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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
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
-
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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 Passion of Perpetua and Felicity from The Fleuron. No. 7
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 Z119 FL28
Type
The nature or genre of the resource
Periodicals
Publisher
An entity responsible for making the resource available
London: Printed for ‘The Fleuron’
Abstract
A summary of the resource.
In 1904, Count Harry Kessler, a life-long patron of Gill’s, asked him to design lettering for title pages in a series produced by Insel Verlag in Leipzig. Other commissions followed, like those from the Doves and Ashendene Presses. More importantly, Gill’s association with typographer Stanley Morison led to design work for the Monotype Corporation and the development of the Perpetua typeface. This issue of <em>The Fleuron</em> (1929) contains<em> The Passion of Perpetua and Felicity</em>, marking the first appearance of Perpetua. Gill’s own defence is attached: ‘…in spite of many distinctive characters, it retains that commonplaceness and normality which is essential to a good book-type.’ One of Gill’s mistresses was Beatrice Warde, an American typographic expert. Her article ‘Eric Gill: Sculpture of Letters’, written under the name of ‘Paul Beaujon’, is also in this issue.
Engravings
Eric Gill
Robert Gibbings
Typefaces
-
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Title
A name given to the resource
41 Stunning Books: A selection of modern private press books. Online exhibition
Description
An account of the resource
The private press books on show are all hand-crafted: printed on fine paper, bound individually, limited in issue number, and almost all contain fine illustrative matter, usually wood-cuts or engravings. With such superb productions, it is inevitable that a number of well-known illustrators were commissioned to illustrate these books. Such artists include Eric Gill, Blair Hughes-Stanton, and the Dunedin-born John Buckland Wright. Presses featured include the Kelmscott Press, founded by William Morris, the "Father of the Arts and Craft Movement", the Doves Press, and Lucien Pissarro's Eragny Press, to the Welsh Gregynog Press, the Ashendene Press, and local New Zealand operations such as Caxton Press and The Pear Tree Press. Notable items on display include The Tale of King Coustans (1894), an original Kelmscott production, a Rampant Lion Press printing of Samuel Johnson's The Vanity of Human Wishes (1984), Robert Louis Stevenson's Prayers (1999), a 1993 spread featuring Rimbaud's poem Voyelles (Vowels), Judith Haswell's painstaking three year production of Potsherds and Geraniums (1988-91), and Alan Loney's experimental Dawn/Water (1979) and Squeezing the Bones (1983).
This exhibition was opened on 24 June 2004.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
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Title
A name given to the resource
Hot acrobats perform cheese fog polka
Subject
The topic of the resource
Fine books
Illustrated books
Private presses
Artists' books
Color printing
Abstract
A summary of the resource.
With butcher paper, a swag of wooden type, and an 1832 Albion flat-bed press, Tara McLeod, owner-operator of The Pear Tree Press, printed 20 copies of Hot Acrobats. It was printed in sections on one continuous sheet and could well have been called: £63 NIGHT HAWK BAM! McLeod has some 25 publications to his credit over a period of ten years. He also prints limited edition books for the Holloway Press at the University of Auckland.
Creator
An entity primarily responsible for making the resource
McLeod, Tara
Publisher
An entity responsible for making the resource available
The Pear Tree Press : Auckland
Date Created
Date of creation of the resource.
1994
Type
The nature or genre of the resource
Text
Illustrations
Identifier
An unambiguous reference to the resource within a given context
PR9641.M224 H6 [Special Collections Oversize]
Accordion fold format (Binding)
Books
Display types
Pear Tree Press
Printing
Printing press
Special Collections
Typefaces
Wood types
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
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Title
A name given to the resource
41 Stunning Books: A selection of modern private press books. Online exhibition
Description
An account of the resource
The private press books on show are all hand-crafted: printed on fine paper, bound individually, limited in issue number, and almost all contain fine illustrative matter, usually wood-cuts or engravings. With such superb productions, it is inevitable that a number of well-known illustrators were commissioned to illustrate these books. Such artists include Eric Gill, Blair Hughes-Stanton, and the Dunedin-born John Buckland Wright. Presses featured include the Kelmscott Press, founded by William Morris, the "Father of the Arts and Craft Movement", the Doves Press, and Lucien Pissarro's Eragny Press, to the Welsh Gregynog Press, the Ashendene Press, and local New Zealand operations such as Caxton Press and The Pear Tree Press. Notable items on display include The Tale of King Coustans (1894), an original Kelmscott production, a Rampant Lion Press printing of Samuel Johnson's The Vanity of Human Wishes (1984), Robert Louis Stevenson's Prayers (1999), a 1993 spread featuring Rimbaud's poem Voyelles (Vowels), Judith Haswell's painstaking three year production of Potsherds and Geraniums (1988-91), and Alan Loney's experimental Dawn/Water (1979) and Squeezing the Bones (1983).
This exhibition was opened on 24 June 2004.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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
Dawn/water
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Dawn / water
Subject
The topic of the resource
Private presses
New Zealand poetry
Typefaces
Abstract
A summary of the resource.
Alan Loney’s perfectionist qualities are summed up by his now classic statement on printing: ‘One chooses either to simply muck about in the shed with an old printing press, or to acquire at considerable labour, cost, and some risk to one’s emotional stability, standards of excellence comparable with the finest anywhere in the world.’ Loney, a New Zealander, has had successive presses in various locations: Hawk (Christchurch, Wellington), Black Light (Wellington, Auckland), and more recently, Electio Editions (Melbourne). His collaborative craftsmanship is evident in Bill Manhire’s Dawn/Water, a ‘minimalist poem’ in action, which consists of a descending ‘a’ (almost ready to break through the line) and a moving fly. This is no.92 of 200.
