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| GailsArt.com |
| Illuminated Manuscripts |
Text, artwork, and calligraphy are all
by me. The lettering and also some of
the designwork are done in India ink.
Other media used are pigment inks,
metallic inks, Prismacolor pencil and
watercolor.
Incorporated into the detailed overall
decoration are numerous Celtic-style
interlacings, which weave over and
under themselves and back to their
own beginning in a neverending single
line - a fitting symbol for marriage.
(The original of this piece is not
currently available.)
1088-P LOVE & MARRIAGE Print
Limited edition of only 100, printed
using state-of-the-art Giclee process,
on Hahnemuhle 100% cotton rag.
Image size same as the original (11" x
8"). Each print is signed and
numbered by hand. Paper size 14" x
11".
$60
(No shipping or handling fee to US
addresses. For other locations, please
contact me at gailcoppock@gmail.com
by me. The lettering and also some of
the designwork are done in India ink.
Other media used are pigment inks,
metallic inks, Prismacolor pencil and
watercolor.
Incorporated into the detailed overall
decoration are numerous Celtic-style
interlacings, which weave over and
under themselves and back to their
own beginning in a neverending single
line - a fitting symbol for marriage.
(The original of this piece is not
currently available.)
1088-P LOVE & MARRIAGE Print
Limited edition of only 100, printed
using state-of-the-art Giclee process,
on Hahnemuhle 100% cotton rag.
Image size same as the original (11" x
8"). Each print is signed and
numbered by hand. Paper size 14" x
11".
$60
(No shipping or handling fee to US
addresses. For other locations, please
contact me at gailcoppock@gmail.com
Lettered in Old English and Uncial
scripts, this song of David is from
the Old Testament. The knotwork
and intricate geometric designs are
entirely original but inspired by The
Book of Kells and other medieval
manuscripts.
The image size of the original is 12"
x 8" and the media employed are
India ink, pigment inks, gold metallic
ink and watercolor, on d'Arches 140
lb hot press 100% rag watercolor
paper.
(The original is not currently
available.)
474-P 23rd PSALM Print
Limited edition of 250 prints,
individually signed and numbered.
Image size same as original (12" x
8"). Paper size 17" x 11" .
$45
scripts, this song of David is from
the Old Testament. The knotwork
and intricate geometric designs are
entirely original but inspired by The
Book of Kells and other medieval
manuscripts.
The image size of the original is 12"
x 8" and the media employed are
India ink, pigment inks, gold metallic
ink and watercolor, on d'Arches 140
lb hot press 100% rag watercolor
paper.
(The original is not currently
available.)
474-P 23rd PSALM Print
Limited edition of 250 prints,
individually signed and numbered.
Image size same as original (12" x
8"). Paper size 17" x 11" .
$45
The central text of this piece is the well known passage from Shakespeare's "Hamlet" wherein Polonius advises
his departing son,"This above all: to thine own self be true and it must follow as the night the day, that thou canst
not then be false to any man." The miniature watercolor paintings in the upper and lower areas correspond to the
day and night referred to in this speech.
Woven into the overall design are six additional passages addressing the theme of personal authenticity.
Included are quotations from Lao Tse, Euripides, Chaucer, Wittier, Lessing and Thoreau, spanning 2400 years.
A further expression of the overall theme is found in the Celtic knotwork designs in which a single line weaves
over and under itself and back to its beginning, a fitting symbol for personal integrity.
Image size 11 5/8" x 8 3/8". The original is done in India ink, pigment inks, metallic inks, watercolor and 23-1/2k
pearl gold on d'Arches 140 lb hot-pressed 100% rag paper.
(The original is not currently available.)
438-P THIS ABOVE ALL Print
Limited Edition Print (250 prints total). Each one is individually signed and numbered. Image size same as
original. Paper size 14 1/4" x 11"
$45
his departing son,"This above all: to thine own self be true and it must follow as the night the day, that thou canst
not then be false to any man." The miniature watercolor paintings in the upper and lower areas correspond to the
day and night referred to in this speech.
Woven into the overall design are six additional passages addressing the theme of personal authenticity.
Included are quotations from Lao Tse, Euripides, Chaucer, Wittier, Lessing and Thoreau, spanning 2400 years.
A further expression of the overall theme is found in the Celtic knotwork designs in which a single line weaves
over and under itself and back to its beginning, a fitting symbol for personal integrity.
Image size 11 5/8" x 8 3/8". The original is done in India ink, pigment inks, metallic inks, watercolor and 23-1/2k
pearl gold on d'Arches 140 lb hot-pressed 100% rag paper.
(The original is not currently available.)
438-P THIS ABOVE ALL Print
Limited Edition Print (250 prints total). Each one is individually signed and numbered. Image size same as
original. Paper size 14 1/4" x 11"
$45
AMOR VINCIT OMNIA - Latin for "Love conquers all."
This 6 1/2" x 6 1/2" piece was drawn on parchment paper using India ink, metallic ink, Prismacolor
pencils and pigment inks.
