2
25
5221
-
https://ourheritage.ac.nz/files/original/4c8022a7da1a33d3dab2634d725c65fb.jpg
9292f50c3feafffece84fa5327af12e9
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1644
Height
2439
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Dickens Down Under
Abstract
A summary of the resource.
<p>Founded in London in 1902, the Dickens Fellowship has become a worldwide organisation which includes branches in Japan, Denmark and India. The Melbourne and Christchurch branches began in 1904 and 1931 respectively. The Fellowship publishes its own journal, <em>The Dickensian</em>, and the 106th Annual Conference of the International Dickens Fellowship was held in Portsmouth, England in August of this year. Dickens’s works are still well-loved; his legacy lives on.</p>
<p>[Cover of <em>Dickens Down Under</em>. The occasional newsletter of the Christchurch Dickens Fellowship. Issue 92, May 2012. Edited by Jeni Curtis and Esme Richards. Kindly supplied by Esme Richards.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
The Christchurch Dickens Fellowship
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
Dickens Fellowship
-
https://ourheritage.ac.nz/files/original/744921a6ab557fef8b87e06f3580ad85.jpg
964fc08bdd3dcb07d277bf240a4b5b58
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1674
Height
2424
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Christchurch Dickens Fellowship: The Bi-Centenary Luncheon.
Abstract
A summary of the resource.
<p>Founded in London in 1902, the Dickens Fellowship has become a worldwide organisation which includes branches in Japan, Denmark and India. The Melbourne and Christchurch branches began in 1904 and 1931 respectively. The Fellowship publishes its own journal, <em>The Dickensian</em>, and the 106th Annual Conference of the International Dickens Fellowship was held in Portsmouth, England in August of this year. Dickens’s works are still well-loved; his legacy lives on.</p>
<p>[Cover of the<em> Christchurch Dickens Fellowship: The Bi-Centenary Luncheon. Charles Dickens: Celebrating 200 Years, 1812-2012</em>. Kindly supplied by Esme Richards, Christchurch.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
The Christchurch Dickens Fellowship
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
Dickens Fellowship
-
https://ourheritage.ac.nz/files/original/633fc6fdfaf6c0a0d629fcc47b67bfd6.jpg
5b9ed04a500fa618e9d0b69dcfe531b9
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1197
Height
1716
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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 Christchurch Dickens Fellowship
Abstract
A summary of the resource.
<p>Founded in London in 1902, the Dickens Fellowship has become a worldwide organisation which includes branches in Japan, Denmark and India. The Melbourne and Christchurch branches began in 1904 and 1931 respectively. The Fellowship publishes its own journal, <em>The Dickensian</em>, and the 106th Annual Conference of the International Dickens Fellowship was held in Portsmouth, England in August of this year. Dickens’s works are still well-loved; his legacy lives on.</p>
<p>[Cover of <em>The Christchurch Dickens Fellowship 2012-2013 Syllabus</em>. Kindly supplied by Esme Richards, Christchurch. ]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
The Christchurch Dickens Fellowship
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
Dickens Fellowship
-
https://ourheritage.ac.nz/files/original/527e7cea08a76e021bd71dba95328890.jpg
84f92c224bd3d516f0039afa9039809b
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1830
Height
2598
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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 Dickens Newsletter
Abstract
A summary of the resource.
<p>Founded in London in 1902, the Dickens Fellowship has become a worldwide organisation which includes branches in Japan, Denmark and India. The Melbourne and Christchurch branches began in 1904 and 1931 respectively. The Fellowship publishes its own journal, <em>The Dickensian</em>, and the 106th Annual Conference of the International Dickens Fellowship was held in Portsmouth, England in August of this year. Dickens’s works are still well-loved; his legacy lives on.</p>
<p>[Cover of <em>The Dickens Newsletter</em>, Melbourne. Issue number 326, February 2012. 200th Birthday Issue. Kindly supplied by Lucy Neales, Melbourne.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Dickens Fellowship, Melbourne
Date
A point or period of time associated with an event in the lifecycle of the resource
February, 2012
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
Dickens Fellowship
-
https://ourheritage.ac.nz/files/original/76036853014f594ce7ee6a3cb80d1e7b.jpg
e80395fdb7f751e0398a5ec40cad3ab7
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1707
Height
2442
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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 Dickens Newsletter
Abstract
A summary of the resource.
