1
25
75
-
https://ourheritage.ac.nz/files/original/a25448eecbd9c2a03b12cf79e6e5e1f0.jpg
5a0d98e1499b275d4e76f7707d49d0d4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opuscula Mythologica Physica et Ethica
Creator
An entity primarily responsible for making the resource
Thomas Gale
Date
A point or period of time associated with an event in the lifecycle of the resource
1688
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1688 G, Copy 2
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Henry] Wetstenium
Abstract
A summary of the resource.
Here is a copy of Gale's <em>Opuscula Mythologica Physica et Ethica</em> with the frontispiece placed on the left hand side and title page on the right.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/10aab62e1d3eac28a9de46bfd8079fe2.jpg
bcec6f5674e0c7b75326767107680ec8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opuscula Mythologica Physica et Ethica
Creator
An entity primarily responsible for making the resource
Thomas Gale
Date
A point or period of time associated with an event in the lifecycle of the resource
1688
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1688 G, Copy 1
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Henry] Wetstenium
Abstract
A summary of the resource.
The term frontispiece in books generally refers to a decorative or informative illustration facing the title page. Originally from the French frontispice (or the late Latin frontispicium, from the Latin frons (‘forehead’) and specere (‘to look at’)), it was first an architectural term, referring to the façade of a building. However, in the early print period, the convention was to often find the frontispiece on the recto page, where the title-page would normally be. Thus the terms frontispiece and the title-page, usually an engraved one, were treated synonymously. First mention of the frontispiece in English was in 1607 (OED), appearing in Henri Estienne’s World of Wonders. This book is one copy of Gale’s <em>Opuscula Mythologica Physica et Ethica</em> (1688) with the frontispiece sitting on the right hand side.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/426e6f6f4fc3a92b76bbbc913457965b.jpg
d46e8b2a659f6528b5e543e10e40ea8c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Londinopolis; An Historicall Discourse; or, Perlustration of the City of London
Creator
An entity primarily responsible for making the resource
James Howell
Date
A point or period of time associated with an event in the lifecycle of the resource
1657
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1657 H
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by J. Streater for Henry Twiford, [and others]
Abstract
A summary of the resource.
According to the OED, the phrase ‘title-page’ was born into English about 1600. Scholar Michael Saenger promotes the use of ‘front matter’, a catch-all phrase that encompasses title-page, epistles, dedicatory verse, and others, including the frontispiece. At this time of book production, ‘front matter’ not only advertised the book, increasingly a commodity, but it also gave readers entrée into the text. The frontispiece portrait of a rather casual James Howell (1594?–1666), an Oxford-trained historian and political writer, invites the reader into his work. It was engraved by Claude Mellan and Abraham Bosse and first prefixed to the French translation and printing of Howell’s <em>Dodona’s Grove</em> (1641). Its later use raises a question of plate ownership.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/c927e5d1599acbfd0745976bc17f319d.jpg
4b55cbe8099761a383a2e7432dc1a5d8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Agnes Miller Parker: Wood-engraver and Book Illustrator, 1895-1980
Creator
An entity primarily responsible for making the resource
Ian Rogerson
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Identifier
An unambiguous reference to the resource within a given context
Special Collections NE1147.6 P37 RQ33; Every effort has been made to trace copyright ownership and to obtain permission for reproduction. If you believe you are the copyright owner of an item on this site, and we have not requested your permission, please contact us at special.collections@otago.ac.nz
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Wakefield, West Yorkshire: Fleece Press
Abstract
A summary of the resource.
Here the frontispiece is where modern readers understand it to be, having 'moved to the left' about the early 17th century. Frequent use of the frontispiece is found in modern private press books, where the owner-operators usually choose an attractive image to ‘show off’ the contents; a method of enticing the reader. This Fleece Press production by Simon Lawrence is no exception, making use of Agnes Miller Parker’s excellent donkey engraving to draw one into the rest of the book, and her fine work.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/7350aa4be7871ad91d205125408750ea.jpg
a02d1d54727504318283eb1b4d038bd6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Book of Household Management: Also Sanitary, Medical, and Legal Memoranda
Creator
An entity primarily responsible for making the resource
Isabella Beeton
Date
A point or period of time associated with an event in the lifecycle of the resource
[1880]
Identifier
An unambiguous reference to the resource within a given context
Special Collections TX717 BD16 1880
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Ward Lock
Abstract
A summary of the resource.