The original is already SOLD, but framed prints as well as mugs, notecards, T-shirts - and even
baby onesies! - are available:
This 6 1/2" x 6 1/2" piece was drawn on parchment paper using India ink, metallic ink, Prismacolor
pencils and pigment inks.
The original is already SOLD, but framed prints as well as mugs, notecards, T-shirts - and even
baby onesies! - are available:
BENEDICTION (Numbers 6:24-6, Old Testament)
The text of this ancient blessing is written in Old English script in sepia ink. Other media used are pigment inks, gold metallic ink and
watercolor. The 9 7/8" x 6" original piece is on acid-free 140 lb. 100% rag d'Arches watercolor paper. The detailed designs, especially
the knot work, were inspired by the "carpet" pages of the Book of Kells (8th century Irish illuminated manuscript created at the
monastery on the island of Iona, then later moved to the monastery at Kells for safety from raiders. It is now at Trinity College, Dublin.
(I would love to have the honor of viewing it in person ! .... some day).
The original is double matted with an antique gold matte finish liner and dark green top mat with fine lines in black and metallic gold that
make it look like granite. The outside dimensions of the elaborately carved gilt frame are 19 7/8" x 16 7/8". The glazing is plexiglas.
$775
440-P BENEDICTION Print
Limited edition of 250 prints total: same image size as original. Paper size 14" x 11" . Print is rolled gently and shipped in a sturdy
mailing tube.
$45
The text of this ancient blessing is written in Old English script in sepia ink. Other media used are pigment inks, gold metallic ink and
watercolor. The 9 7/8" x 6" original piece is on acid-free 140 lb. 100% rag d'Arches watercolor paper. The detailed designs, especially
the knot work, were inspired by the "carpet" pages of the Book of Kells (8th century Irish illuminated manuscript created at the
monastery on the island of Iona, then later moved to the monastery at Kells for safety from raiders. It is now at Trinity College, Dublin.
(I would love to have the honor of viewing it in person ! .... some day).
The original is double matted with an antique gold matte finish liner and dark green top mat with fine lines in black and metallic gold that
make it look like granite. The outside dimensions of the elaborately carved gilt frame are 19 7/8" x 16 7/8". The glazing is plexiglas.
$775
440-P BENEDICTION Print
Limited edition of 250 prints total: same image size as original. Paper size 14" x 11" . Print is rolled gently and shipped in a sturdy
mailing tube.
$45
| All images copyright Gail Coppock 1990-2012 |
A LITTLE BACKGROUND:
When I first came across images
of the illuminated manuscripts that
were produced in monasteries in
the British Isles as early as the
800's, I was immediately taken
with the sumptuousness of design
and color. At the time, it did not
yet occur to me that it was a bit
ironic that monks living within
damp, bone-chilling stone walls,
with the most meager of creature
comforts, could be inspired to
create some of the most
intricately-designed, luminously
painted manuscripts of the
Western world. All I knew was that
they made me want to make my
own "carpet" pages of geometric
patterns, continuous-line knotwork
and zoomorphic shapes.
Eager to take my own
handlettering, which I'd been
doing since 1978, to a different
level by incorporating these
ancient design ideas, I studied
facsimiles of old illuminated
manuscripts to learn the principles
of Celtic interlacing - poring over
whatever images I could find on
the internet and in the local library
- so that I could create my own
original knotwork designs.
This process led to my becoming
more aware of the geometric
patterns and shapes all around
me - from the embossing on a
paper napkin in a diner, to the
Greek-inspired design on the
linoleum floor of a funky little
beach house we rented, to the
beautiful Moorish mosaics
featured on a Smithsonian
magazine cover.
At first the complexity of Celtic
knotwork was a bit daunting: how
to create a decorative design that
not only stands on its own with
aesthetic integrity but is also true
to the principle of the neverending
line which crosses over and under
itself and eventually back to its
own beginning. After a while,
though, it started to become part
of me. It was an "aha" experience
that gave rise to a whole new, and
very fulfilling, mode of visual
expression for me.
New, yes, but also very old. Many
times I have visited in my mind
the ascetic calligraphers of
hundreds of years ago, working in
their scriptoria: those monks
whose rich imagination lead to the
ethereal, illuminated pages that
might never be equaled. And
always I am in awe of - and
forever indebted to - their creative
vision as well as the example of
their exquisitely careful execution.
- Gail
When I first came across images
of the illuminated manuscripts that
were produced in monasteries in
the British Isles as early as the
800's, I was immediately taken
with the sumptuousness of design
and color. At the time, it did not
yet occur to me that it was a bit
ironic that monks living within
damp, bone-chilling stone walls,
with the most meager of creature
comforts, could be inspired to
create some of the most
intricately-designed, luminously
painted manuscripts of the
Western world. All I knew was that
they made me want to make my
own "carpet" pages of geometric
patterns, continuous-line knotwork
and zoomorphic shapes.
