1
25
90
-
https://ourheritage.ac.nz/files/original/c4e5c8d006876476260386fcf1c01d7a.jpg
8ef600ba64641eaaeae400f1c8a664ce
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 Four Gospels of the Lord Jesus Christ
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
Private Collection
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.
<em>The Four Gospels</em> (1929-31) was the perfect result of the collaboration between Eric Gill and Robert Gibbings, owner of The Golden Cockerel Press (GCP). It is rightly called the typographical masterpiece of the 20th century (John Dreyfus); ‘a flower among the best products of English romantic genius’ (GCP Catalogue). The text was printed using 18 point Golden Cockerel type, designed by Gill, who was at the time more of an engraver on wood and a sculptor. Between October and December 1929, the type was cut under supervision of J. Collinge, chief punch-cutter at the Caslon foundry. Only 500 copies were printed: 12 on vellum; the remainder on Batchelor hand-made paper. Importantly, Gill’s ‘heavy, closely massing type’ matched the weight and ‘heaviness’ of the 65 wood-engraved illustrations. This copy was once in the collection of Evan Gill, Eric Gill’s brother.
Engravings
Eric Gill
Golden Cockerel Press
Robert Gibbings
-
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/e88bddcf25dfee7b05f698bf467c81ff.jpg
beea8d522bb6734b5fbdf5d719a17deb
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 Canterbury Tales (facsimile)
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
1929-1931 [2010]
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR1865 2010
Type
The nature or genre of the resource
Facsimiles
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: The Golden Cockerel Press [London: Folio Society]
Abstract
A summary of the resource.
As director of The Golden Cockerel Press, Gibbings oversaw press production. He was reliant on compositors Frank Young and Harry Gibbs, and pressman Albert Cooper. Proofing for ‘<em>Canty Tales</em>’, as Gill called it, was done on a Columbian press; the final copy (using dampened paper) was printed on a Phoenix platen press. 500 copies were printed: 15 on vellum; 485 on Batchelor hand-made paper. Gill was commissioned to do the wood engravings – some 26 half-page images, plus border decorations and tailpieces, and over 60 initial letters. Gill once wrote ‘the engraving is part of the typography’. This Folio Society facsimile captures well the desired result of balancing text with image.
Canterbury Tales
Chaucer
Engravings
Eric Gill
Golden Cockerel Press
Robert Gibbings
-
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/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/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/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/7e3fe403afc455a6ee5557c92d51d76c.jpg
f34f615d7185b9420f05d412986f029c
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
-
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/01c16280ac7c2172cee00be05a9ab97c.jpg
811899fab8ead89790d4722150429c9f
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 Devil’s Devices, or, Control versus Service
Creator
An entity primarily responsible for making the resource
Douglas Pepler
Date
A point or period of time associated with an event in the lifecycle of the resource
1915
Identifier
An unambiguous reference to the resource within a given context
Special Collections BT738 PD39 1915
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Hampshire House Workshops
Abstract
A summary of the resource.
On 4 August 1904, Gill married Ethel (later Mary) Moore in Chichester. In 1905, they moved to Hammersmith and soaked up the influences of the Arts and Craft movement, begun by William Morris and his Kelmscott Press, the earlier Chiswick Press, and the then active Emery Walker and T.J. Cobden-Sanderson of the Doves Press. One key figure Gill met was Harry (later Hilary) Douglas Clark Pepler, a printer and writer, who was also a social worker for the London County Council. In 1915 Pepler, who had a strong dislike for cheap and shoddy work, produced his <em>The Devil’s Devices, or Control versus Service</em>, which contains some of the earliest examples of Gill’s wood engravings: the ‘Calvary’ triangular device, and ‘The Symbol of Christ Crucified’.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/864386aa4fbf6300c429862a57e57c4d.jpg
b560191dbbed62ea6152cc44a35d4b79
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
Woes. Being extracts from the New Testament of Our Lord and Saviour Jesus Christ, as translated from the Latin Vulgate.
Creator
An entity primarily responsible for making the resource
The Guild of St. Joseph & St. Dominic
Date
A point or period of time associated with an event in the lifecycle of the resource
1919
Identifier
An unambiguous reference to the resource within a given context
Special Collections BS2553 R44 1919
Type
The nature or genre of the resource
Pamphlets
Publisher
An entity responsible for making the resource available
Ditchling, Sussex: St. Dominic’s Press
Abstract
A summary of the resource.
