advertisement for the Orient Line
Print
ca. 1935 (made)
ca. 1935 (made)
| Artist/Maker | |
| Place of origin |
Robert Gibbings had earlier produced fourteen wood engravings for the Orient Line, in 1923, in exchange for free passage on their cruiser to the West Indies. Throughout his life he produced commercial work alongside his book illustrations, ranging from book tokens to printers devices. He was even described by a contemporary as bringing about a revival in wood engraving for advertising through his 1920 Matineé cigarette advertisements. Following his experience of working with Eric Gill at the Golden Cockerel Press, Gibbing's work, as shown here, demonstrated their shared belief that wood engravings designed to be printed with type must have the same 'unit of texture' and be black line engravings.
Object details
| Categories | |
| Object type | |
| Title | advertisement for the Orient Line (generic title) |
| Materials and techniques | Wood-engraving, paper |
| Brief description | Proof of a design for an advertisement issued by the Orient Line by Robert Gibbings (1889-1958). Wood engraving, ca. 1935. |
| Physical description | Poster in black and white depicting two men sitting on the word 'no' (one on the N, the other on the O), looking out to see at a cruise liner going past, advertising the Orient Line. The poem 'No / better physick / for a melancholy / man, than change / of air, and veriety / of places, to travel / abroad and see / fashions. / Burton, Anatomy of Melancholy.' Signed 'Robert Gibbings,' in pencil. |
| Dimensions |
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| Marks and inscriptions |
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| Credit line | Given by Robert Gibbings. |
| Subjects depicted | |
| Association | |
| Summary | Robert Gibbings had earlier produced fourteen wood engravings for the Orient Line, in 1923, in exchange for free passage on their cruiser to the West Indies. Throughout his life he produced commercial work alongside his book illustrations, ranging from book tokens to printers devices. He was even described by a contemporary as bringing about a revival in wood engraving for advertising through his 1920 Matineé cigarette advertisements. Following his experience of working with Eric Gill at the Golden Cockerel Press, Gibbing's work, as shown here, demonstrated their shared belief that wood engravings designed to be printed with type must have the same 'unit of texture' and be black line engravings. |
| Bibliographic reference | Victoria & Albert Museum Department of Engraving, Illustration and Design & Department of Paintings Accessions 1934 London: Published under the Authority of the Board of Education, 1935 |
| Collection | |
| Accession number | E.2209-1934 |
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| Record created | June 30, 2009 |
| Record URL |
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