(Bristol: [Printed by the Fanfare Press for] Douglas Cleverdon, 1929). 340 x 260 mm. (13 3/8 x 10 1/8"). 6 p.l., 49,  pp.With a complete Chronological List of Engravings and a Preface by the artist. No. 392 OF 400 COPIES on paper manufactured for this edition (plus 10 copies on Japanese vellum and 80 copies on Batchelor handmade paper).
Publisher's black cloth, gilt "Tree and Burin" device on upper cover, smooth spine with gilt titling. With self-portrait frontispiece and 103 plates containing 147 engravings. Evan Gill 17. Cloth a little chafed and dusty, a bit of fraying to head of spine and to corners, endpapers and flyleaves a bit foxed, intermittent minor foxing (mostly affecting margins), but a very good, clean copy in a solid binding.
This is the first collected edition of engravings by a man DNB describes as "the greatest artist-craftsman of the twentieth century: a letter-cutter and type designer of genius . . .; a sculptor whose powerful work initiated a return to the directness of hand carving; a draughtsman and wood-engraver of consummate subtlety and skill." Gill (1882-1940) studied lettering as a young man under Edward Johnston, then for five years beginning in 1905 designed and engraved title pages and initials for the Cranach Press. Gradually, he turned his talents to drawing and engraving, creating a great number of woodcut illustrations for private press publications, especially the Golden Cockerel Press; examples of his memorable work for their famous "Four Gospels," "Troilus and Criseyde," and "Canterbury Tales" are included here, along with designs done for the press he co-founded, St. Dominic's, and ephemeral works like bookplates. After years of agnosticism, Gill became a devout Catholic, and even took to wearing a modified version of monastic dress. Many of the woodcuts here have a religious theme: a Nativity series, the Stations of the Cross, and numerous depictions of the Virgin Mary, both with and without the Christ Child. This volume was an immediate success, inspiring a follow-up collection of engravings from 1928-1933, and it has remained popular with collectors to this day. (CCS1912)
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PJP Catalog: CA20BF.055