In a desire to escape the ‘trap’ of industrial machine-like London, the Gill family moved in the Summer of 1907 to ‘Sopers’, a house in Ditchling, Sussex. By 1913 they had decamped to nearby Hopkin’s Crank at Ditchling Common. This was the first of three self-sufficient religious and artistic communities that Gill established in his lifetime. Others followed them, including Edward Johnston, and the Pepler family. While at Ditchling, Pepler established St. Dominic’s Press and started producing hand-printed pamphlets and books. The ‘Welfare Handbooks’, a series of ten, was but one outcome. These covered topics such as birth control, health, dress, and Woes, which included Gill’s 1917 illustration ‘The Last Judgement’.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/2e1edad1fb29340a69a67b411dee1c38.jpg
8706bb5aef6b7762cd455234ecd7fa41
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
Autumn Midnight
Creator
An entity primarily responsible for making the resource
Frances Cornford
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection PR6005 O67 A9
Type
The nature or genre of the resource
Title pages
Publisher
An entity responsible for making the resource available
London: Poetry Bookshop
Abstract
A summary of the resource.
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
-
https://ourheritage.ac.nz/files/original/10984a2474a8d66e11494ef3419c2b49.jpg
46a5d12dc288e3dd0276b8c6b3c2a1e4
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
Concerning Dragons
Creator
An entity primarily responsible for making the resource
The Guild of St. Joseph & St. Dominic
Date
A point or period of time associated with an event in the lifecycle of the resource
1916
Identifier
An unambiguous reference to the resource within a given context
Private Collection
Type
The nature or genre of the resource
Pamphlets
Publisher
An entity responsible for making the resource available
Ditchling, Sussex: [St. Dominic’s Press]
Abstract
A summary of the resource.
An early, possible first edition of Pepler’s<em> Concerning Dragons</em> with Gill wood-engravings.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/3722f6c5373a6b64fa373e006772180c.jpg
e13fe0678bc3a1efb5cb2122216cd779
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
Constitution and Rules
Creator
An entity primarily responsible for making the resource
The Guild of St. Joseph & St. Dominic
Date
A point or period of time associated with an event in the lifecycle of the resource
[1922]
Identifier
An unambiguous reference to the resource within a given context
Private Collection
Type
The nature or genre of the resource
Pamphlets
Publisher
An entity responsible for making the resource available
[Ditchling, Sussex: Douglas Pepler]
Abstract
A summary of the resource.
In February 1913, Gill was received into the Catholic Church. In 1916 Pepler also became a convert. In 1921 Gill, Pepler, and Desmond Chute founded The Guild of St Joseph and St Dominic, a community of craftsmen who had to be, according to the constitution and rules on display, ‘practising Catholics’, ‘earning their living by creative manual work’, and ‘owners of their tools and of their work’. Envisaged as an integrated artistic community, and for Gill an attempt ‘to make a cell of good living in the chaos of the world’, it actually enabled extreme license. For Gill, the self-designated <em>paterfamilias</em>, sex was an expression of the Creator’s love. He played out relationships with his wife, lovers, and as recorded in his diaries and documented in Fiona MacCarthy’s biography on Gill, his sister and daughter.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/8ea9866459b181f4f214970cf9c00f4d.jpg
bb37f2eb0db8ee68e0ec03d2ef033b92
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
Clothes: An Essay upon the Nature and Significance of the Natural and Artificial Integuments worn by Men and Women
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 GN418 GF46
Type
The nature or genre of the resource
Book covers
Publisher
An entity responsible for making the resource available
London: Jonathan Cape
Abstract
A summary of the resource.
In a review of Gill’s <em>Art-Nonsense</em> (1929), D.H. Lawrence wrote ‘Mr Gill is not a born writer: he is crude and crass.’ While Gill admitted that he was ‘an inept and amateurish preacher’, he continued to pen polemics on subjects he was passionate about. Clothes and nakedness was one such topic as evidenced in his <em>Clothes</em> (1931) and <em>Trousers</em> (1937). For women he felt plainness was the thing, like uniforms. He disliked accessories such as scents, paint, short skirts, bare backs and chests. To Gill, vanity in the male was a virtue. He felt men should by nature be clothed and should aim for dignity and decency. He himself adopted a worker’s smock as his attire, often without underwear (which he disliked).