Eager to take my own
handlettering, which I'd been
doing since 1978, to a different
level by incorporating these
ancient design ideas, I studied
facsimiles of old illuminated
manuscripts to learn the principles
of Celtic interlacing - poring over
whatever images I could find on
the internet and in the local library
- so that I could create my own
original knotwork designs.
This process led to my becoming
more aware of the geometric
patterns and shapes all around
me - from the embossing on a
paper napkin in a diner, to the
Greek-inspired design on the
linoleum floor of a funky little
beach house we rented, to the
beautiful Moorish mosaics
featured on a Smithsonian
magazine cover.
At first the complexity of Celtic
knotwork was a bit daunting: how
to create a decorative design that
not only stands on its own with
aesthetic integrity but is also true
to the principle of the neverending
line which crosses over and under
itself and eventually back to its
own beginning. After a while,
though, it started to become part
of me. It was an "aha" experience
that gave rise to a whole new, and
very fulfilling, mode of visual
expression for me.
New, yes, but also very old. Many
times I have visited in my mind
the ascetic calligraphers of
hundreds of years ago, working in
their scriptoria: those monks
whose rich imagination lead to the
ethereal, illuminated pages that
might never be equaled. And
always I am in awe of - and
forever indebted to - their creative
vision as well as the example of
their exquisitely careful execution.
- Gail
Shipping to US
addresses is FREE
Prints will be
shipped in sturdy
mailing tubes.
addresses is FREE
Prints will be
shipped in sturdy
mailing tubes.
"Let there be peace on earth, and let it begin with me," from a song by Jill Jackson and Sy Miller, lyrics
used with kind permission from Jan-Lee Music . To hear the song sung , go to You Tube and type in
the title; there are many different versions to listen to.
The original piece was drawn and painted with ink and watercolor on sheepskin vellum. It is carpeted
with intricate hand drawn Celtic style interlacings, mandalas, and geometric patterns. Image size 8 1/4"
x 10 3/4". It is double matted with an antique gold matte finished liner and off-white stucco textured top
mat. The outside dimensions of the antique gold, beaded frame are 19 1/2" x 24 1/2".
1182-P PEACE Print
Limited edition of 250, each one individually signed and numbered. Paper size 11" x 17" $45
used with kind permission from Jan-Lee Music . To hear the song sung , go to You Tube and type in
the title; there are many different versions to listen to.
The original piece was drawn and painted with ink and watercolor on sheepskin vellum. It is carpeted
with intricate hand drawn Celtic style interlacings, mandalas, and geometric patterns. Image size 8 1/4"
x 10 3/4". It is double matted with an antique gold matte finished liner and off-white stucco textured top
mat. The outside dimensions of the antique gold, beaded frame are 19 1/2" x 24 1/2".
1182-P PEACE Print
Limited edition of 250, each one individually signed and numbered. Paper size 11" x 17" $45
Click on any image for an enlarged view. Then click again for a really detailed image. |
Updated 1-9-12
The text of this piece is from the
well-loved Robert Frost poem, The
Road Not Taken, which begins, "Two
roads diverged in a yellow wood ..." -
hence the watercolor leaf motif and
autumnal color scheme.
The central design, done in carefully
drawn Celtic knot work, represents the
four cardinal directions, apropos of
deciding in which direction to go.
The original is sold, but posters,
framed prints and other items with this
image can be purchased at my Cafe
Press store.
well-loved Robert Frost poem, The
Road Not Taken, which begins, "Two
roads diverged in a yellow wood ..." -
hence the watercolor leaf motif and
autumnal color scheme.
The central design, done in carefully
drawn Celtic knot work, represents the
four cardinal directions, apropos of
deciding in which direction to go.
The original is sold, but posters,
framed prints and other items with this
image can be purchased at my Cafe
Press store.
LOVE & MARRIAGE
THE ROAD NOT TAKEN
THE TWENTY-THIRD PSALM
TO THINE OWN SELF BE TRUE
gailcoppock@gmail.com
SEIZE THE DAY!
Items featuring this
"Carpe Diem" image
are available at my
CafePress store.
(Mugs, note cards,
prints, calendars,
framed tiles, T shirts,
baby onesies .... all
kinds of stuff!
Items featuring this
"Carpe Diem" image
are available at my
CafePress store.
(Mugs, note cards,
prints, calendars,
framed tiles, T shirts,
baby onesies .... all
kinds of stuff!
FOR NOTECARDS, AS WELL AS A BUNCH OF OTHER PRODUCTS, SUCH AS
TILES, MUGS, AND EVEN T-SHIRTS - PRINTED WITH THESE ILLUMINATED
CALLIGRAPHY IMAGES - PLEASE VISIT MY CAFE PRESS SHOP. THANKS!!
TILES, MUGS, AND EVEN T-SHIRTS - PRINTED WITH THESE ILLUMINATED
CALLIGRAPHY IMAGES - PLEASE VISIT MY CAFE PRESS SHOP. THANKS!!