Isabella Beeton (1836-1865) wrote in the preface of her <em>Book of Household Management</em>: ‘The coloured plates are a novelty not without value.’ This colourful lithographic frontispiece depicting cherries, apricots and peaches, grapes, oranges, and other such delectables, conveys at least the food side of her 1861 classic. As seen from the sub-titles on the title-page opposite the frontispiece, the book also contains information ranging from the ‘cook’, ‘valet’, and ‘maid-of-all-work’, to ‘sanitary, medical and legal memoranda.’
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/eb847b86ee9768b9772e5fdc9e81038a.jpg
b30a2d12f88d677383fca5ecc612e372
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Supplications of Saints: A Book of Prayers and Praises in Four Parts
Creator
An entity primarily responsible for making the resource
Thomas Sorocold
Date
A point or period of time associated with an event in the lifecycle of the resource
1672
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1672 S
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for Peter Parker
Abstract
A summary of the resource.
Thomas Sorocold (1562–1617) was an English clergyman, who wrote <em>Supplication of Saints</em>, an extremely popular devotional aid containing a meditation on Christ’s life, death, and passion. Because the book contains prayers by Queen Elizabeth, a frontispiece image of her is attached. While many pictures of good Queen Bess aimed to reflect her agelessness, or contained associated symbols, like the rose, this particular woodcut is rather primitive. Its use in this late 17th century publication is at odds with some of the more sumptuous frontispiece illustrations extant from the Elizabethan times onwards.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/8d93fd447b050c5fa25280611ab5d6af.jpg
ae6799065687f95d4066b192f002189b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Bible, that is, the Holy Scriptures conteined in the Old and New Testament
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1599
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1599 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: By the Deputies of Christopher Barker
Abstract
A summary of the resource.
The exact date that the frontispiece became a convention in printing and publishing is hard to pin down. Engraved title pages predate frontispieces, but confusingly some scholars use the terms ‘engraved title page’ and ‘frontispiece’ interchangeably. The Lutherans first used engraved title pages ‘as a means of pictorial propaganda’ in the early 16th century. They became a means to convey, in an aesthetically pleasing and usually symbolic way, the subject, title, and publication details of the book. This geometrically compartmentalised title page is from a Breeches or Geneva Bible. The tents of the twelve tribes are to the left; the twelve apostles are on the right; and the four evangelists, Matthew, Mark, Luke, and John, surround the heart enclosing the title.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/bb93dc666e94a3f3b8e120845148df78.jpg
b5a8fa25cc0f08f15c1628c73c45ac95
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Britannia
Creator
An entity primarily responsible for making the resource
[Willliam Camden]
Date
A point or period of time associated with an event in the lifecycle of the resource
1600
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1600 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[London: Printed at Eliot’s Court Press]
Abstract
A summary of the resource.
William Rogers (extant 1589-1604) was one of the most important English engravers of the Tudor period. Trained as a goldsmith, the engraving he executed for the fifth edition of William Camden’s seminal antiquarian work, <em>Britannia</em>, is full of symbolism. At the top, Britain, personified, sits on a rock with spear and standard in hand. The map of Britain, imprinted with the names of pre-Roman tribes, is flanked by Neptune and Ceres, depicting fertility on both land and sea. At the bottom, a ship, Stonehenge, Roman baths, and a church symbolise Britain’s formidable navy, her history, and strong Christian faith, respectively. Despite its position, to the right, this engraving is essentially a frontispiece, not a title page.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/9bd5d74335de38e7ec0999aa08946710.jpg
2e02a144ccd723b3a13f2dd6ef30aa35
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Vita di S. Marco Evangelista
Creator
An entity primarily responsible for making the resource
Giovanni Stringa
Date
A point or period of time associated with an event in the lifecycle of the resource
1610
Identifier
An unambiguous reference to the resource within a given context
De Beer Itb 1610 S
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Venice: Francesco Rampazetto]
Abstract
A summary of the resource.