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/befdaa86f23e2aacef1f263d93ee3581.jpg
40fc6c062f37382f8c4c927cad200749
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
Trousers & the Most Precious Ornament
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
1937
Identifier
An unambiguous reference to the resource within a given context
Special Collections GT521 G52 1937
Type
The nature or genre of the resource
Book covers
Publisher
An entity responsible for making the resource available
London: Faber & Faber
Abstract
A summary of the resource.
Gill's polemic on 'Trousers'.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/8bb41f9b680722c8907094b2b8504058.jpg
6cefed1763f16cd05545419cad6c14fd
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
Unholy Trinity
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
1938
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection PR6013 I343 U5
Type
The nature or genre of the resource
Book covers
Publisher
An entity responsible for making the resource available
London: J. M. Dent & Sons for Hague & Gill
Abstract
A summary of the resource.
‘The Unholy Trinity – In the beginning was power; that is to say, the police and the military. And the only-begotten son of Power is Respectability, and proceeding from Power and Respectability is Money, the product of their mutual love.’ So begins Gill’s <em>Unholy Trinity</em>, a collection of short political essays that include topics such as ‘Europa and the Bull’, ‘Safe for Christianity’ and ‘Melancholia’. The satirical images accompanying the text are by Denis Tegetmeier, who was married to Petra, one of Gill’s daughters.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ef9c46e3949a05e73c6ae3fa48f89038.jpg
d007e8921dae1c83ffec78ff380ca424
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
Beauty looks after Herself: Essays
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
1933
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR6013 I343 B42
Type
The nature or genre of the resource
Book covers
Publisher
An entity responsible for making the resource available
London: Sheed & Ward
Abstract
A summary of the resource.
In his inimitable style Gill claims in the preface to<em> Beauty looks after Herself</em>: ‘It has been said that I am one of those writers who can only keep to the point by returning to it.’ Gill’s essays – ‘some appearing in an unpopular periodical now defunct’ – cover his hobby-horses of industrialism, modern architecture, lettering, clothes and stone-carving.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/b78c20aa803098fc17fa69a7ebabb7a4.jpg
8d2820dfd486e4682138d95c13d54470
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
Unemployment
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
1933
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection HN16 GF47
Type
The nature or genre of the resource
Book covers
Publisher
An entity responsible for making the resource available
London: Faber & Faber
Abstract
A summary of the resource.
In <em>Unemployment</em> Gill asks such questions as: ‘Is Employment a good thing?’, ‘What’s the difference between Wage System and Slavery?’, and ‘What is Machinery? Does anyone want to abolish it?’ The work is illustrated by Gill.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/a57580d1cead892a851d2b587ff55c5d.jpg
769e44bec250911ee23256f43c9998bb
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
First Nudes
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
1954
Identifier
An unambiguous reference to the resource within a given context
Special Collections NC228 G53 A4 1954
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Neville Spearman
Abstract
A summary of the resource.
Gill was an artist and he was pre-occupied with the human figure. Nevertheless, as an engraver and sculptor he only began drawing from life when aged 44, believing earnestly that ‘if you are going to draw from the naked model at all the best time to do it is rather later in life, when the experience of living has filled the mind and given a deeper, a more sensual as well as a more spiritual meaning to materials things.’ Although he had no formal training, he made many drawings of nudes. This sketchbook, published after Gill’s death, is dedicated to Gill’s adopted son Gordian. It reproduces Gill’s first experimental attempts at life drawing, many of which were done in Paris in 1926.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/cfd156e8ea77aa2d28e0fbee1dd08d37.jpg
965ddd286b7b7fdea0eb4ab7efcbdfe2
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
Eric Gill
Creator
An entity primarily responsible for making the resource
John Rothenstein
Date
A point or period of time associated with an event in the lifecycle of the resource
1927
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection NB497 G55 A4 1927
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Ernest Benn
Abstract
A summary of the resource.
