1
25
87
-
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bf2728acd328048030a366742441fd1c
Dublin Core
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Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
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Title
A name given to the resource
Photograph of Robert Gibbings (1914) reproduced from Matrix 9
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
Winter 1989
Identifier
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Z119 MD79
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
Andoversford, Gloucestershire: Whittington Press
Abstract
A summary of the resource.
Born in Ireland, Robert Gibbings grew up in a strict but loving home. He had three siblings and his father, Edward, was a Reverend in the Protestant Church. It was in Kinsale, a fishing port on the southeast coast of Ireland, that Gibbings first began to draw as a young boy and develop his love of nature, something he shared with his mother, Caroline. Gibbings grew into a tall, handsome and well-built man and despite his long-held ambition to become an artist, his father insisted he attend medical school. It did not work out and Gibbings left in his third year. From 1911 until 1913, Gibbings studied in London at the Slade and the Central School of Art. It was at this time that he came under the influence of Noel Rooke, described as the ‘pioneer of modern wood-engraving in England’. Rooke was another founder of the Society of Wood Engravers.
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/7c0262f74d792f91832defab3484523c.jpg
8781cfeebf9f263971e04ce173baf67a
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
Kiwis in Captivity
Creator
An entity primarily responsible for making the resource
F. D. Robson as told to Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1947
Identifier
An unambiguous reference to the resource within a given context
Special Collections QL696 A63 R638 1947
Type
The nature or genre of the resource
Pamphlets
Publisher
An entity responsible for making the resource available
Napier: Hawkes Bay Art Gallery and Museum
Abstract
A summary of the resource.
The last six months of Gibbings’s Pacific trip were spent in Eastbourne in Wellington. Patience Empson, his wife’s sister, had joined him in Fiji in May 1946 to act as his companion and secretary. In Wellington they wrote up and fact-checked Gibbings’s South Pacific notes for his next book <em>Over the Reef</em>s (1948). Although only in New Zealand for six months Gibbings made a huge impact on the artistic and academic communities in the country. He gave a number of broadcasts and lectures – one at the University of Otago on conservation – and his exploits were frequently featured in local newspapers. He is even credited with increasing New Zealand’s ‘interest in Neo-Romantic print-making’ (Ross, 2006). This monograph was written after he visited F.D. Robson at the Napier Acclimatization Farm where they were breeding kiwi.
Engravings
Eric Gill
Kiwis
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/b997b7a877ad0cd4766840638f4ddd0d.jpg
f0a2bf05881aac1cd9a386b789b938af
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
John Graham, Convict, 1824: An Historical Narrative
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1956
Identifier
An unambiguous reference to the resource within a given context
Special Collections G530 G76 GD97. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Title pages
Publisher
An entity responsible for making the resource available
London: J.M. Dent & Sons
Abstract
A summary of the resource.
Gibbings became fascinated with the story of John Graham (b. 1800?) in 1936 when he read John Curtis’s <em>The Wreck of the ‘Stirling Castle’</em> (1838). Gibbings’s narrative in <em>John Graham, Convict</em> tells the story of Graham who was convicted of theft in Ireland in 1824 and transported to Sydney. In 1827 Graham was in the penal colony at Moreton Bay (near Brisbane) but escaped and ‘went bush’, living with the local aboriginal tribe until 1833 when he gave himself up. In May 1836 Englishwoman Eliza Fraser was on board the Stirling Castle, with her husband the Captain James Fraser, when the ship foundered north of Moreton Bay. The survivors were captured by aboriginals and James was killed. Graham was instrumental in the rescue of the surviving captives in August 1836 because of his connection to and knowledge of the local aborigines. He was subsequently pardoned and given ten pounds.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/8a9fe7c3ba4d8240252a87c52709cbe5.jpg
b4905af95d4298276fe9de87f7f2516d
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 reproduced from Richard Cork, Wild Thing: Epstein, Gaudier-Brzeska, Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
c. 2009
Identifier
An unambiguous reference to the resource within a given context
Central NB468 CS94
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
London: Royal Academy of Arts
Abstract
A summary of the resource.
Photograph of Eric Gill c. 1908.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/48d6d3461d91980f64827554efeedb42.jpg
e8fdf047aa2b23eb1ca58ad45a36dc54
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Positano' reproduced from Trumpets of Montparnasse
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1955
Identifier
An unambiguous reference to the resource within a given context
Special Collections D921 GD98. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Paintings
Publisher
An entity responsible for making the resource available
New York: E.P. Dutton and Co.
Abstract
A summary of the resource.
