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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
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
-
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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.
Width
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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
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
-
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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
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
-
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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
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
-
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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
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
-
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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.
Width
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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
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
-
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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.
Width
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Bit Depth
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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
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
-
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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.
Width
2748
Height
3724
Bit Depth
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Channels
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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
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 BS 1422 1880
Bindings
suede
-
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9dd7f88f6ec173bf3dd4213acf38dc52
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
7087
Height
9449
Bit Depth
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Channels
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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
Acid-Free Leather for Bookbinding
Abstract
A summary of the resource.
An early 20th century advertisement showcasing the different bookbinding leathers available at the time- seal, goat, calf, pig and ox- ‘warranted free of all injurious acid’.
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
Private Collection
Advertisements
Bindings
leather
-
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34d0af3a5e9e4b049d3ee03626c4489c
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
3840
Height
3152
Bit Depth
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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
Extracts from the Diary of Roger Payne
Abstract
A summary of the resource.
<em>The Gentleman’s Magazine</em> (1797) describes Roger Payne’s binding style as ‘uniting elegance with durability’ and his skills as a binder attracted such patrons as Anthony Morris Storer (1746-1799) a politician and collector, whose extensive book collection is now housed at Eton College; Earl Spencer (1758-1834) of Althorp (ancestor of Diana, Princess of Wales) whose collection is now at John Rylands University Library, Manchester; and Thomas Grenville (1755-1846), politician and avid book-collector, whose assembled library of over 20,000 volumes is now housed in the British Library. Payne was renowned for his painstakingly meticulous and elaborately detailed bills and this ‘spoof’ diary echoes some of his detailed descriptions. Note the suggestion in Friday’s entry that Payne kept a pet monkey.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
New York: Harbor Press
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
Identifier
An unambiguous reference to the resource within a given context
Special Collections Z269.2 P39 PA78 1928
Bindings
Roger Payne
-
https://ourheritage.ac.nz/files/original/6c46ee4ced3e5c65221f732f4926ca9e.jpg
7f516a82e75633cd8d599e6951f5f2de
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
1920
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
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
Officio della Chiesa: nel quale si contengono l’Officio della Santa Vergine per tutto l’anno
Abstract
A summary of the resource.
Whether books are large or small, the effort in binding remains the same: collating the sections, sewing the sections together, trimming the edges, rounding and backing the spine, and wrapping the text block with a cover of some sort. Here two plain, functional vellum bindings are contrasted with an ornate red morocco binding on a 1697 Italian edition of the Office of the Church. Only the stubs of the fore-edge ties remain on the Elzevier edition (1634), which has a limp vellum cover. The vellum on the ‘landscape’ Huygens (1641) is rigid, wrapped over pasteboard. Both books have vellum cords stabbed through the outer cover; this practice giving greater strength to the binding.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Parigi: Claude and Nicolo Herissant]
Date
A point or period of time associated with an event in the lifecycle of the resource
1697
Identifier
An unambiguous reference to the resource within a given context
de Beer Fa 1697 C
Bindings
endpapers
-
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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.
Width
2135
Height
2944
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 Psalms of David in Metre
Abstract
A summary of the resource.
While London was the major centre of English bookbinding through the handpress era, Scotland too had its centres of excellence: Edinburgh, Glasgow, Aberdeen and St Andrews. Two distinctive Scottish designs developed: the herringbone style and the wheel, which appears to be a descendant of the fan pattern from Europe. Although this 1823 copy of the <em>Psalms of David</em> does not carry either of these two distinctive designs, there is the Celtic feel to the red morocco cover, with its interlacing patterns of knots and circles. Notice the very delicate blind-tooling around the inner frame, and the flower corner-pieces. This very Scottish book also has gilt edges, and gold-tooled turn-ins.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Edinburgh: Printed by Sir D. Hunter Blair and J. Bruce
Date
A point or period of time associated with an event in the lifecycle of the resource
1823
Identifier
An unambiguous reference to the resource within a given context
de Beer Sb 1823 B
Bindings
Scotland
-
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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.
Width
2550
Height
3246
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
Oriental Annual, or, Scenes in India
Abstract
A summary of the resource.
