1
25
3
-
https://ourheritage.ac.nz/files/original/79fb7ec76b2a5230d6280c5789a4c330.jpg
c16a6e8a17ef87b72372e4491e0977d4
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
4020
Height
2800
Bit Depth
8
Channels
3
IPTC String
date_created:14.11.2013
IPTC Array
a:1:{s:12:"date_created";s:10:"14.11.2013";}
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
Rare Delights III: Recent Additions to Special Collections. Online Exhibition
Description
An account of the resource
The rare book collection in Special Collections at the University of Otago grows - slowly and surely - by purchase and donation. With these new acquisitions Special Collections aims to build on the strengths of the collection such as those traditional collecting fields of 18th century literature, garden history, art and architecture, travel, and works by and about John Evelyn, John Locke, and the English poet Robert Graves.
Over time new areas of collecting have come to the fore, in particular ‘popular culture’ items in the guise of pulp fiction and science fiction (SF). In 2010, Professor Fred Fastier gifted his entire SF Collection to Special Collections. Since then holdings in this field have grown considerably with the acquisition of the Hal Salive SF Collection, some 2400 titles kindly donated by Rachel Salive, and a near complete run of the Magazine of Fantasy and Science Fiction, donated by Trevor Agnew. ‘Pulps’ continue to be acquired as too the works by the Dunedin-born artist John Buckland Wright. Other books have been acquired because of their historical significance or because they fill a visible gap in the existing collection. Brief examples here include French language works by Racine and Corneille, and Robert Hooke’s Micrographia (1780)
It is by no means true that all rare books are old books. Recent purchases include important modern works that complement the older material. By this means Special Collections will continue to house significant examples of printing and publishing into the next century, will continue to provide an important forum for original research, and will retain its position as an important University-based rare book collection in New Zealand. These volumes are a selection of titles added to Special Collections between 2008 and 2013. Please enjoy.
Contributor
An entity responsible for making contributions to the resource
Special Collections - University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
‘God Almighty first planted a garden. And indeed it is the purest of human pleasures’. This is the much-quoted first line from Sir Francis Bacon’s essay <em>Of Gardens</em>, first published in 1625. <em>Of Gardens</em>, essay 46 in a series of 58, was meant to be read in conjunction with essay 45,<em> Of Buildings</em>, in which Bacon (1561-1626) describes the ideal position and lay-out of a palace. He advises a garden should be no less than 30 acres and should be divided into three areas: the green area or lawn, the main garden, and ‘a heath or desert’. This edition was printed by Simon Lawrence, owner-operator of Fleece Press, Yorkshire. The engravings are by English artist Betty Pennell.
Creator
An entity primarily responsible for making the resource
Francis Bacon
Publisher
An entity responsible for making the resource available
Netherton, Wakefield, West Yorkshire: Fleece Press
Date
A point or period of time associated with an event in the lifecycle of the resource
1993
Identifier
An unambiguous reference to the resource within a given context
Special Collections SB455.3 B317 1993
Title
A name given to the resource
Of Gardens
Francis Bacon
Gardens
-
https://ourheritage.ac.nz/files/original/c186f4a64d0170acd1ee623ee1dc7020.jpg
604b289afe130910f6bb788d51dc70aa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scripta in Naturali et Universali Philosophia
Creator
An entity primarily responsible for making the resource
Francis Bacon
Date
A point or period of time associated with an event in the lifecycle of the resource
1653
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1653 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Elzevir]
Abstract
A summary of the resource.
The diarist Samuel Pepys (1633-1703) was a book collector of note, amassing a library of 3,000 volumes that is still extant at Magdalene College, Cambridge. He also collected ‘frontispieces’; some 888 are listed in the <em>Catalogue of the Pepys Library, Vol. III Prints and Drawings</em> (1980). Pepys, like others at the time, did not differentiate between ‘frontispiece’ and engraved title-page; they lumped them together. Special Collections has 14 identified ‘frontispieces’ owned by Pepys. The 1653 Elzevir edition of Bacon is no. 36, described by him as ‘three male figures standing round a globe on a pedestal (with title).’
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/cebb37df830ad52261344f1c2f4550a8.jpg
f3ff6f278269ed495e9ff641007247bc
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
This Book Belongs To..... Bookplates, Book Labels, & Inscriptions
Creator
An entity primarily responsible for making the resource
Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago
Date
A point or period of time associated with an event in the lifecycle of the resource
December 2019
Abstract
A summary of the resource.
New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature.
Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate.
Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books.
Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners.
In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Essays.
Creator
An entity primarily responsible for making the resource
Francis Bacon
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
Type
The nature or genre of the resource
Bookplates
Publisher
An entity responsible for making the resource available
J.M. Dent & Sons
Abstract
A summary of the resource.
Reginald Medlicott (1913-1986) was a graduate of the Otago Medical School and became a pioneer of psychiatry in Australasia. He was the Director of Ashburn Hall in Dunedin, from 1947 until 1978. In 1963, he was the Foundation President of the Royal Australian and New Zealand College of Psychiatrists, and was later made a personal professor in the University of Otago. Professor Medlicott was a wide reader and a serious book collector. The Port Chalmers-born artist John Middleditch created a very simple, but effective bookplate for him.