Gibbings’s career as a wood engraver stretched for over thirty years and by the 1950s he was feeling constrained by the black and white austerity of the medium. In 1953, after the publication of <em>Coming Down the Seine</em>, Gibbings spent some time on the Continent as he wanted to live life as a painter. This image is from <em>Trumpets from Montparnasse</em> and represents a hillside in the seaside town of Positano on the Amalfi Coast in Italy where Gibbings lived for a short time. In the first chapter of the book he wrote that he wanted ‘the freedom and the fun of brushes and colour’. There are eight oil paintings featured in the volume.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/57f616abb84c99e282c745cd900b3f57.jpg
c66645b50de348909b1a21e6031cf46e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'The Sower' (c. 1931) reproduced from Donald Attwater, A Cell of Good Living. The Life, Works and Opinions of Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 AV94
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
London: Geoffrey Chapman
Abstract
A summary of the resource.
Accompanying Gill’s carvings of <em>Prospero and Ariel</em> at Broadcasting House, Langham Place, London, was <em>The Sower</em>, a back-to-the-land male figure distributing corn. Gill called it a ‘good image of a broadcaster’; BBC security staff termed it the ‘Overtime King’, handing out the overtime hours on extra pay.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/fa6fa96cf216005cc74e72a49e5d3c7f.jpg
e72b20ad2135f4a842446f666546ed64
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Tahitian Woman' (c. 1929) reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Gibbings used many life models throughout his career and the model for this sculpture was supposedly a ‘lady of title’ who refused payment. The sculpture was later named ‘Tahitian Woman’ by the now owner, the Victoria and Albert Museum, London.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ec09f6548254fbd6cfac60eaac76056f.jpg
17991b08f988381f0701d606dfae425a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'St Kevin' by Robert Gibbings reproduced from Beasts and Saints
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1942
Identifier
An unambiguous reference to the resource within a given context
Special Collections BR1710 BB88. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: Constable and Company
Abstract
A summary of the resource.
This engraving accompanies the story – ‘St Kevin and the Boar’ – in Helen Waddell’s <em>Beasts and Saints</em>. Gibbings produced thirty-one engravings for the volume with stories translated from the Latin by Waddell. Over 30,000 copies were produced.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/286a6cdb2e81569e956791207f2be2a5.jpg
776bc0a8c0d21bd2dc793d37b9f14aae
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Canoeists' reproduced from Over the Reefs
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1948
Identifier
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Special Collections DU510 GD94. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: J.M. Dent and Sons
Abstract
A summary of the resource.
Written in Wellington, <em>Over the Reefs</em>, is a memoir of Gibbings’s time in the South Pacific from 1945 until 1947. Along with Patience Empson, his wife’s sister, he visited Fiji, Samoa, Tonga, Tokelau, Tahiti and the Cook Islands. The last six months of the trip were spent in Wellington typing up the text.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/e4c8b25674096c858690d70d2039a5d2.jpg
2c9c74e3690313e0a5b7f48257b49a0a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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A Typographical Masterpiece. An Account by John Dreyfus of Eric Gill’s collaboration with Robert Gibbings in producing the Golden Cockerel Press edition of The Four Gospels in 1931
Creator
An entity primarily responsible for making the resource
John Dreyfus
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z232 G63 DS19 1991
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: Bain & Williams
Abstract
A summary of the resource.
Robert Gibbings once said of the process in creating the images and text in <em>The Four Gospels</em> (1931): ‘We had no rules for the putting together of these varied sizes of capitals. We allowed the type almost complete control, improvising the tune according to the notes suggested. It came about therefore, that almost every blank space left for the artist was different and that is one reason, I believe, for the liveliness which runs through the book . . .’. Here is The Nativity image and text from <em>The Four Gospels</em>, considered a typographical masterpiece of the 20th century.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ef47bab9dc68e9f4ff070945608a4f09.jpg
66b8d83fa0b55853103a2889f3ce986c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Beatrice Ward' (1926) reproduced from Eric Gill, The Engravings edited by Christopher Skelton
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Identifier
An unambiguous reference to the resource within a given context
Special Collections NE642 G5 A4 1990
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: The Herbert Press
Abstract
A summary of the resource.
Mrs Beatrice Ward was known as the ‘First Lady of Typography’. She modelled for Gill’s frontispiece in <em>Art-Nonsense and Other Essays</em> (1929) and was his main model for his<em> Twenty-Five Nudes</em> (1938). This portrait engraving (second state) was completed in 1926.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/5d33f1339ee5a2aff5241ee564b899a8.jpg
f67d84a3d56f07ed9776338850d727ba
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Mankind' (1928) reproduced from Donald Attwater, A Cell of Good Living. The Life, Works and Opinions of Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 AV94
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
London: Geoffrey Chapman
Abstract
A summary of the resource.