The interior of St Mark’s Basilica in Venice is ornately decorated with mosaics. Described as a ‘marble carpet’, the floor features colourful geometric designs, and animal and human motifs. The frontispiece to this volume, which details the life of Saint Mark and a description of the Church, reads: ‘Pavimento Della Basilica Di S. Marco’ (‘Floor of St Mark’s Basilica). Despite being in the right place, to the left of the title page, this frontispiece was most probably not part of the original publication; its sheet size is different from the rest of the book. The volume has been rebound and the image has been added by the binder. This sort of human intervention offers another example of why it is so hard to determine the exact date of when frontispieces began to appear on the left.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e30981fe7e305cef047553e23f337a71.jpg
81f8197ae820694b619b8631f493d361
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sculptura: or The History, and Art of Chalcography and Engraving in Copper
Creator
An entity primarily responsible for making the resource
John Evelyn
Date
A point or period of time associated with an event in the lifecycle of the resource
1662
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1662 E
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by J.C. for G. Beedle [and others]
Abstract
A summary of the resource.
On 21 February 1661, the 17th century diarist John Evelyn learnt from the German soldier and amateur artist Prince Rupert (1619-1682) ‘how to grave in mezzo tinto.’ One result of this activity was Evelyn’s <em>Sculptura</em> (1662), which contained the first announcement of the art of mezzotint, and which was the first book on the history of engraving published in England. This work also contains an allegorical engraved frontispiece designed by Evelyn himself and engraved by Abraham Hertochs, the Dutch engraver. Evelyn’s seated girl represents the Graphic Arts; Geoffrey Keynes, his bibliographer, called the image ‘painfully banal’.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/9fa32786fbd0ab39a76fbc1ad1bb3e7e.jpg
24f4d2fb178a58c71a0f1c5df75544b3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Travels in China
Creator
An entity primarily responsible for making the resource
John Barrow
Date
A point or period of time associated with an event in the lifecycle of the resource
1804
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1804 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by A. Strahan for T. Cadell and W. Davies
Abstract
A summary of the resource.
John Barrow (1764-1848; later Sir John) travelled to China from 1792 to 1794 as part of the first British Embassy expedition. Not only does his <em>Travels to China</em> (1804) recount an early Western visit to that country, but it is also the first book on China to be illustrated by aquatint, a process that gives tonal effects to an image, like a wash of watercolour. William Alexander, also a member of the expedition, drew the portrait of ‘Van-ta-gin’ that forms this very colourful frontispiece. It was engraved by Thomas Medland (c.1765–1833), who also executed the other four aquatint illustrations in the book.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/9c9a3a1bcec36915a18679a1e2467146.jpg
24451b2c2fcd66159024b9a9f2eb2443
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Memoirs of Mrs. Siddons
Creator
An entity primarily responsible for making the resource
James Boaden
Date
A point or period of time associated with an event in the lifecycle of the resource
1827
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1827 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: H. Colburn
Abstract
A summary of the resource.
Like aquatint, mezzotint is another tonal process. It is technically a drypoint method, where the engraver works the design from a black ground to the highlights, not from a white ground to the black lines or shadows. By roughening, using a rocker, and scraping, which removes the burr, the velvety quality of the image is formed. Noticeably, much less impressions are made from mezzotint than other image-making processes. While there were many European exponents, it was also popular in England, becoming known as <em>la manière anglaise</em>. One English master was Charles Turner (1774-1857), who specialized in portraiture. Here he has worked his magic to form a frontispiece of ‘Mrs Siddons’ after a painting by Sir Thomas Lawrence.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/08f80f57e831a7cf9403e133da1ae0fd.jpg
ca437509df508ae688ad855e0bb24b17
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
De Christo Imitando: Contemnendisque Mundi Vanitatibus Libellus
Creator
An entity primarily responsible for making the resource
[Thomas à Kempis]
Date
A point or period of time associated with an event in the lifecycle of the resource
1685
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1685 D
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Cambridge: John Hayes]
Abstract
A summary of the resource.
The term ‘frontispiece’ emerged into the English language around the start of the 17th century. In an increasingly saturated book market, publishers had to make editions more attractive to the buying public. ‘Front matter’, of which frontispieces are a part, was a way of advertising and framing the content of the text that followed. There can be no doubt as to the topic of this book. Jesus stands within an architectural framework, in the doorway of the book so to speak, inviting the reader inside. <em>The Imitation of Christ</em>, by German priest Thomas à Kempis (1380-1471), is one of the most widely read Christian texts in history; it has gone through hundreds of editions. This particular volume was printed by John Hayes, Cambridge University Printer, in 1685.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/2a327f6f5f09c541c0c13c85c7c59ba0.jpg
4ec011f564abda8b4e8b381e581fc06d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resolves: Divine, Moral, Political
Creator
An entity primarily responsible for making the resource
Owen Feltham
Date
A point or period of time associated with an event in the lifecycle of the resource
1661
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1661 F
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for Peter Dring
Abstract
A summary of the resource.
