1
25
88
-
https://ourheritage.ac.nz/files/original/124a650a4b2e06b49ca477d326eb1532.jpg
49fb2e2c90fa9b3ce517bf4ae08eb60d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Approaching Dawn' reproduced from Eric Gill, The Engravings edited by Christopher Skelton
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Identifier
An unambiguous reference to the resource within a given context
Special Collections NE642 G5 A4 1990
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: The Herbert Press
Abstract
A summary of the resource.
From autumn to spring 1926-27, the Gill family stayed at Salies-de-Béarn, a town at the foothills of the Pyrenees. While there Eric produced about 60 engravings for The Golden Cockerel Press edition of <em>Troilus and Criseyde</em> (1927). This engraving, ‘Approaching Dawn’, may have been one of them.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ef47bab9dc68e9f4ff070945608a4f09.jpg
66b8d83fa0b55853103a2889f3ce986c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Beatrice Ward' (1926) reproduced from Eric Gill, The Engravings edited by Christopher Skelton
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Identifier
An unambiguous reference to the resource within a given context
Special Collections NE642 G5 A4 1990
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: The Herbert Press
Abstract
A summary of the resource.
Mrs Beatrice Ward was known as the ‘First Lady of Typography’. She modelled for Gill’s frontispiece in <em>Art-Nonsense and Other Essays</em> (1929) and was his main model for his<em> Twenty-Five Nudes</em> (1938). This portrait engraving (second state) was completed in 1926.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/286a6cdb2e81569e956791207f2be2a5.jpg
776bc0a8c0d21bd2dc793d37b9f14aae
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Canoeists' reproduced from Over the Reefs
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1948
Identifier
An unambiguous reference to the resource within a given context
Special Collections DU510 GD94. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: J.M. Dent and Sons
Abstract
A summary of the resource.
Written in Wellington, <em>Over the Reefs</em>, is a memoir of Gibbings’s time in the South Pacific from 1945 until 1947. Along with Patience Empson, his wife’s sister, he visited Fiji, Samoa, Tonga, Tokelau, Tahiti and the Cook Islands. The last six months of the trip were spent in Wellington typing up the text.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/d6412f97bb30011dc3e95459fd7896c2.jpg
bc5f48f7c3be363e4d028a9361774fc1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Cow' reproduced from Lovely is the Lee
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1945
Identifier
An unambiguous reference to the resource within a given context
Special Collections DA977 GD98. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
London: J.M. Dent and Sons
Abstract
A summary of the resource.
The River Lee has its source in the Sheehy Mountains in the west of County Cork and it flows east through the city of Cork itself – Gibbings thought Cork was the ‘loveliest city in the world’. Travelling to Ireland, to research<em> Lovely is the Lee</em>, gave Gibbings the chance to catch up with old friends and family and he was there, on and off, for a year.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/9653dbf2a2f5a67a24a092a43f54003c.jpg
f552965abdf07ac6ca1ba6eaa2430bb8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Creation' and Eric Gill, photograph by Howard Coster, reproduced from Fiona MacCarthy, Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1989
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 M282
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
London: Faber and Faber
Abstract
A summary of the resource.
Eric Gill standing beside his <em>Creation</em> sculpture in his stone shop at Pigotts, 1937. This commissioned work was destined for the League of Nations Building in Geneva.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/9970d5f39e752470e74ed4e2f7bb913e.jpg
8374936ccca080ee45c8803426b4a102
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Elephants' by Robert Gibbings reproduced from Gustave Flaubert, Salambo
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1931
Identifier
An unambiguous reference to the resource within a given context
Special Collections PQ2246 S3 E5 1931. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: Golden Cockerel Press
Abstract
A summary of the resource.
Published in 1862, <em>Salambo</em> is set in Carthage in the third century BC. Gibbings was not a fan of his work for the 1931 Golden Cockerel Press edition of Gustave Flaubert’s work but he received positive reviews in the fine arts magazine, <em>Studio</em>. The engravings are described by the publication as having ‘dramatic boldness and grandeur’ and being virtually ‘perfect’ in combination with their placement and relationship to the text.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/5d33f1339ee5a2aff5241ee564b899a8.jpg
f67d84a3d56f07ed9776338850d727ba
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Mankind' (1928) reproduced from Donald Attwater, A Cell of Good Living. The Life, Works and Opinions of Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 AV94
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
London: Geoffrey Chapman
Abstract
A summary of the resource.