Printed by Alan Loney; text by Bill Manhire; images by Andrew Drummond
Creator
An entity primarily responsible for making the resource
Manhire, Bill
Drummond, Andrew
Loney, Alan
Publisher
An entity responsible for making the resource available
Hawk Press : Eastbourne (N.Z.)
Date Created
Date of creation of the resource.
1979
Contributor
An entity responsible for making contributions to the resource
Owens, Colin
Hawk Press
Type
The nature or genre of the resource
Text
Illustrations
Identifier
An unambiguous reference to the resource within a given context
PR9641.M26 D38 [Special Collections Oversize]
Books
Hawk Press
Printing
Printing press
Special Collections
Typefaces
-
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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
41 Stunning Books: A selection of modern private press books. Online exhibition
Description
An account of the resource
The private press books on show are all hand-crafted: printed on fine paper, bound individually, limited in issue number, and almost all contain fine illustrative matter, usually wood-cuts or engravings. With such superb productions, it is inevitable that a number of well-known illustrators were commissioned to illustrate these books. Such artists include Eric Gill, Blair Hughes-Stanton, and the Dunedin-born John Buckland Wright. Presses featured include the Kelmscott Press, founded by William Morris, the "Father of the Arts and Craft Movement", the Doves Press, and Lucien Pissarro's Eragny Press, to the Welsh Gregynog Press, the Ashendene Press, and local New Zealand operations such as Caxton Press and The Pear Tree Press. Notable items on display include The Tale of King Coustans (1894), an original Kelmscott production, a Rampant Lion Press printing of Samuel Johnson's The Vanity of Human Wishes (1984), Robert Louis Stevenson's Prayers (1999), a 1993 spread featuring Rimbaud's poem Voyelles (Vowels), Judith Haswell's painstaking three year production of Potsherds and Geraniums (1988-91), and Alan Loney's experimental Dawn/Water (1979) and Squeezing the Bones (1983).
This exhibition was opened on 24 June 2004.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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
Typographia naturalis
Subject
The topic of the resource
Nature prints
Bookplates
Typefaces
Abstract
A summary of the resource.
The paucity of studies on the history of leaf printing led Rod Cave and Geoffrey Wakeman to produce this limited edition publication of 333 copies under the Brewhouse Press imprint, run by Trevor Hickman and Rigby Graham. It contains tipped-in illustrations of this art (such as Leonardo da Vinci’s description of leaf printing) and a wonderful but very fragile real leaf cover.
Creator
An entity primarily responsible for making the resource
Cave, Roderick
Wakeman, Geoffrey
Underwood, Roy
Pick, James
Hickman, Trevor
Smythe, Colin
Publisher
An entity responsible for making the resource available
Brewhouse Press : Wymondham (Leics.)
Date Created
Date of creation of the resource.
1967
Type
The nature or genre of the resource
Text
Illustrations
Identifier
An unambiguous reference to the resource within a given context
NE1338 .CC126 [Special Collections Oversize]
Bookplates
Books
Brewhouse Press
Printing
Printing press
Special Collections
Typefaces
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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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
41 Stunning Books: A selection of modern private press books. Online exhibition
Description
An account of the resource
The private press books on show are all hand-crafted: printed on fine paper, bound individually, limited in issue number, and almost all contain fine illustrative matter, usually wood-cuts or engravings. With such superb productions, it is inevitable that a number of well-known illustrators were commissioned to illustrate these books. Such artists include Eric Gill, Blair Hughes-Stanton, and the Dunedin-born John Buckland Wright. Presses featured include the Kelmscott Press, founded by William Morris, the "Father of the Arts and Craft Movement", the Doves Press, and Lucien Pissarro's Eragny Press, to the Welsh Gregynog Press, the Ashendene Press, and local New Zealand operations such as Caxton Press and The Pear Tree Press. Notable items on display include The Tale of King Coustans (1894), an original Kelmscott production, a Rampant Lion Press printing of Samuel Johnson's The Vanity of Human Wishes (1984), Robert Louis Stevenson's Prayers (1999), a 1993 spread featuring Rimbaud's poem Voyelles (Vowels), Judith Haswell's painstaking three year production of Potsherds and Geraniums (1988-91), and Alan Loney's experimental Dawn/Water (1979) and Squeezing the Bones (1983).
This exhibition was opened on 24 June 2004.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
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 endeavour towards the teaching of John Ruskin and William Morris
Subject
The topic of the resource
Guild of Handicraft (London, England)
Arts and crafts movement
Private presses
Abstract
A summary of the resource.
‘The Arts and Craft movement began with the object of making useful things, of making them well and of making them beautiful; goodness and beauty were to the leaders of the movement synonymous terms.’
So wrote C. R. Ashbee (1863-1942), the designer who was instrumental in starting Essex House Press in 1898 as part of his larger Guild of Handicrafts (established 1886). With workmen from Kelmscott (and two Albion presses), Ashbee continued Morris’s ideals of a return to craftsmanship through co-operation and a meaningful engagement in work. Ashbee printed 83 books under the Essex House imprint, and this one (no. 273 of 350 copies) was the first to contain Ashbee’s own design type, Endeavour.
Creator
An entity primarily responsible for making the resource
Ashbee, Charles Robert
Ruskin, John
Morris, William
Publisher
An entity responsible for making the resource available
Essex House Press
Date Created
Date of creation of the resource.
1901
Type
The nature or genre of the resource
Text
Illustrations
Identifier
An unambiguous reference to the resource within a given context
NK1142.AT39 [Special Collections]
Books
Essex House Press
Printing
Printing press
Special Collections
Typefaces