<p>Founded in London in 1902, the Dickens Fellowship has become a worldwide organisation which includes branches in Japan, Denmark and India. The Melbourne and Christchurch branches began in 1904 and 1931 respectively. The Fellowship publishes its own journal, <em>The Dickensian</em>, and the 106th Annual Conference of the International Dickens Fellowship was held in Portsmouth, England in August of this year. Dickens’s works are still well-loved; his legacy lives on.</p>
<p>[Cover of <em>The Dickens Newsletter</em> from the Dickens Fellowship Melbourne. Issue number 327, March 2012, kindly supplied by Lucy Neales, Melbourne. ]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Melbourne Dickens Fellowship
Date
A point or period of time associated with an event in the lifecycle of the resource
March 2012
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
Dickens Fellowship
-
https://ourheritage.ac.nz/files/original/496b74c8a60cbbf1255ca88451d49466.jpg
baf4e5f31bd1067abbb3a0a80ddd70db
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1821
Height
2747
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Dickens Studies Annual: Essays on Victorian Fiction
Abstract
A summary of the resource.
<p>There has been an enormous amount of scholarship regarding Dickens and his works since his death in 1870. Founded in 1970 on the 100th anniversary of his death, the<em> Dickens Studies Annual</em> is an important vehicle for articles and reviews about this celebrated nineteenth-century writer. Leslie Simon’s ‘Bleak House, Our Mutual Friend, and the Aesthetics of Dust’ is one recent article. Occasional pieces on other nineteenth-century authors also feature.</p>
<p>[Cover of <em>Dickens Studies Annual: Essays on Victorian Fiction</em>, Volume 42. ]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
New York: AMS Press, Inc.
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Identifier
An unambiguous reference to the resource within a given context
Central Journal PR4579 D522 v. 42 2011
Dickens
-
https://ourheritage.ac.nz/files/original/884b3e590cabd6e176d702e47e54160b.jpg
58b212ef508e8d10c3c2f5a28fbbc98f
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1398
Height
1049
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Florence Nightingale, The Lady of the Lamp
Abstract
A summary of the resource.
<p>By her unceasing care of the wounded and sick in the English camps at Crimea, Florence Nightingale (1820-1910) became known as the ‘Lady of the Lamp’. Back in England, she published her reform measures in <em>Notes on Hospitals</em> (1859) and <em>Notes on Nursing</em> (1859), and in 1860 established a school for nurses at St Thomas’s Hospital in London. With her friend Elizabeth Gaskell, Nightingale endeavoured to improve the social and economic situation of those less fortunate in Britain. She knew Dickens, and distributed his books to nurses and soldiers. She also worked with him on the Committee of the Association for Improving Workhouse Infirmaries.</p>
<p>[Copy of a painting of Florence Nightingale, ‘The Lady of the Lamp’.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
___
Date
A point or period of time associated with an event in the lifecycle of the resource
___
Identifier
An unambiguous reference to the resource within a given context
No call number
Crimean War
Dickens
Florence Nightingale
-
https://ourheritage.ac.nz/files/original/8f16cc870325a5bca8ad9e29e5710622.jpg
dafc62b3225a30d891fb81decc427b29
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
4814
Height
3177
Bit Depth
8
Channels
3
IPTC String
date_created:03.10.2012
IPTC Array
a:1:{s:12:"date_created";s:10:"03.10.2012";}
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Charles Dickens Papers 1845-1881
Abstract
A summary of the resource.
<p>Charles Dickens was the second of eight children to John and Elizabeth Dickens, née Barrow. Financial mismanagement resulted in John being imprisoned for debt in Marshalsea Debtor’s Prison. One consequence of this was that the twelve-year old Dickens was taken out of school and made to work at Warren’s Blacking Factory, where he spent ten hours a day, Monday through Saturday, pasting labels onto pots of blacking. This experience haunted Dickens for years, and many of his novels like Dombey and Son and David Copperfield reflect his concern for destitute children, orphans and abandonment. Here he is in happier times, with a portrait painted by E. Lawn, circa 1870. The usual flourish that ended most of Dickens’s letters is depicted opposite.</p>
<p>[Portrait of Charles Dickens by E. Lawn from <em>Charles Dickens Papers 1845-1881</em>.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
___
Date
A point or period of time associated with an event in the lifecycle of the resource
[1870]
Identifier
An unambiguous reference to the resource within a given context
MS 77-97. Sir George Grey Special Collections, Auckland City Library.
