher=Cardozo Kindersley Editions |isbn=0-9501946-5-4 |author-link=David Kindersley |orig-year=1967}}
* {{Cite book |last=Fuller |first=Peter |title=Essay: Eric Gill,: a Man of Many Parts. Images of God, The Consolations of lost Illusions |date=1985 |publisher=Chatto & Windus}}
* {{Cite book |title=Eric Gill: A Bibliography |date=1991 |publisher=St Paul's Bibliographies |isbn=0-906795-53-2 |editor-last=Corey |editor-first=Steven |editor-last2=MacKenzie |editor-first2=Julia}}
* {{Cite book |last=Miles |first=Jonathan |title=Eric Gill & David Jones at Capel-y-ffin |date=1992 |publisher=Seren Books |isbn=1-85411-051-9 |location=Bridgend, Mid Glamorgan}}
* {{Cite book |last=Bringhurst |first=Robert |title=The Elements of Typographic Style |date=1992 |publisher=Hartley & Marks |isbn=0-88179-033-8}}
* {{Cite book |editor-last2=Gill |editor-first2=Evan |title=Eric Gill: the inscriptions; a descriptive catalogue; based on the inscriptional work of Eric Gill  |editor-last1=Peace |editor-first1=David |date=1994 |publisher=Herbert Press  |location=London |isbn=978-1-871569-66-7}}
* {{Cite book |last=Collins |first=Judith |title=Eric Gill: The Sculpture |date=1998 |publisher=Overlook Press |isbn=0-87951-830-8 |location=Woodstock, NY}}
* {{Cite book |last1=Fiedl |first1=Frederich |url=https://archive.org/details/typographyencycl00frie |title=Typography: An Encyclopedic Survey of Type Design and Techniques Through History |last2=Ott |first2=Nicholas |last3=Stein |first3=Bernard |date=1998 |publisher=Black Dog & Leventhal |isbn=1-57912-023-7}}
* {{Cite book |last1=Pincus |first1=J.W |title=Encyclopædia of Type Faces |last2=Turner Berry |first2=W. |last3=Johnson |first3=A. F. |date=2001 |publisher=Cassell Paperback |isbn=1-84188-139-2 |location=London}}
* {{Cite book |last=Holliday |first=Peter |title=Eric Gill in Ditchling |date=2002 |publisher=Oak Knoll Press |isbn=1-58456-075-4}}
* {{Cite book |last=Dodd |first=Robin |title=From Gutenberg to OpenType |date=2006 |publisher=Hartley & Marks |isbn=0-88179-210-1}}
* {{Cite book |last=Macmillan |first=Neil |title=An A–Z of Type Designers |date=2006 |publisher=Yale University Press |isbn=0-300-11151-7}}
{{refend}}

== External links ==
{{commons}}
* {{Art UK bio}}
* [https://guildjosephdominic.org.uk/index.php/eric-gill/ Biography of Gill on website of The Guild of St Joseph and St Dominic], with commentary on his 'unorthodox' interpretation of Catholicism
* [https://archive.org/details/cu31924020596601 Manuscript & Inscription Letters], [[Edward Johnston]], 1909 (plates by Gill)
* [https://www.npg.org.uk/collections/search/person/mp01776/eric-gill Portraits of Gill in the National Portrait Gallery, London]
* [https://www.npg.org.uk/collections/search/person/mp01776/eric-gill?role=art Portraits by Gill in the National Portrait Gallery, London]
* [https://www.britishmuseum.org/collection/term/BIOG28962 Prints and drawings by Gill in the British Museum collection]
* [https://archive.org/details/twentyfivenudes00gill ''Twenty-five Nudes''], Gill, 1938 (collected drawings)
* [https://archive.org/details/troiluscriseyde00chau ''Troilus and Criseyde''], [[Geoffrey Chaucer]], translated by George Philip Knapp, 1932
* [https://museum.wales/collections/online/agent/ecb5d4b2-b1e4-3110-b88f-181cbb5629bd/GILL-Eric/ Works by Gill in the National Museum Wales collection] (woodcuts by Gill)

{{Subject bar|commons=yes|commons-search=Category:Eric Gill|d=yes|q=yes|q-search=Eric Gill|d-search=Q551426}}

{{Eric Gill}}

{{Authority control}}

{{DEFAULTSORT:Gill, Eric}}
[[Category:1882 births]]
[[Category:1940 deaths]]
[[Category:20th-century English essayists]]
[[Category:20th-century English sculptors]]
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[[Category:Alumni of the Westminster School of Art]]
[[Category:Artists from Brighton]]
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[[Category:English wood engravers]]
[[Category:Incestual abuse]]
[[Category:Monumental masons]]
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[[Category:Stone carvers]]
[[Category:Zoophilia]]
[[Category:Members of the Fabian Society]]
[[Category:English pamphleteers]]
[[Category:Writers from Sussex]]