The Canterbury Tales.

Golden Cockerel Press, Waltham St Lawrence, 1929-31

One of the most prestigious books published by the Golden Cockerel Press, number 80 of a limited edition of 485 copies, printed on handmade paper (and 15 on vellum).

Description: 4 vols. Original quarter niger morocco over patterned papered boards, spines with raised bands, lettered in gilt, bound by Sangorski and Sutcliffe. Quarto: 32 × 20 cm; pp.: (vol.i): [4], 150, [2]; (vol.ii) [4] 188, [2], (vol.iii) [4] 196, [2], (vol.iv) [2] 218, [4]. With 1 full-page, 29 half-page and 269 decorated borders, tail-pieces, line-fillings and 61 initials engraved on wood by Eric Gill. Printed from 18 pt. Caslon Old Face, printed on Batchelor hand-made paper (nos. 16–500) in black, red and blue. Top edge gilt, others trimmed.

Ref.: Cave/Manson 63; Chanticleer 63; Gill 281

Condition: Binding somewhat bumped and bruised at corners, spine occasionally stained (as often), fore-edges slightly dusty and with single marginal stains, interior clean and free of marks.

Notes: Eric Gill’s woodcuts for the Golden Cockerel Press edition of Geoffrey Chaucer’s The Canterbury Tales are celebrated for their artistic and technical mastery. Gill created an impressive array of wood engravings, designing them to harmonise with the typography, reflecting his expertise as a typeface designer. The engravings complement the text, enhancing the reading experience with a seamless blend of visual and literary art, rooted in the tradition of illuminated manuscripts. The borders, often featuring leaf and stem motifs, are inhabited by figures – girls, men, kings, priests, and nuns – that interact with or comment on the tales. These range from playful and erotic to solemn, mirroring Chaucer’s diverse moods and adding narrative depth. Some of the woodcuts are known to have been rather bold in their depictions, and have been seen as controversial in their time; however, they have since been recognised as being apt and reflective of the spirit of the text. It is therefore fair to conclude that, taken as a whole, these features make Gill’s woodcuts a standout contribution to 20th-century book illustration, marrying technical precision with imaginative flair, and thus cementing the edition’s status as a landmark in private press publishing.