Eric Gill, A.R.A.

Thomas Agnew & Sons, London

The sheet is not laid down but is adhered to a backing card via two hinges at the top edge. There are pin holes visible in the bottom left corner, with very slight cockling to the sheet in the centre of the bottom edge. There is a small, possibly restored tear to the bottom left hand edge just below the title, with a further to the bottom right side of the extreme edge not visible in the present mount. There is a small fleck of staining just to the right of the bow tie, with further minor studio marks appearing elsewhere to the sheet. This excepting the work appears in excellent overall condition. Housed in a thin wooden frame, within a cream card mount behind glass.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Thomas Esmond Lowinsky (1892-1947) and his wife Ruth met Gill whilst the pair were studying at the Slade School of Art, London in the pre-World War One heyday alongside the likes of Spencer, Nevinson and Nash.  Of Jewish ancestry, Lowinsky served with the Scots Guards in France, and after his marriage became heavily involved within the Bloomsbury circle, developing a semi-surrealist style alongside his successful work as an illustrator.  It was through this illustration work that he and his wife became closely associated with Gill from 1924 onwards, discussing book production and typography, both subjects close to the artist’s heart.