{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O592639"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O592639/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2018KY5372/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2018KY5372/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2018KY5372","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O592639/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O592639","accessionNumber":"E.1229-1952","objectType":"Wood engraving","titles":[{"title":"St. Thomas's Hands","type":"assigned by artist"}],"summaryDescription":"Eric Gill (1882-1940) was a British engraver, author, typographic designer and sculptor who played a pivotal role in the development of modern British sculpture. His work adorns some of the nation's most notable public buildings, including Westminster Cathedral and Broadcasting House. He has become a controversial figure following the 1989 publication of a revelatory biography by Fiona MacCarthy. Nearly 50 years after his death, it emerged that Gill had kept diaries detailing his shocking acts of sexual abuse, incest and bestiality.","physicalDescription":"Wood-engraving","artistMakerPerson":[{"name":{"text":"Eric Gill","id":"A4651"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[{"name":{"text":"The Golden Cockerel Press","id":"AUTH316809"},"association":{"text":"publisher","id":"x32600"},"note":""}],"artistMakerPeople":[],"materials":[{"text":"printing ink","id":"AAT187371"}],"techniques":[{"text":"wood engraving","id":"AAT53303"}],"materialsAndTechniques":"wood-engraving","categories":[{"text":"Illustration","id":"THES48938"},{"text":"Prints","id":"THES48903"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2018KY5372"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLD","id":"THES49658"},"free":"","case":"94","shelf":"D","box":"27.H"}],"partTypes":[[{"text":"print","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1926","earliest":"1926-01-01","latest":"1926-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Given by Mrs Mary Gill, widow of the artist","dimensions":[{"dimension":"Height","value":"1.375","unit":"in","qualifier":"","date":{"text":"1952","earliest":"1952-01-01","latest":"1952-12-31"},"part":"","note":""},{"dimension":"Width","value":"1.625","unit":"in","qualifier":"","date":{"text":"1952","earliest":"1952-01-01","latest":"1952-12-31"},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"Eric Gill. St. Thomas's Hands. 1926.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Mr. J. F. Physick, <u>Victoria and Albert Museum, Department of Engraving, Illustration and Design and Department of Paintings, Accessions 1952 Volume II: The Engravings of Eric Gill</u>, London, Her Majesty's Stationery Office, 1960:\r\n\r\nThe full text of the record is as follows:\r\n\r\n<b>'1926  </b>\r\n<b>\r\n382 </b>\r\n\r\nSt. Thomas's Hands. (102) Proof of a design for the title-page to <i>Id Quod Visum Placet </i>(E.R.G.I I) by the artist, printed by the Golden Cockerel Press for the author, Capel-y-ffm, Abergavenny, 1926. The block was subsequently used for illustration on the title-pages to <i>Christianity and Art</i> (E.R.G.I3) by the artist, printed by the Shakespeare Head Press, Stratford-upon-Avon, for Francis Walterson, Capel-y-ffin, 1928; <i>Art & Love</i> (E.R.G.I4) by the artist, printed by the Golden Cockerel Press, for Douglas Cleverdon, Bristol, 1928; <i>Art & Prudence</i> (E.R.G.I5) by the artist, No.61 of the publications of the Golden Cockerel Press, 1928; <i>The Future of Sculpture</i> (E.R.G.I6) by the artist, printed by the Lanston Monotype Corporation Ltd., for the author, Pigotts, North Dean, near Speen, Buckinghamshire, 1928;<i> Engravings by Eric Gill</i> (E.R.G.I7), with a preface by the artist, printed by the Fanfare Press, London, published by Douglas Cleverdon, Bristol, 1929; <i>Art and Manufacture</i> (E.R.G.I9) by the artist, printed by the Fanfare Press, London, for the New Handworkers’ Gallery, London, 1929; <i>Clothing without Cloth</i> (E.R.G.20) by the artist, Golden Cockerel Press publication No.75, 1930; <i>Beauty looks after Herself </i>(E.R.G.24) by the artist, published by Messrs. Sheed & Ward Ltd., London and New York, 1933; <i>The Lord’s Song</i> (E.R.G.26) a sermon by the artist, Golden Cockerel Press publication No.92, 1934.\r\n<i>Lettered</i> Veritas.<i> Inscribed in pencil on the mount by the artist</i> Device for Title Page & Initials for “Id quod visum placet” (for the initials see No. 194) a few proofs (5) only for sale 2/6 <i>and numbered</i> 102.\r\n<i>Wood-engraving.</i>\nE.1229-1952\r\nNote: For a later version of this design, No.579, see E.1619-1952.'"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.1229-1952"],"accessionNumberNum":"1229","accessionNumberPrefix":"E","accessionYear":1952,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-12-11","recordCreationDate":"2009-06-30","availableToBook":false}}