Dickens
Portrait
-
https://ourheritage.ac.nz/files/original/ca815e8aa9d289b8d9bbf9645e3c7386.jpg
a0abb584589e0def55f8a8ca78d2aefd
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
3653
Height
2707
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Letters from Charles Dickens to Angela Burdett-Coutts 1841-1865
Abstract
A summary of the resource.
<p>Angela Burdett Coutts (1814-1906), a philanthropic millionairess, became friends with Dickens about 1840. He undertook research for Coutts and began advising her on various charities in which she was interested. In the letter displayed, Dickens recounts his visit to a Ragged School in Saffron Hill, a notorious slum area of London and home to the fictional Fagin. Ragged Schools were set up in an attempt to bring education to the street children of London while also providing them with some food and clothing. Dickens praised the efforts of the teachers but was shocked by the parlous state of the children and advised Coutts that the school was ‘an experiment most worthy of [her] charitable hand’. Dickens and Coutts went on to other charity projects and set up Urania Cottage, a ‘Home for Fallen Women’, in May 1847.</p>
<p>[Page 50 and 51 from <em>Letters from Charles Dickens to Angela Burdett-Coutts 1841-1865</em>. Selected by Edgar Johnson.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Jonathan Cape
Date
A point or period of time associated with an event in the lifecycle of the resource
[1953]
Identifier
An unambiguous reference to the resource within a given context
Central PR4581 A4 1953
Dickens
Poverty
-
https://ourheritage.ac.nz/files/original/06055bff7773d0ad0ace7688704f78ba.jpg
5184864799264fe8025e54ef175d76a7
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
4920
Height
3092
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Victorian Life in Photographs
Abstract
A summary of the resource.
<p>Taken by John Thomson, a Scottish photographer, in 1877, the image on the left is titled ‘The Crawler’. ‘Crawlers’ were typically people so poverty-stricken that they didn’t even have the energy to beg. The destitute woman depicted is minding the baby of a friend with the hope of receiving a cup of tea and a piece of bread as payment, possibly the only nourishment she would have had all day. Although Thomson’s photograph is staged, the image is heart-breaking and there is no denying the desperation of the woman’s situation. The bedraggled group of boys on the right are awaiting admission to Dr Barnardo’s Home in about 1880. The lucky ones? Maybe.</p>
<p>[Photographs from<em> Victorian Life in Photographs</em>. <em>The Crawler</em> (left) and Barnado's Boys (right).]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Thames and Hudson
Date
A point or period of time associated with an event in the lifecycle of the resource
1974
Identifier
An unambiguous reference to the resource within a given context
Central DA533 VM36
Dickens
Poverty
-
https://ourheritage.ac.nz/files/original/f12ba3eec770dbb14d5ce5e488c7a78a.jpg
111cc189ca2be7818b753a5d818c3fc2
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
2292
Height
3271
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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 Art Journal Illustrated Catalogue: The Industry of All Nations
Abstract
A summary of the resource.
<p>Another well-attended occasion was the Great Exhibition, which took place in Hyde Park, London, from 1 May to 15 October 1851. During that time 6 million people visited the ‘Crystal Palace’, designed by Joseph Paxton. Somewhat reluctantly Dickens dragged himself along and while acknowledging the progress that the exhibits on display represented, he thought it a muddle and a major distraction from very real social problems. At the time he was disgruntled: London was ‘a vile place’; his father had died; Robert Peel had died unexpectedly, as did his own infant daughter Dora. And perhaps subconsciously he may have harboured feelings against his old fantastical rival, ‘sassage’ Albert, Victoria’s husband, to whom the triumph of the Exhibition largely belonged. The endpaper depicts the extent of the building; the catalogue is jammed full of choice exhibits.</p>
<p>[A piece of SILK, contributed by...will be found in the Exhibition...Page 100 from <em>The Art Journal Illustrated Catalogue: The Industry of All Nations.</em>]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Virtue
Date
A point or period of time associated with an event in the lifecycle of the resource
1851
Identifier
An unambiguous reference to the resource within a given context
Special Collections T690 B1 A77
Dickens
Great Exhibition 1851
-
https://ourheritage.ac.nz/files/original/a046a506d09819f5399397f1fe60db61.jpg
d0780ca5af723d197853d40ba2b2427e
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
3508
Height
4961
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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 Art Journal Illustrated Catalogue: The Industry of All Nations
Abstract
A summary of the resource.
