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original drawing for the line etching
Pen and ink over pencil, 5 7/8 x 4 1/8 ins. (15 x 10.5 cms.)
Provenance: Sir Hugh Willatt, the artist's husband
The Expulsion was produced during Gibbs' last year at the Royal College of Art - the year she was awarded the Rome Scholarship in Engraving. Her prints of this period are amongst the most outstanding produced by any of the Rome Scholars. Like so many of her colleagues in Rome, she was, ironically, more influenced by the Northern Italian quattrocento artists than by either the Classical or Baroque tradition of Southern Italy. The Expulsion is recorded as having been produced in an edition of 40, though its scarcity suggests not all were printed.
We are grateful to Pauline Lucas for her assistance in cataloguing this drawing.
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Signed, dated and inscribed with title
Pen and ink over pencil, 5Q X 6E ins. (14 X 17 cms.)
Evelyn Gibbs was the 1929 British School at Rome Scholar in Engraving. The Departure, 1928, is one of Gibbs' most evocative pre-Rome images. The monumentality of the figures owes as much to J. F. Millet as it does to the Italian Primitives. Gibbs reworked the composition of The Departure in her first Rome etching, Morning, (January 1930), which shows two figures and a child, the man setting off to work in the sunlit fields beyond their gate.
For The Departure, Gibbs initially indicated an edition of 50, then reduced it to 40. Probably she printed far fewer. We are grateful to Pauline Lucas for her assistance.
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Signed, dated and numbered 1/50
Etching, 5Q X 6E ins. (14 X 17 cms.)
Evelyn Gibbs was the 1929 British School at Rome Scholar in Engraving. The Departure, 1928, is one of Gibbs' most evocative pre-Rome images. The monumentality of the figures owes as much to J. F. Millet as it does to the Italian Primitives. Gibbs reworked the composition of The Departure in her first Rome etching, Morning, (January 1930), which shows two figures and a child, the man setting off to work in the sunlit fields beyond their gate.
For The Departure, Gibbs initially indicated an edition of 50, then reduced it to 40. Probably she printed far fewer.
We are grateful to Pauline Lucas for her assistance.
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