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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
Scholarly Favourites. Researching in Special Collections. Online exhibition
Date Created
Date of creation of the resource.
18th May 2016
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Abstract
A summary of the resource.
Who uses Special Collections? And why? And what research results emanate from physically examining books and manuscripts? It was these questions that prompted the development of this ‘engagement’ exhibition, now called <em>Scholarly Favourites. Researching in Special Collections</em>. We certainly have a wide variety of readers. After filling out the appropriate registration forms, they settle into our Reading Room. A brief wait and they get the requested item. The type of materials used is equally varied, ranging from a single sheet Medieval manuscript and a 17th century herbal, to an issue of the Gentleman’s Magazine or a Pulp Fiction book. The actual research and the publication of the end-result can often take a long time; indeed sometimes years. It can be circuitous. The time spent poring over the books also varies: three hours to three weeks, and sometimes more. And importantly, it is just not about research. Many readers use a particular book or manuscript because it is a favourite; a work that resonates with their sense of being. It has become important to them. Readers from inside and outside the University of Otago were contacted to choose a Special Collections item. They were each asked to write 150 words on ‘their’ chosen book; their favourite, or that one item that assisted their research. <em>Scholarly Favourites. Researching in Special Collections</em> is the result. In most cases, it meant a re-engagement with the item. A new handling of an old friend. The exhibition offers true variety, with items selected from the diverse collections within Special Collections: Brasch, de Beer, Shoults, Truby King, Pulp & Science Fiction, Monro, Stack. Items on display range from Albinus’s spectacular <em>Tabulae Sceleti et Musculorum Corporis Humani</em> (1747); Augustus Hamilton’s <em>The Art Workmanship of the Maori Race in New Zealand</em> (1901); and Johannes Wolleb’s <em>Compendium Theologiae Christianae</em> (1642); to Gregory M. Mathews’s <em>Supplement to The Birds of Norfolk & Lord Howe Islands and the Australasian South Polar Quadrant</em> (1928); the scurrilous <em>Alvin Purple</em> (1974); and <em>Egypt and the Sudan: Handbook for Travellers</em> (1929). Please enjoy what others have researched and enjoyed.
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 Workmanship of the Maori Race in New Zealand
Creator
An entity primarily responsible for making the resource
Augustus Hamilton
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection N7406 H619
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Wellington: New Zealand Institute
Abstract
A summary of the resource.
I am a reptile biologist, and I am fascinated by the way people interact with reptiles. When I began writing a book about the biology of tuatara, it was important to acknowledge the significant role that tuatara has in the Māori world-view. One chapter of my book explored the ways that reptiles (ngārara/kārara) have been portrayed in Māori carvings, oral history, and other sources. This is where Augustus Hamilton’s handsome volume comes in. While Hamilton (1853–1913) was Registrar of the University of Otago, he found time to publish what is now a collector’s piece. I also referenced his work in other related contexts: for describing an early whalebone carving of lizard-like form; for hand-drawn copies of Māori rock art featuring reptiles; as the last person to sight tuatara living on Matiu/Somes Island in Wellington Harbour (while he was in quarantine, having arrived on a typhoid-stricken ship in 1875); and as a compiler of information about where tuatara still survived in 1913. A true all-rounder! <br /><strong>(Chosen by Associate Professor Alison Cree, Department of Zoology, Otago)</strong>
Date
A point or period of time associated with an event in the lifecycle of the resource
1901
-
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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.
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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
Maori Art
Abstract
A summary of the resource.
Two of the three copies in Special Collections of Augustus Hamilton’s ground-breaking publication on Maori art have hand-painted designs running along the head, tail and fore-edge, which repeat the gilt-stamped motif on the front cover. The round-backed spine carries the title and other gilt designs. The Dunedin firm of Fergusson and Mitchell not only printed this large book, but they were the binders, as evidenced from a ripped binder’s label pasted on the front marbled endpaper.
Creator
An entity primarily responsible for making the resource
Augustus Hamilton
Publisher
An entity responsible for making the resource available
Wellington: New Zealand Institute
Date
A point or period of time associated with an event in the lifecycle of the resource
1901
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection N7406 H619
Bindings
-
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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.
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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
Maori Art
Abstract
A summary of the resource.
Two of the three copies in Special Collections of Augustus Hamilton’s ground-breaking publication on Maori art have hand-painted designs running along the head, tail and fore-edge, which repeat the gilt-stamped motif on the front cover. The round-backed spine carries the title and other gilt designs. The Dunedin firm of Fergusson and Mitchell not only printed this large book, but they were the binders, as evidenced from a ripped binder’s label pasted on the front marbled endpaper.
Creator
An entity primarily responsible for making the resource
Augustus Hamilton
Publisher
An entity responsible for making the resource available
Wellington: New Zealand Institute
Date
A point or period of time associated with an event in the lifecycle of the resource
1901
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection N7406 H619
Bindings
fore-edge painting
-
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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.
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4290
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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
Maori Art
Abstract
A summary of the resource.
Two of the three copies in Special Collections of Augustus Hamilton’s ground-breaking publication on Maori art have hand-painted designs running along the head, tail and fore-edge, which repeat the gilt-stamped motif on the front cover. The round-backed spine carries the title and other gilt designs. The Dunedin firm of Fergusson and Mitchell not only printed this large book, but they were the binders, as evidenced from a ripped binder’s label pasted on the front marbled endpaper.
Creator
An entity primarily responsible for making the resource
Augustus Hamilton
Publisher
An entity responsible for making the resource available
Wellington: New Zealand Institute
Date
A point or period of time associated with an event in the lifecycle of the resource
1901
Identifier
An unambiguous reference to the resource within a given context
Brasch Collection N7406 H619
Bindings