Eric Gill’s younger sister Angela modelled for this sculpture, which was first known as <em>Humanity</em>, and then renamed <em>Mankind.</em> Carved in 1928 from a large piece of Hoptonwood stone, it is regarded as one of Gill’s most impressive carvings. It is now at the Tate Gallery, London.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/48d6d3461d91980f64827554efeedb42.jpg
e8fdf047aa2b23eb1ca58ad45a36dc54
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Positano' reproduced from Trumpets of Montparnasse
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1955
Identifier
An unambiguous reference to the resource within a given context
Special Collections D921 GD98. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Paintings
Publisher
An entity responsible for making the resource available
New York: E.P. Dutton and Co.
Abstract
A summary of the resource.
Gibbings’s career as a wood engraver stretched for over thirty years and by the 1950s he was feeling constrained by the black and white austerity of the medium. In 1953, after the publication of <em>Coming Down the Seine</em>, Gibbings spent some time on the Continent as he wanted to live life as a painter. This image is from <em>Trumpets from Montparnasse</em> and represents a hillside in the seaside town of Positano on the Amalfi Coast in Italy where Gibbings lived for a short time. In the first chapter of the book he wrote that he wanted ‘the freedom and the fun of brushes and colour’. There are eight oil paintings featured in the volume.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ec09f6548254fbd6cfac60eaac76056f.jpg
17991b08f988381f0701d606dfae425a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'St Kevin' by Robert Gibbings reproduced from Beasts and Saints
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1942
Identifier
An unambiguous reference to the resource within a given context
Special Collections BR1710 BB88. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: Constable and Company
Abstract
A summary of the resource.
This engraving accompanies the story – ‘St Kevin and the Boar’ – in Helen Waddell’s <em>Beasts and Saints</em>. Gibbings produced thirty-one engravings for the volume with stories translated from the Latin by Waddell. Over 30,000 copies were produced.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/fa6fa96cf216005cc74e72a49e5d3c7f.jpg
e72b20ad2135f4a842446f666546ed64
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Tahitian Woman' (c. 1929) reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Gibbings used many life models throughout his career and the model for this sculpture was supposedly a ‘lady of title’ who refused payment. The sculpture was later named ‘Tahitian Woman’ by the now owner, the Victoria and Albert Museum, London.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/57f616abb84c99e282c745cd900b3f57.jpg
c66645b50de348909b1a21e6031cf46e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'The Sower' (c. 1931) reproduced from Donald Attwater, A Cell of Good Living. The Life, Works and Opinions of Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 AV94
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
London: Geoffrey Chapman
Abstract
A summary of the resource.
Accompanying Gill’s carvings of <em>Prospero and Ariel</em> at Broadcasting House, Langham Place, London, was <em>The Sower</em>, a back-to-the-land male figure distributing corn. Gill called it a ‘good image of a broadcaster’; BBC security staff termed it the ‘Overtime King’, handing out the overtime hours on extra pay.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/45ed2960f4f9cf8835b37eca9643959c.jpg
1113cf3528b2b105edd652c174166a27
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘Clear Waters’ (1920) reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Martin Andrews best describes Gibbings’s use of the ‘vanishing line technique’ in this early wood engraving: ‘Gibbings’s use of [the technique] reached full maturity with his first significant engraving of a figure, <em>Clear Waters</em> of 1920. Here the delicate outline of the body is never defined by a line other than the boundary of one area of highlight with that of shadow; the eye naturally completes the shape by implication and all unnecessary detail is eliminated – it is a lyrical image.’ Gibbings used the technique in much of his early work around the time when he started to become a serious contender in the art world.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/84134a10e1d2f17286217ebcc9403980.jpg
36da59fa79f73973be3b14304422b330
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘Plate 15’ from Manuscript & Inscription Letters for Schools & Classes & for the Use of Craftsmen
Creator
An entity primarily responsible for making the resource
Edward Johnston
Date
A point or period of time associated with an event in the lifecycle of the resource
1911 (i.e. third impression, reprint of the second impression, 1916).
Identifier
An unambiguous reference to the resource within a given context
Special Collections NK3600 J59 1916
Type
The nature or genre of the resource
Plates
Publisher
An entity responsible for making the resource available
London: John Hogg
Abstract
A summary of the resource.