<p>Another well-attended occasion was the Great Exhibition, which took place in Hyde Park, London, from 1 May to 15 October 1851. During that time 6 million people visited the ‘Crystal Palace’, designed by Joseph Paxton. Somewhat reluctantly Dickens dragged himself along and while acknowledging the progress that the exhibits on display represented, he thought it a muddle and a major distraction from very real social problems. At the time he was disgruntled: London was ‘a vile place’; his father had died; Robert Peel had died unexpectedly, as did his own infant daughter Dora. And perhaps subconsciously he may have harboured feelings against his old fantastical rival, ‘sassage’ Albert, Victoria’s husband, to whom the triumph of the Exhibition largely belonged. The endpaper depicts the extent of the building; the catalogue is jammed full of choice exhibits.</p>
<p>[The VASE beneath, and the FAN-LIGHT...they exhibit several other excellent productions...Page 101 from <em>The Art Journal Illustrated Catalogue: The Industry of All Nations</em>.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Virtue
Date
A point or period of time associated with an event in the lifecycle of the resource
1851
Identifier
An unambiguous reference to the resource within a given context
Special Collections T690 B1 A77
Dickens
Great Exhibition 1851
-
https://ourheritage.ac.nz/files/original/5b6537effa08b915ae24a912f6be7786.jpg
437b79e1c908c08b078b543ebdd0c8b8
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1684
Height
1986
Bit Depth
8
Channels
1
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Charles Dickens at his reading desk.
Abstract
A summary of the resource.
<p>Dickens began his career as a professional reader in 1858, after many private readings to family, friends, and charity groups. For each performance he condensed the text, with ‘The Trial from Pickwick’ being the most popular at 164 readings; ‘A Christmas Carol’ was performed 127 times. And much like Miriam Margolyes’s ‘Dickens’s Women’, his was a one-person show, where he played different characters in different voices. Some scholars have suggested that the strain of these performances hastened his death.</p>
<p>[Copy of an engraving of Charles Dickens at his reading desk for his final performance on 15 March 1870. ]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1870
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
-
https://ourheritage.ac.nz/files/original/586bf2d1b200f7dc5e4664f326b4937e.jpg
7a4238c925774ca0355fd2417df48c0b
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1057
Height
1398
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Ellen Ternan
Abstract
A summary of the resource.
<p>Venue: Manchester Free Trade Hall; dates: 21, 22, and 24 August 1857; protagonists - Nelly (18); Charles (45). ‘Nelly’ was the actress Ellen Lawless Ternan (1839–1914), who became Dickens’s love interest after he saw her perform on stage in the Wilkie Collins play <em>The Frozen Deep</em>. Conscious of public opinion, their relationship was known to only a few friends. Dickens discretely supported Ternan, and she occasionally accompanied him on his travels. In 1876, after Dickens’s death, she married George Wharton Robinson, a clergyman twelve years her junior. On display is a photograph copy of Ternan, c.1875, as well as a reprint of Dickens’s Will where he leaves her ‘£1000 free of legacy duty’.</p>
<p>[Photograph of Ellen Ternan, c. 1875.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
___
Date
A point or period of time associated with an event in the lifecycle of the resource
c. 1875
Identifier
An unambiguous reference to the resource within a given context
No call number
Dickens
Ellen Ternan
-
https://ourheritage.ac.nz/files/original/cea89d00764b665dfe9358d9f9adb510.jpg
ab84ef91328c2e28be79f8afae6e70d0
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
709
Height
498
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Langley and Belch's New Map of London
Abstract
A summary of the resource.