Eric Gill’s younger sister Angela modelled for this sculpture, which was first known as <em>Humanity</em>, and then renamed <em>Mankind.</em> Carved in 1928 from a large piece of Hoptonwood stone, it is regarded as one of Gill’s most impressive carvings. It is now at the Tate Gallery, London.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/9653dbf2a2f5a67a24a092a43f54003c.jpg
f552965abdf07ac6ca1ba6eaa2430bb8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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'Creation' and Eric Gill, photograph by Howard Coster, reproduced from Fiona MacCarthy, Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1989
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 M282
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
London: Faber and Faber
Abstract
A summary of the resource.
Eric Gill standing beside his <em>Creation</em> sculpture in his stone shop at Pigotts, 1937. This commissioned work was destined for the League of Nations Building in Geneva.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/aecab52be7720062d4610118a7d71012.jpg
903cdf7b790b458deb16105235194069
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's cipher reproduced from Twenty-five Nudes Engraved by Eric Gill, with an introduction
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
Special Collections NE642 G5 A4 1938
Type
The nature or genre of the resource
Book covers
Publisher
An entity responsible for making the resource available
London : J M Dent & Sons Ltd for Hague & Gill
Abstract
A summary of the resource.
The cover of Eric Gill's <em>Twenty-five Nudes</em> features his easily recognisable cipher or signature.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ba9994a978935a8683a9a41ac4bf8695.jpg
190a0cde94c38b917006b85004f485f1
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
Charles Brasch's cipher reproduced from Helena: A Novel
Creator
An entity primarily responsible for making the resource
Evelyn Waugh
Date
A point or period of time associated with an event in the lifecycle of the resource
1950
Identifier
An unambiguous reference to the resource within a given context
Brasch PR6045 A97 H4 1950
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Chapman and Hall
Abstract
A summary of the resource.
In 1937 Brasch lived at Little Missenden, Buckinghamshire, about 5 miles north east from Gill’s third residence at Pigotts, High Wycombe. For a time Brasch was influenced by Gill’s ideas. Indeed, he may have modelled his own signature of ‘CB’ on Gill’s ‘EG’
Charles Brasch
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/7ca8de9e3cdd1f2a74799d4af99c4899.jpg
de40429a3003a51d3482efc95075bcab
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
Robert Gibbings and Albert Cooper reproduced from Matrix 9
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
Winter 1989
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z119 MD79
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
Andoversford, Gloucestershire: Whittington Press
Abstract
A summary of the resource.
Albert Cooper was the pressman for The Golden Cockerel Press. Here he is with Robert Gibbings examining sheets of The Four Gospels. Note the way in which the sheets are hung up to dry.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/390cbe4ed7f1e904307740fccba623fc.jpg
17f14e9fd85a0d6a6db887c846bdf7af
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 carving (1933) reproduced from Malcolm Yorke, Eric Gill. Man of Flesh and Spirit
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
1981
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 YM7
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
London: Constable
Abstract
A summary of the resource.
Eric Gill carving a panel of St Mary, St Denys, and St George, Manchester Cathedral (1933). The carved stone panel depicts Mary holding the infant Christ whose arms are outstretched, and beneath Mary’s feet is a serpent.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/1a1969dcf84194c309b9fadd4c1bb7d7.jpg
ec7364973cfdccc1b00a562b290ac7e8
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's bookplate reproduced from Franz Toussaint, The Garden of Caresses
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
November 1934
Identifier
An unambiguous reference to the resource within a given context
Special Collections PJ7694 E3 TQ45 1934
Type
The nature or genre of the resource
Bookplates
Publisher
An entity responsible for making the resource available
London: The Golden Cockerel Press
Abstract
A summary of the resource.
A bookplate, also known as <em>ex librīs</em> [Latin, ‘from the books of...’], is usually a small print or decorative label pasted into a book, often on the inside front cover, to indicate its owner. Here is Gill’s bookplate, from his own copy of <em>The Garden of Caresses</em>, printed for subscribers only by The Golden Cockerel Press, November 1934.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/b53723b6cdb177a736cfdad41983e76b.jpg
d44f983497ad501eb2604be4058a3711
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
Robert Gibbings (1928-29) carving reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Inspired by Eric Gill’s completion of his sculpture ‘Mankind’, Gibbings began to sculpt and with immediate success; the sculpture he is ‘working on’ in this photographic image, taken for publicity, was his first. Gibbings was a natural and he had the added bonus of being able to seek advice and guidance from his friend Gill.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/eb382782f1c407b931b6a6304ff089ad.jpg
5c73c584e79bba246e3ef998fb00096a
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 and W. I. Burch]
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
[1929]
Identifier
An unambiguous reference to the resource within a given context
Special Collections
Type
The nature or genre of the resource
Separate sheet
Publisher
An entity responsible for making the resource available
___
Abstract
A summary of the resource.