‘The importance of the part of the Pen has played in the development of letters cannot be over-estimated; and I believe that it is beginning to be recognised that the best way to study letters, or even to “design” them, is to practise oneself in the use of a broad-nibbed pen…’. So wrote Edward Johnston in his <em>Manuscript & Inscription Letters for Schools & Classes & for the Use of Craftsmen</em>. Gill attended Johnston’s calligraphy classes at the Central School of Arts and Crafts in London in 1901 and was no doubt inculcated into the master’s mantra of a systematic and careful approach towards lettering. The seed, however, had been sown. While at Chichester (1897-1900) Gill became ‘mad’ on lettering, writing in his diary that ‘letters were something special in themselves’… they are ‘things, not pictures of things’. Here is A.E.R. Gill’s ‘Raised Letters’ carved on Hopton Wood stone, a type of limestone which is almost like marble.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ca18af6be9c558ae898b467b8c4ec3b0.jpg
7fa7bc2f57f8baf2c055c709ddf58546
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘Plate 16’ from Manuscript & Inscription Letters for Schools & Classes & for the Use of Craftsmen
Creator
An entity primarily responsible for making the resource
Edward Johnston
Date
A point or period of time associated with an event in the lifecycle of the resource
1911 (i.e. third impression, reprint of the second impression, 1916)
Identifier
An unambiguous reference to the resource within a given context
Special Collections NK3600 J59 1916
Type
The nature or genre of the resource
Plates
Publisher
An entity responsible for making the resource available
London: John Hogg
Abstract
A summary of the resource.
In 1900, Gill was employed as an architect’s assistant in the London firm of W.D. Caröe, specialists in ecclesiastical architecture. He learnt quickly about the drawing up of architectural plans and the principles and techniques of buildings, especially churches and cathedrals. He also enrolled in classes in practical masonry at the Westminster Technical Institute. Lettering on stone was something Gill enjoyed; there was the physicality: finding the right stone, banging away swiftly and surely on the surface; and the sharp chisels of the right temper to obtain the desired result. One of his first jobs was lettering (inscribing) a tombstone for which he was paid £5. Here is a photograph of Gill’s 'Roman letters'.
Engravings
Eric Gill
Robert Gibbings
Typography
-
https://ourheritage.ac.nz/files/original/649070b163f4298916909f5e38669ce0.jpg
323a85e151951db8b1065239531020ef
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘The Miller’s Tale’, vellum sheet from The Canterbury Tales
Creator
An entity primarily responsible for making the resource
Geoffrey Chaucer
Date
A point or period of time associated with an event in the lifecycle of the resource
1929-31
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z250 GL33
Type
The nature or genre of the resource
Printed sheet
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: The Golden Cockerel Press
Abstract
A summary of the resource.
This vellum sheet of an extract from ‘The Miller’s Tale’ in Chaucer’s <em>Canterbury Tales</em> (1929-1931) depicts Eric Gill’s sublime Pan and bacchanalian figures intertwined on thin leafy stems. He decorated each page in the book, which was first published by GCP in 4 volumes between February 1929 and March 1931. This sheet – along with four others – was given to John Harris (1903-1980) by Robert Gibbings when he was visiting Dunedin in 1947. Harris was then the University of Otago Librarian, and later helped compile a bibliography of the works of Robert Gibbings. Harris left for Africa in 1948, and eventually founded two University libraries in Nigeria. In 1978, the University of Otago Council conferred on Harris an honorary Doctor of Laws degree.
Canterbury Tales
Chaucer
Engravings
Eric Gill
Golden Cockerel Press
John Harris
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ac2910a7a0f3c79903d93d3b1993de50.jpg
b87b235c75b3894d6d2552bd964dc0b2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘The Miller’s Tale’, vellum sheet from Geoffrey Chaucer, The Canterbury Tales
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1929-31
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z250 GL33
Type
The nature or genre of the resource
Printed sheet
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: The Golden Cockerel Press
Abstract
A summary of the resource.
A vellum sheet extract from ‘The Miller’s Tale’ in Chaucer’s Canterbury Tales (1929-1931).
Canterbury Tales
Chaucer
Engravings
Eric Gill
Golden Cockerel Press
John Harris
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/eb382782f1c407b931b6a6304ff089ad.jpg
5c73c584e79bba246e3ef998fb00096a
Dublin Core
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Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
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Title
A name given to the resource
[Eric Gill and W. I. Burch]
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
[1929]
Identifier
An unambiguous reference to the resource within a given context
Special Collections
Type
The nature or genre of the resource
Separate sheet
Publisher
An entity responsible for making the resource available
___
Abstract
A summary of the resource.
Eric Gill guiding the hand of W.I. Burch, late Managing Director of the Monotype Corporation, 1929.