In late 1909 Mary, Gill’s wife, was pregnant with their third child. This event – a period of ‘comparative continence’ - changed Gill. An inaccessible real woman was turned into an accessible stone substitute. As he wrote, ‘my first erotic drawing was not on the back of an envelope but a week or so’s work on a decent piece of hard stone…’ He was now a sculptor. Importantly, he favoured direct carving on to stone; no modelling. It was his attempt to be truthful to the materials. His reputation was quickly established and commissions followed, like the Stations of the Cross at Westminster Cathedral, ‘Prospero and Ariel’ at Broadcasting House; and the ‘Creation of Adam’ panels on the League of Nation’s building in Geneva. He experimented with figures in movement; ‘The Splits’ (1923) in painted Beer stone was but one.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/315bdb7415b7c27b8e2809bcace2b394.jpg
047b9dd52a131dfcd6e126bcb2ec9ae4
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
Clothing without Cloth: An Essay on the Nude
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 N7572 G5 1931
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, 1931
Abstract
A summary of the resource.
‘If prudery be rampant let there be naked bathing in parks. If wantonness be rampant let such things be restricted. But prudes cannot decide who are wantons, nor can wantons decide who are prudes.’ So Gill expounds in his 16-page essay on the nude, his ‘God’s seal upon the goodness of the body’, both male and female. It was printed in 1931 at The Golden Cockerel Press and contains four engravings by Gill.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/9a19c0a51b19a1f8dcf3c24d33db4c4a.jpg
f802c0883910e32ddb8891c030dec734
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 New Testament
Creator
An entity primarily responsible for making the resource
[Edited with an introduction by M.R. James]
Date
A point or period of time associated with an event in the lifecycle of the resource
1934-36
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection BS2085 1934 L6
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: J.M. Dent & Sons
Abstract
A summary of the resource.
Religion and religiousness pervaded the Gill household. George Gill, Eric’s grandfather, was a Congregational minister who had worked with London Missionary Society in the Cook Islands. Gill’s father, the Rev. Arthur Tidman, became a clergyman for a sect called ‘the Countess of Huntingdon’s Connection’. His two brothers became Anglican missionaries in Papua New Guinea, and his sister Madeline was a Church of England nun, working in Poona, India. On meeting Gill for the first time, René Hague wrote: ‘I thought he was a Dutch missionary’. For one who wrote: ‘The thing about Christianity, the thing about the Cross, about Calvary, is that it is true to man’, Gill must have enjoyed illustrating the Aldine Bible (as it was called) and printing the text in Joanna 12 point. Here is his superb illustration to St John’s Gospel.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/a0dec100f39ba679e60ac4a266babfbb.jpg
710477b9f00ccf7107a2294fe16fcf47
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
Procreant Hymn. Original Version
Creator
An entity primarily responsible for making the resource
E. Powys Mathers
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR6025 A833 P76 2010
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Llandogo, Monmouthshire: Old Stile Press
Abstract
A summary of the resource.
‘Earth Receiving’ (1926) is the title of this engraving in the poem<em> Procreant Hymn</em>, which E. Powys Mathers, author, translator, and (of course) pioneer cryptic crossword advocate, called ‘a lyrical exultation in praise of the generative principle in man, in nature, and in deity.’ Gill had God’s hand appearing over the couple making love. No doubt in his eyes it was a godly blessing. First printed by Gibbings and company at The Golden Cockerel Press, this publication was the first of the press to have line-engravings in copper by Gill. This Old Stile Press edition is of the original version; a more explicit one exists, distributed for private circulation only.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/3121d4d7aea7c9c3a6f8b38cab08c3c9.jpg
da3e23c2f742e3e8f1172112fb45eca3
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 Lord’s Song: A Sermon
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
1934
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR6013 I343 L67 1934
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: The Golden Cockerel Press
Abstract
A summary of the resource.
On 29 July 1918, Gill, his wife, Pepler, and artist Desmond Chute became lay members of the Third Order of St Dominic (known as Tertiaries). Membership to this Order was largely through the influence of Fr. Vincent McNabb, a Dominican prior who was an advocate (like Catholic writers Hilaire Belloc and G.K. Chesterton) of Distributionism, a ‘Back to the Land’ movement that was an alternative to socialism and communism and an opponent to capitalism and industrialism. Gill often appended the initials T.O.S.D. to his name in his publications. This didactic sermon – which does not carry the initials – has Gill reflect on the 136th Psalm; he begins: ‘How shall we sing the Lord’s song in a strange land?’ This was the first book to use Gill’s 14 point Perpetua Roman and Felicity italic types.
Engravings
Eric Gill
Golden Cockerel Press
Robert Gibbings