Merchant and poet, Owen Feltham (c.1602-68) wrote the first part of his ethical and religious musings, <em>Resolves</em>, while still a teenager; it was first published in 1623. The frontispiece to this 1661 edition, albeit on the right hand side, is a reworking of that which appeared in the 1628 edition. The poem, to the left, provides an explanation for the symbolism in the engraving by Robert Vaughn (c.1600-64). Opinion and Ignorance have been anthropomorphised and are trying to pull the world down while Wisdom (<em>Sapientia</em>) and Truth (<em>Veritas</em>) pull it towards Heaven, and therefore Enlightenment. As Saenger (2006) states ‘The frontispiece emblematizes the spiritual dynamics with which the text is meant to engage the reader.'
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/53d55a8c9bfc88804775b7782dc357a9.jpg
f950407111cf55bbcb36eb5ec999ce02
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Companion for the Festivals and Fasts of the Church of England: With Collects and Prayers for Each Solemnity. Fifteenth edition
Creator
An entity primarily responsible for making the resource
Robert Nelson
Date
A point or period of time associated with an event in the lifecycle of the resource
1732
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1732 N
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for J. Walthoe
Abstract
A summary of the resource.
Robert Nelson’s (1656-1715) <em>Companion</em> is a catechetic work intended for use as a guide to the ‘Festivals and Fasts of the Church of England’. The frontispiece of this edition shows two Saints of the Church in the act of martyrdom. In the foreground, Stephen, who was falsely accused of blasphemy, is being stoned to death; and in the background, James the Greater, one of Jesus’ Apostles, is being beheaded by Herod Agrippa (11BC- 44AD). Above both of these scenes, angels appear holding crowns and palms, to be bestowed on the martyrs as they make their ascension into the Kingdom of God. This engraving, by Flemish engraver Michael van der Gucht (1660-1725), is a reworking of the same from a previous edition.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/c186f4a64d0170acd1ee623ee1dc7020.jpg
604b289afe130910f6bb788d51dc70aa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scripta in Naturali et Universali Philosophia
Creator
An entity primarily responsible for making the resource
Francis Bacon
Date
A point or period of time associated with an event in the lifecycle of the resource
1653
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1653 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Elzevir]
Abstract
A summary of the resource.
The diarist Samuel Pepys (1633-1703) was a book collector of note, amassing a library of 3,000 volumes that is still extant at Magdalene College, Cambridge. He also collected ‘frontispieces’; some 888 are listed in the <em>Catalogue of the Pepys Library, Vol. III Prints and Drawings</em> (1980). Pepys, like others at the time, did not differentiate between ‘frontispiece’ and engraved title-page; they lumped them together. Special Collections has 14 identified ‘frontispieces’ owned by Pepys. The 1653 Elzevir edition of Bacon is no. 36, described by him as ‘three male figures standing round a globe on a pedestal (with title).’
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/749eebf9b97e460015e04fcfa935b960.jpg
952647f5021bf418e17d546c688bba58
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opera
Creator
An entity primarily responsible for making the resource
Cyprian
Date
A point or period of time associated with an event in the lifecycle of the resource
1682
Identifier
An unambiguous reference to the resource within a given context
De Beer Ed 1682 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Oxford: Sheldonian Theatre]
Abstract
A summary of the resource.