<p><em></em> Langley and Belch published their London map in 1812, the year of Dickens’s birth. The City of London is highlighted in pink, and placed around the outer frame are vignettes that feature well-known London landmarks.</p>
<p>[<em>Langley and Belch’s New Map of London</em> (facsimile).]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Langley and Belch
Date
A point or period of time associated with an event in the lifecycle of the resource
1812
Identifier
An unambiguous reference to the resource within a given context
Special Collections
Dickens
London
-
https://ourheritage.ac.nz/files/original/ee908e299f8bf6ce52bc1abe06853a4a.jpeg
8b7bd2f7b9bd3dcfa6e808294c964cb7
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
117
Height
147
Bit Depth
8
Channels
3
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
Angela Burdett Coutts (1814-1906)
Abstract
A summary of the resource.
<p>Angela Burdett Coutts (1814-1906), a philanthropic millionairess, became friends with Dickens about 1840. He undertook research for Coutts and began advising her on various charities in which she was interested. In the letter displayed, Dickens recounts his visit to a Ragged School in Saffron Hill, a notorious slum area of London and home to the fictional Fagin. Ragged Schools were set up in an attempt to bring education to the street children of London while also providing them with some food and clothing. Dickens praised the efforts of the teachers but was shocked by the parlous state of the children and advised Coutts that the school was ‘an experiment most worthy of [her] charitable hand’. Dickens and Coutts went on to other charity projects and set up Urania Cottage, a ‘Home for Fallen Women’, in May 1847.</p>
<p>[Copy of photograph of Angela Burdett Coutts. ]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
___
Date
A point or period of time associated with an event in the lifecycle of the resource
___
Identifier
An unambiguous reference to the resource within a given context
No call number
Angela Burdett Coutts
Dickens
Poverty
-
https://ourheritage.ac.nz/files/original/719b447b4b6efb6b3082a3a38fa52716.jpg
829954737c319fc434b7c68933004bec
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
4699
Height
3370
Bit Depth
8
Channels
3
IPTC String
date_created:29.10.2012
IPTC Array
a:1:{s:12:"date_created";s:10:"29.10.2012";}
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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 Illustrated London News Record of the Glorious Reign of Queen Victoria
Abstract
A summary of the resource.
<p>Despite her mother’s disapproval of novels, Queen Victoria read <em>Oliver Twist</em> and found it so ‘excessively interesting’ that she pressed it on the prime minister, Lord Melbourne, who responded with: ‘It’s all among Workhouses, and Coffin Makers, and Pickpockets…I don’t like that low debasing style’. In 1840 Victoria married Albert, Prince of Saxe-Coburg-Gotha. Dickens created a love fantasy over her, getting back privately at Albert by calling him a ‘German sassage [sausage]’ from ‘Saxe Humbug and Go-to-her’. On 9 March 1870, an ailing Dickens finally had a 90 minute audience with the Queen, who thanked him for the loan of some Civil War photographs, and discussed household matters such as ‘the cost of butchers’ meat, and bread’. Victoria found Dickens ‘very agreeable, with a pleasant voice and manner.’</p>
<p>[Page 4 and 5 from <em>The Illustrated London News Record of the Glorious Reign of Queen Victoria</em>.]</p>
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Illustrated London News
Date
A point or period of time associated with an event in the lifecycle of the resource
1905
Identifier
An unambiguous reference to the resource within a given context
Special Collections DA550 I95
Dickens
Queen Victoria
-
https://ourheritage.ac.nz/files/original/92908824aec89650c559802229d2ac89.jpg
9d7f68f570d8c588260736570ee0bd3c
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
3640
Height
2904
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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
Bookbinding in the British Isles: Sixteenth to the Twentieth Century. Part II
Abstract
A summary of the resource.
This four volume set of Horace’s works was bound in green morocco by Roger Payne. The cover decoration includes a central coat of arms (probably added later), four gilt corner rosettes flanked by ‘leafy stems’ consisting of straight fillets and laurel leaves. The seven-panelled spine has four ‘title’ panels and three elaborately decorated panels which include lyre, lily and primrose tool imprints. In his bill for binding these volumes Roger Payne comments that ‘The finishing of the gold work is superior to any I have done for lustre and correctness’ and is executed with the ‘greatest care’. His bookbinding skills are evident in his extant bindings despite, by his own admission, his inability ‘to stand to work’ pain-free for a great deal of his life, probably caused or exacerbated by his frequent insobriety.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Maggs Bros.