Engravings
Eric Gill
Robert Gibbings
Typography
-
https://ourheritage.ac.nz/files/original/c8ec9e26e43a296d7c0acc8a7ab8d465.jpg
66d9646bb92a56d784b61c3c65cd892f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Sentimental Journey through France and Italy
Creator
An entity primarily responsible for making the resource
Laurence Sterne
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR3714 S4 1936
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
High Wycombe, England: Limited Editions Club
Abstract
A summary of the resource.
As a sculptor, engraver, and stone-carver, Gill turned his attention to designing a number of typefaces. Perpetua (1925) which was based on the classic proportions and characteristics of the Trajan column. Gill Sans (1928 – 1930), a sans-serif typeface, which was used by many including the Church of England, the BBC, and the first Penguin book jackets. Solus (1929), an Egyptian inspired typeface. Joanna (1930-1931), a serif typeface named after Gill’s daughter. Golden Cockerel (1930), not a publicly released typeface and only used for the GC Press. Aries (1932), designed specifically for the Stourton Press. Jubilee (1934), a calligraphic typeface originally called Cunard. And finally Bunyan (1934), which was later recut for machine use and renamed Pilgrim in 1953. This edition of Sterne’s<em> A Sentimental Journey</em> is printed in Gill’s Bunyan, and contains illustrations by Denis Tegetmeier, Gill’s son-in-law.
Engravings
Eric Gill
Robert Gibbings
Typefaces
-
https://ourheritage.ac.nz/files/original/8041eeefd656f5c3a2d8fb422d79eff5.jpg
ae4e2f21148371c8c1de79dc75907a15
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A True Tale of Love in Tonga: Told in 23 Engravings and 333 Words
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR 6013 I21 T7. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Faber & Faber
Abstract
A summary of the resource.
<div>
<p>Another book inspired by Gibbings’s travels to Tahiti and the Pacific in 1929 was <em>A True Tale of Love in Tonga</em> (1935). The story contains 23 engravings and 333 words and, as Martin Andrews describes, ‘is based on a Tahitian folk tale’ of a forbidden love affair. The story has a happy ending and Gibbings dedicated the volume to his daughter Brigid who was, at the time, living with her mother, Moira, in South Africa.</p>
</div>
Engravings
Eric Gill
Pacific Area
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/e4c8b25674096c858690d70d2039a5d2.jpg
2c9c74e3690313e0a5b7f48257b49a0a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Typographical Masterpiece. An Account by John Dreyfus of Eric Gill’s collaboration with Robert Gibbings in producing the Golden Cockerel Press edition of The Four Gospels in 1931
Creator
An entity primarily responsible for making the resource
John Dreyfus
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z232 G63 DS19 1991
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: Bain & Williams
Abstract
A summary of the resource.
Robert Gibbings once said of the process in creating the images and text in <em>The Four Gospels</em> (1931): ‘We had no rules for the putting together of these varied sizes of capitals. We allowed the type almost complete control, improvising the tune according to the notes suggested. It came about therefore, that almost every blank space left for the artist was different and that is one reason, I believe, for the liveliness which runs through the book . . .’. Here is The Nativity image and text from <em>The Four Gospels</em>, considered a typographical masterpiece of the 20th century.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/08b1d5889d5d4ed7e2589354d9747dd4.jpg
b38feba130c0e09fe04521eb87302735
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Apology for the Life of Colley Cibber, Comedian, and Late Patentee of the Theatre-Royal. Vol. 1
Creator
An entity primarily responsible for making the resource
Colley Cibber
Date
A point or period of time associated with an event in the lifecycle of the resource
1925
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR3347 A81 1925
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: The Golden Cockerel Press
Abstract
A summary of the resource.
In August 1924 the Gill family moved to Capel-y-ffin in Wales. Gill visited Gibbings at Waltham St Lawrence often, and on one occasion (30 November 1924) wrote in his diary: ‘Talking with Gibbings re: printing etc. all day./ After supper drew Mrs Gibbings (nude) 11.0-3.0 am./ RG and self nude also./ V. exhilarating and good.’ They became fast friends. And to help Gibbings out with the unillustrated books planned for printing, Gill offered to do lettered designs – engraved initials or engraved titles – that enhanced the overall aesthetics of these publications. In this edition of Colley Cibber’s autobiography – said to be the worst Poet Laureate ever – Gill created thirteen initials, printed in blue. Thus his lettering skills did not rust. Indeed, he completed some 964 individual examples of inscriptions in his long career.