The sheet from the large format Cyprian in Pepys collection at Magdelene College, Cambridge is described by Pepys as a ‘frontispiece'. It is listed as no. 201 in <em>Catalogue of the Pepys Library, Vol. III Prints and Drawings</em> (1980). This Special Collections' copy shows a glade in a wood, with soldiers and civilians; in the foreground St Cyprian stands blindfolded with hands in prayer; behind, a warrior prepares to strike him with a sword; above, Fame, in an oval ray of light, extends a laurel wreath.’ Drawn by Wilhelm Sonmans, the image was engraved by Michael Burghers (c.1647–1727), a Dutch artist who lived in England.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/23ac25ca512b141bec7b91671e71e08e.jpg
a3bbf8ed11e8ca49dde68890c8a02191
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Essay on the First Book of T. Lucretius Carus De Rerum Natura
Creator
An entity primarily responsible for making the resource
John Evelyn
Date
A point or period of time associated with an event in the lifecycle of the resource
1656
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1656 L
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for Gabriel Bedle and Thomas Collins
Abstract
A summary of the resource.
The Czech engraver Wenceslaus Hollar (1607–1677) lived in England and became one of the best artists of his time. He was prolific, executing some 400 drawings and 3000 etchings. He engraved the allegorical frontispiece to John Evelyn’s <em>Essay on the First Book of T. Lucretius</em>, its first appearance in English. The frontispiece was designed by Mary, Evelyn’s wife. Evelyn had training as a draftsman and he must have given her some instruction on composition. Although the head in profile in the wreathed medallion is supposed to be Lucretius, it is, as commentators have noted, very much like Evelyn himself.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e0975126b3c7871c23806a68eb992f06.jpg
836abb720631c687990281b4e0bba56f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Anatomy of Melancholy
Creator
An entity primarily responsible for making the resource
Robert Burton
Date
A point or period of time associated with an event in the lifecycle of the resource
1628
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1628 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Oxford: Printed for Henry Cripps
Abstract
A summary of the resource.
Although placed on the right, this engraved ‘frontispiece’, so termed by Robert Burton (1577-1640) himself, depicts a wealth of symbolic information on his classic ‘melancholy’ text. First published in 1621, <em>Anatomy</em> was written to get Burton out of a bout of depression. The work also contained a poem explaining the ‘frontispiece’, which was engraved by Christian Le Blon. The engraver must have known Burton’s intricate text well, because each of the ten panels depict symbols and emblems that relate closely to the content.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/49039cf367daeae8ad2f1e8a7c7d2872.jpg
61e20d36e9f62cd5ed11b7b5348e8971
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Anatomy of Melancholy
Creator
An entity primarily responsible for making the resource
Robert Burton
Date
A point or period of time associated with an event in the lifecycle of the resource
1866
Identifier
An unambiguous reference to the resource within a given context
Shoults Eb 1866 B
Type
The nature or genre of the resource
Pamphlets
Publisher
An entity responsible for making the resource available
London: William Tegg
Abstract
A summary of the resource.
Special Collections' third edition of Burton's <em>Anatomy of Melancholy</em> (1628) lacks the explanatory poem, here is the 1866 printed version, offering descriptions and meanings to many of the emblems and symbols used: e.g. Frame II: Jealousy, including a kingfisher and a swan.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/17f71f58cf5e7daa7dc936a9846df577.jpg
ca73e6dd97211169a75c383072cf1612
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
An Impartial Collection of the Great Affairs of State, from the Beginning of the Scotch Rebellion in the MDCXXXIX. to the Murther of King Charles I
Creator
An entity primarily responsible for making the resource
John Nalson
Date
A point or period of time associated with an event in the lifecycle of the resource
1682
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1682 N
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for S. Mearne, [and others]
Abstract
A summary of the resource.
This fine line engraved frontispiece was executed by Robert White (1645-1703), a prolific artist, who was primarily a portrait engraver. Although readers of this book would have understood the meaning of the emblems and symbols used, there is an accompanying poem ‘The Mind of the Frontispiece’ that hammers home the perceived calamity and chaos in England up to the beheading of King Charles. Depicted are Janus-like priests, a cloven foot stamped on the Bible, a mitre, crown, and diadem (all representing regal power or dignity) thrown to the ground, the Royal coat of arms upside down, and a ‘forlorn’ ‘Britania’ (sic) crying. The only thing missing in this elaborate frontispiece are the Egyptian Frogs!
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/457f97ffa42a24b93948eda60119b36a.jpg
df46e97e58ba5eff7f6a4d09dae05ff5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Arriani Nicomedensis Expeditionis Alexandri Libri Septem et Historica Indica
Creator
An entity primarily responsible for making the resource
[Arrian of Nicomedia]
Date
A point or period of time associated with an event in the lifecycle of the resource
1757
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1757 A
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam]: Apud Wetstenium
Abstract
A summary of the resource.