Date
A point or period of time associated with an event in the lifecycle of the resource
1987
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z270 G7 M558 1987
Bindings
Roger Payne
-
https://ourheritage.ac.nz/files/original/2aac1463dcff6bf32d069b10c3a8abe4.jpg
88aaa7dd8f15380d4793d3e1b30f3913
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
2212
Height
3284
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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
Vulgate Bible
Abstract
A summary of the resource.
These three books show a few ways in which past owners marked the bindings of their books. The 18th century guide book to Rome (right) has ‘Antoine Delphin’ stamped in gold and the date, 1740. A 19th century ‘Holland House’ armorial bookplate is pasted on the front endpaper with a pencil note of ‘Paris 1835’, which was presumably when this book, certainly bound in France, left for England. The names Joannis Smyth (1691); Martin Gaven (1760); John Caldwell (1820); and George Smyth (1842) are inscribed on the title-page of the Bible in the middle. None of these names match the initials ‘H C’ blind-stamped on the original calf cover. The battered, re-backed binding of Dauncey’s The History of His Sacred Majesty Charles the II carries a crown and the initials ‘CR’. The use of Royal arms was not uncommon as a decorative device; their presence did not normally indicate royal ownership.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Antwerp]: Officina Platiniana
Date
A point or period of time associated with an event in the lifecycle of the resource
1619
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1619 B
Bible
Binding
-
https://ourheritage.ac.nz/files/original/d5901971b0c1b8db4c45492a5a1c71ff.jpg
97a9c8cbc6400ce53cc53b0547f397ef
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
4222
Height
5095
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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 Holy Bible: containing the entire canonical scriptures according to the decree of the Council of Trent: translated from the Latin Vulgate
Abstract
A summary of the resource.
The Bible comes in various shapes and sizes, and its dress can be equally varied. A rather plain brown calf Breeches Bible printed in London in 1599 is contrasted by the heavily pressed and elaborate gilt Douay-Rheims Bible printed in Philadelphia about 1884. The Breeches Bible has faded red leaf edges and gold grape (?) decorations on the spine. The faded blind-tooled wheel and star ornaments are just visible along the edge of the front cover. The National Publishing Company of Philadelphia imported the stereotype plates from England to produce the Haydock Douay-Rheims Bible. Rich in Catholic symbolism, it carries a gold cross and biblical scenes like the Last Supper. The tail-band visible is enormous, as befits this very heavy tome.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Philadelphia: National Publishing Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
[1884]
Identifier
An unambiguous reference to the resource within a given context
Special Collections BS180 1882
Bible
Bindings
-
https://ourheritage.ac.nz/files/original/ec52809ae515f6319e112a8c6b0846ba.jpg
f67fa6f27a07b46d10e3021640724af3
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
2496
Height
5350
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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 Holy Bible: containing the entire canonical scriptures according to the decree of the Council of Trent: translated from the Latin Vulgate
Abstract
A summary of the resource.
The Bible comes in various shapes and sizes, and its dress can be equally varied. A rather plain brown calf Breeches Bible printed in London in 1599 is contrasted by the heavily pressed and elaborate gilt Douay-Rheims Bible printed in Philadelphia about 1884. The Breeches Bible has faded red leaf edges and gold grape (?) decorations on the spine. The faded blind-tooled wheel and star ornaments are just visible along the edge of the front cover. The National Publishing Company of Philadelphia imported the stereotype plates from England to produce the Haydock Douay-Rheims Bible. Rich in Catholic symbolism, it carries a gold cross and biblical scenes like the Last Supper. The tail-band visible is enormous, as befits this very heavy tome.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Philadelphia: National Publishing Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
[1884]
Identifier
An unambiguous reference to the resource within a given context
Special Collections BS180 1882
Bible
Bindings
-
https://ourheritage.ac.nz/files/original/59b79161afa8f4de9c0bc44e983755dc.jpg
10897c440e9efb123664a68a77b73edc
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
2166
Height
5440
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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 Holy Bible: containing the entire canonical scriptures according to the decree of the Council of Trent: translated from the Latin Vulgate
Abstract
A summary of the resource.