Colley Cibber
Engravings
Eric Gill
Golden Cockerel Press
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/21362e8324da6293a6f6b57677c45823.jpg
3684f064b9e9deb9e0dd9b9411edd886
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Essay of Typography
Creator
An entity primarily responsible for making the resource
Eric Gill
Date
A point or period of time associated with an event in the lifecycle of the resource
1931
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z246 GF47 1931
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Pigotts, Buckinghamshire: Eric Gill and René Hague
Abstract
A summary of the resource.
In a talk to the First Edition Club in London on 8 February 1933, Gill said: ‘What is now chiefly wanted is a belief in the future rather than a worship of the past. Great harm is being done by the resuscitation of the forms of bygone days. Poliphilus, Blado, Fournier, Garamond, Caslon, Baskerville, Bodoni – to the scrap heap with the lot of them. Let those who are working at book-making outside the industrial system…invent new founts of type.’ This first edition signed copy of his <em>Essay of Typography</em> (1931) is printed in 12 point Joanna, a typeface Gill designed and named after his daughter. This book was the fourth book from the press of Gill and René Hague, his son-in-law, and the first to utilise the Joanna type.
Engravings
Eric Gill
Robert Gibbings
Typography
-
https://ourheritage.ac.nz/files/original/8025251276152bd95d0ce4f02afaf09e.jpg
66e6a83a26dbdce9aa60eda70f64a314
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Art and Prudence: An Essay
Creator
An entity primarily responsible for making the resource
Eric Gill
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
Identifier
An unambiguous reference to the resource within a given context
Special Collections N70 GF47
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: The Golden Cockerel Press
Abstract
A summary of the resource.
Nineteen twenty-eight was a busy year for Gill. He exhibited 15 sculptured pieces at Goupil Gallery, London; his workshop at Capel-y-ffin, Powys, Wales, was turning out inscriptional work; he was writing articles and books; and he completed some 60 wood-engravings. In that year he also moved from Wales to Pigotts near High Wycombe (arriving there 11 October 1928). On 7 February 1928, he delivered a lecture at Manchester University, which after revision became <em>Art & Prudence</em>, printed by GCP in June 1928. In Spring 1925, he had written to Desmond Chute, ‘Copper engraving is a great game’. <em>Art & Prudence</em> contains two examples of this ‘great game’.
Engravings
Eric Gill
Golden Cockerel Press
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/8b0338f9c831eedb6800e855d3d03f88.jpg
66259a727ee31d44eb03d5ee6eff622a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Autobiography
Creator
An entity primarily responsible for making the resource
Eric Gill
Date
A point or period of time associated with an event in the lifecycle of the resource
1940
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection NB497 G55 A2 1940
Type
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Books
Publisher
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London: Jonathan Cape
Abstract
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Eric Gill’s life was full of severe complexities and severe contradictions. And despite these flaws (some of which cannot be forgiven), he aimed for integration, a unity where all things could hang together: ‘bed and board, the small farm and the workshop, the home and the school, earth and heaven.’ His Catholicism was a powerful life-force, and his <em>Autobiography</em> – his aptly claimed ‘autopsychography, a record of mental experience’ – concludes with his reception into the Church. Everything after that it was designated by him as a Postscript. Here is the well-known self-portrait of Gill with his folded paper printer’s cap.
Engravings
Eric Gill
Robert Gibbings
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8706bb5aef6b7762cd455234ecd7fa41
Dublin Core
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Title
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Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
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29 May 2015
Abstract
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In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
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Special Collections, University of Otago
Dublin Core
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Title
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Autumn Midnight
Creator
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Frances Cornford
Date
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1923
Identifier
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Brasch Collection PR6005 O67 A9
Type
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Title pages
Publisher
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London: Poetry Bookshop
Abstract
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Although printed at St. Dominic’s Press in Ditchling, the imprint for Frances Cornford’s <em>Autumn Midnight</em> was Harold Monro’s The Poetry Bookshop, London. In later writings Gill wrote that the dominant black with ‘white-line’ technique in the frontispiece did not work; it was a beginner’s attempt to imitate light and shade. Cornford, the granddaughter of Charles Darwin, was just one of Gill’s contacts outside the rural retreat of Ditchling. He went to London (and Cambridge) often: to gain commissions such as the relief sculptures of the Stations of the Cross for Westminster Cathedral (1914-18), and from O.R. Orage, owner of New Age; and to visit clients and friends such as William Rothenstein, Roger Fry, and Jacob Epstein.
Engravings
Eric Gill
Robert Gibbings