Eric Gill guiding the hand of W.I. Burch, late Managing Director of the Monotype Corporation, 1929.
Engravings
Eric Gill
Robert Gibbings
Typography
-
https://ourheritage.ac.nz/files/original/9970d5f39e752470e74ed4e2f7bb913e.jpg
8374936ccca080ee45c8803426b4a102
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Elephants' by Robert Gibbings reproduced from Gustave Flaubert, Salambo
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1931
Identifier
An unambiguous reference to the resource within a given context
Special Collections PQ2246 S3 E5 1931. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: Golden Cockerel Press
Abstract
A summary of the resource.
Published in 1862, <em>Salambo</em> is set in Carthage in the third century BC. Gibbings was not a fan of his work for the 1931 Golden Cockerel Press edition of Gustave Flaubert’s work but he received positive reviews in the fine arts magazine, <em>Studio</em>. The engravings are described by the publication as having ‘dramatic boldness and grandeur’ and being virtually ‘perfect’ in combination with their placement and relationship to the text.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/d6412f97bb30011dc3e95459fd7896c2.jpg
bc5f48f7c3be363e4d028a9361774fc1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
'Cow' reproduced from Lovely is the Lee
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1945
Identifier
An unambiguous reference to the resource within a given context
Special Collections DA977 GD98. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
London: J.M. Dent and Sons
Abstract
A summary of the resource.
The River Lee has its source in the Sheehy Mountains in the west of County Cork and it flows east through the city of Cork itself – Gibbings thought Cork was the ‘loveliest city in the world’. Travelling to Ireland, to research<em> Lovely is the Lee</em>, gave Gibbings the chance to catch up with old friends and family and he was there, on and off, for a year.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/45ed2960f4f9cf8835b37eca9643959c.jpg
1113cf3528b2b105edd652c174166a27
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘Clear Waters’ (1920) reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Martin Andrews best describes Gibbings’s use of the ‘vanishing line technique’ in this early wood engraving: ‘Gibbings’s use of [the technique] reached full maturity with his first significant engraving of a figure, <em>Clear Waters</em> of 1920. Here the delicate outline of the body is never defined by a line other than the boundary of one area of highlight with that of shadow; the eye naturally completes the shape by implication and all unnecessary detail is eliminated – it is a lyrical image.’ Gibbings used the technique in much of his early work around the time when he started to become a serious contender in the art world.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/ed2b0b931be221daeb4a530ce24eab1f.jpg
d20962abec0b61f184836afb1fb2eb0c
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
Sweet Thames Run Softly
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1940
Identifier
An unambiguous reference to the resource within a given context
Special Collections DA670 T2 GD98. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Title pages
Publisher
An entity responsible for making the resource available
London: J. M. Dent & Sons
Abstract
A summary of the resource.
In early 1939 Gibbings felt he had travelled extensively over salt water and it was about time that he explored some fresh water closer to home – the Thames River. On deciding that he needed a boat to sleep on and store all his drawing and scientific equipment, he, along with some craftsmen, built one: the <em>Willow</em>. He set out from the source of the Thames at Lechlade in Gloucestershire in July 1939 and travelled down the river using a glass bottomed box to see and draw what was under the water. <em>Sweet Thames Run Softly</em> was ‘an immediate and surprising success’. It was reprinted at least eight times and eventually sold over 130,000 copies.
Engravings
Eric Gill
Robert Gibbings
Thames River
-
https://ourheritage.ac.nz/files/original/2630b036b820200d79381785de8b7da9.jpg
963d4593bcbb360801e297b3a9c7b405
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
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Special Collections, University of Otago
Dublin Core
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Title
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Iorana!: A Tahitian Journal
Creator
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Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1932
Identifier
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Special Collections DU870.2 G533 1932. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
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Books
Publisher
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Boston: Houghton Mifflin Company
Abstract
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<em>Iorana</em> was Gibbings’s first work completely self-written and illustrated. Described as ‘uncompromising, slightly bitter and often dark’ (Martin Andrews), <em>Iorana</em> is an imaginary tale based on his 1929 Tahitian travel diary. The print above is called <em>Padanus Grove, Tahiti</em> and was thought by Claire Leighton, fellow engraver and student of Noel Rooke, to typify Gibbings’s style. Andrews quotes Leighton as saying ‘His simple masses of black and white have extra solidity given them by the cross-hatching work with the graver [see tree trunks] which merges the black into the white with a grey’. Leighton believed Gibbings had an ‘exceptional cleanness of outline’. This signed first edition is number 71 of 385.
Engravings
Eric Gill
Pacific Area
Robert Gibbings
Tahiti