The Bible comes in various shapes and sizes, and its dress can be equally varied. A rather plain brown calf Breeches Bible printed in London in 1599 is contrasted by the heavily pressed and elaborate gilt Douay-Rheims Bible printed in Philadelphia about 1884. The Breeches Bible has faded red leaf edges and gold grape (?) decorations on the spine. The faded blind-tooled wheel and star ornaments are just visible along the edge of the front cover. The National Publishing Company of Philadelphia imported the stereotype plates from England to produce the Haydock Douay-Rheims Bible. Rich in Catholic symbolism, it carries a gold cross and biblical scenes like the Last Supper. The tail-band visible is enormous, as befits this very heavy tome.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Philadelphia: National Publishing Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
[1884]
Identifier
An unambiguous reference to the resource within a given context
Special Collections BS180 1882
Bible
Bindings
-
https://ourheritage.ac.nz/files/original/1390c79c88bffda7d72448e0cdcc3e7c.jpg
1d556ffcc2b238ef6360b93af939d715
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1121
Height
3172
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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
Vulgate Bible
Abstract
A summary of the resource.
These three books show a few ways in which past owners marked the bindings of their books. The 18th century guide book to Rome (right) has ‘Antoine Delphin’ stamped in gold and the date, 1740. A 19th century ‘Holland House’ armorial bookplate is pasted on the front endpaper with a pencil note of ‘Paris 1835’, which was presumably when this book, certainly bound in France, left for England. The names Joannis Smyth (1691); Martin Gaven (1760); John Caldwell (1820); and George Smyth (1842) are inscribed on the title-page of the Bible in the middle. None of these names match the initials ‘H C’ blind-stamped on the original calf cover. The battered, re-backed binding of Dauncey’s The History of His Sacred Majesty Charles the II carries a crown and the initials ‘CR’. The use of Royal arms was not uncommon as a decorative device; their presence did not normally indicate royal ownership.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Antwerp]: Officina Platiniana
Date
A point or period of time associated with an event in the lifecycle of the resource
1619
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1619 B
Bible
Bindings
-
https://ourheritage.ac.nz/files/original/b859b5299e7bfd0c14092334324daa3e.jpg
e09016b01453f7a79f66bd09c2e9dca7
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1412
Height
3296
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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
Vulgate Bible
Abstract
A summary of the resource.
These three books show a few ways in which past owners marked the bindings of their books. The 18th century guide book to Rome (right) has ‘Antoine Delphin’ stamped in gold and the date, 1740. A 19th century ‘Holland House’ armorial bookplate is pasted on the front endpaper with a pencil note of ‘Paris 1835’, which was presumably when this book, certainly bound in France, left for England. The names Joannis Smyth (1691); Martin Gaven (1760); John Caldwell (1820); and George Smyth (1842) are inscribed on the title-page of the Bible in the middle. None of these names match the initials ‘H C’ blind-stamped on the original calf cover. The battered, re-backed binding of Dauncey’s The History of His Sacred Majesty Charles the II carries a crown and the initials ‘CR’. The use of Royal arms was not uncommon as a decorative device; their presence did not normally indicate royal ownership.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Antwerp]: Officina Platiniana
Date
A point or period of time associated with an event in the lifecycle of the resource
1619
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1619 B
Bible
Bindings
-
https://ourheritage.ac.nz/files/original/f31ca107f77c424e15de83846c6fac41.jpg
5640d36a1375726461c1fa8cada0bf65
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
4432
Height
3744
Bit Depth
8
Channels
3
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
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
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
Liber Psalmorum
Abstract
A summary of the resource.
This Latin-Hebrew edition of the Psalms was presented to the University of Otago by Edward S. Dodgson, cousin to Charles Lutwidge Dodgson (Lewis Carroll), on 10 November 1884. It is a sturdy volume, with gilt edges and a mottled suede cover. However, it is the endpapers that are striking. Dodgson was active in Basque and Manx studies, an inveterate letter writer to the newspapers, and an advocate of the Pan Celtic movement. Perhaps he commissioned the binder to produce this puke-making psychedelic marbled effect, a feature that is more disturbing than pleasing to view.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Leipzig]: B. Tauchnitz
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 BS1422 1880
Bindings
endpapers