If you were lucky enough to be educated in the 18th century, Classical Studies would have featured heavily in the curriculum. Most modern-day readers of this volume of Arrian’s (1st cent. AD) <em>Anabasis</em> of Alexander the Great’s conquests (4th cent. BC) would have to resort to <em>Google</em> to decipher the imagery in the frontispiece. Victory, personified, stands upon the peoples Alexander has vanquished – the Persians, the Egyptians, the Punjabis. The scene in the distance represents his Siege of Tyre, now in Turkey. Alexander, a military genius, built a mole or pier upon which to stand his siege towers. He breached the heavily fortified walls of the castle built on the island and conquered the city-state – ‘Tyre was his [military] masterpiece’ (Cartledge, 2004).
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/eb9db9b0a4b7b0ab11b4863d9ccb6f45.jpg
dd3ff52f2384ea049299060c55512231
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Q. Horatius Flaccus. Third edition
Creator
An entity primarily responsible for making the resource
Edited by Richard Bentley
Date
A point or period of time associated with an event in the lifecycle of the resource
1728
Identifier
An unambiguous reference to the resource within a given context
De Beer Lc 1728 H
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam]: Apud Rod. & Jacob. Wetstenios & Guil. Smith
Abstract
A summary of the resource.
This frontispiece, from Richard Bentley’s 1728 edition of Roman lyric poet Horace’s works, is full of symbolism and imagery. A bust of Horace (65-8 BC) sits on a plinth centre stage; and on the right stands Apollo, the god of lyric poetry (among other things), recognisable from his long hair, lyre, laurel wreath, and bow and arrows. On the left, Euterpe, one of the nine Muses, crouches, grasping her signature flute. On the far right, the god Pan, associated with rustic music, in his guise as a satyr with his goat hooves and horns, is embraced by a cherub who removes his theatre mask. Dutch artist Jan Goeree (1670-1731) was responsible for drawing the image after which the engraving was made for printing.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/6154ea1a8e2f8fa3df54d725a57efa64.jpg
1f613e14ccb2703bd4581dbb07b53430
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Argonautics of Apollonius Rhodius, in Four Books
Creator
An entity primarily responsible for making the resource
Francis Fawkes
Date
A point or period of time associated with an event in the lifecycle of the resource
1780
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1780 A
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for J. Dodsley
Abstract
A summary of the resource.
There can be no doubt that the image to the left of the title page of this volume of Apollonius’s <em>Argonautics</em> is a frontispiece – it is labelled as such. The scene most probably depicts Jason leaving Queen Hypsipyle and the island of Lemnos. The engraving from the artwork of one ‘W. Hamilton’ is by Charles Grignion (1721-1810). After training in Paris and London, Grignion embarked upon a career as an historical artist and engraver. His early style is characterised as ‘energetic’, ‘elegant’, ‘bold’ and original’; the ODNB describes him as having a ‘light draughtsmanlike style in the French tradition’. Engraving well into his 80s, Grignion’s style suffered with old age and he died in poverty. Despite this, he is thought to be the ‘Father and Founder of the English School of Engraving’.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/19acc195a719654881b822a6aeaf8f45.jpg
978190c6d46a7999a88614eada42659b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
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Special Collections, University of Otago
Dublin Core
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Title
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Angliae Notitia: or the Present State of England. The First Part. Fifteenth Edition
Creator
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Edward Chamberlayne
Date
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1684
Identifier
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De Beer Eb 1684 C
Type
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Books
Publisher
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London: Printed for T. Sawbridge, and G. Wells
Abstract
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Edward Chamberlayne (1616-1703) first published his <em>Present State of England</em> in 1669; another two editions followed in the same year. The book is a record of every aspect of English society, and described as a ‘strong monarchist panegyric’. Over 30 editions were printed within 100 years, and each editon's frontispiece engravings represented a change, or not, of monarch. In 1684, Charles II (1630-85) was king after the Restoration in 1660. He is flanked by the two men who filled the highest-ranking offices in the Kingdom: on the left William Sancroft (1617-93), the Archbishop of Canterbury (left), and on the right, Francis North, Lord Keeper of the Great Seal, who holds the purse in which he keeps the actual Seal.
Engravings
Frontispieces