The binder Archibald Leighton was again in the forefront of binding innovations. By 1832, he had discovered that book-cloth could be blocked in blind or in gold by machine. And again, the blocking was done on the cover before it was attached to the book. Once these mass-produced books with their glimmering centrepieces were accepted by readers (and those in the trade), there was a further outburst of inventiveness in use and development. The decorations used often reflected the book’s content, as seen in these three examples: a hookah-smoking sultan, a Moslem rider, and a mahout with his Indian elephant; decidedly Middle Eastern and ‘Oriental’.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: E. Bull
Date
A point or period of time associated with an event in the lifecycle of the resource
1834
Identifier
An unambiguous reference to the resource within a given context
Shoults Eb 1834 O
Bindings
-
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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
The New Bookbinder: Journal of Designer Bookbinders, Volume 14
Abstract
A summary of the resource.
James Frank Edgar Mansfield (1907-1996), known as Edgar, came to bookbinding late in his artistic career. Born in London, he moved, aged four, to Napier where he completed his secondary education in 1923. Mansfield attended Teacher’s Training College and Art School in Dunedin and from 1929-1933 he taught Art and Craft at Feilding High School. In 1934 he returned to London where he studied bookbinding to supplement his artistic skills in sculpting, pottery and drawing. In 1948, he began teaching design at the London School of Printing, a post he held until his retirement in 1964. Despite his many years in the UK, Mansfield thought of himself as a ‘New Zealander, through and through’ and considered bookbinding to be an art form which, as a medium, was as important as sculpture or painting.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Designer Bookbinders
Date
A point or period of time associated with an event in the lifecycle of the resource
1994
Identifier
An unambiguous reference to the resource within a given context
Central Z267 NH32
Bindings
Edgar Mansfield
NZ binders
-
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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
Rubáiyát of Omar Khayyám
Abstract
A summary of the resource.
Eleanor Joachim (1874-1957) emigrated from England to Dunedin with her family in 1876 and they settled in what is now English Avenue in Mornington. It is unclear how her interest in bookbinding was piqued but she travelled to England in April 1903 to receive tuition from the binding firm of Sangorski and Sutcliffe (returning to Dunedin in October 1904 to set up a bindery in Crawford Street). While in England she became connected with the Arts and Craft movement and eventually gifted her embroideries by the Morris family to the Otago Museum. Joachim bound this copy of the <em>Rubáiyát</em>, in red morocco, in 1905 and the front cover is intricately tooled with leaves, flowers, dots and curving lines; the six-panelled spine has one title panel and five panels echoing the front cover design; all three text block edges are gilt; a truly wonderful example of her work.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Grant Richards
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
Special Collections PK6513 A2 1901
Bindings
Dunedin binders
Eleanor Joachim
Special Collections
-
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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
Blank spring-back book
Abstract
A summary of the resource.
Between 1986-1988 Chris Collins studied bookbinding and conservation under Romilly Saumarez-Smith, the first female forwarder to work at Zaehnsdorf’s. Collins was then awarded a scholarship by the Stationer’s Company, London to study Islamic bookbinding in Istanbul. He has worked for James Brockman, a bookbinder from Oxford who made real some of Edgar Mansfield’s book designs; the Public Records Office in Kew; and a number of institutions in the UK, mainly as a conservator. Collins first came to New Zealand in the early 1990s and subsequently settled in Dunedin. This spring-back (a type of binding that enabled the book to lie flat) is an example of his work from 1996. It is bound in white vellum with green leather onlays which are embellished with an interlacing cross hatch pattern made from thin vellum thongs.
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
Private Collection
Bindings
Dunedin binders
springback
-
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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
Proper Lessons to be Read at Morning and Evening Prayer on the Sundays and Other Holy-days throughout the Year
Abstract
A summary of the resource.
Fore-edge painting is where a scene (landscapes, buildings, or a subject relevant to the content of the book) is painted on the fore-edge of a book. Usually the image is visible only when the edges are fanned. To enhance the ‘invisibility’ of the image, the edges are often gilded or marbled. A book can also carry double and triple fore-edge paintings. Someone has had fun decorating this book. Just visible through the faded gilt is a fore-edge painting of a frilly-knickered, corseted girl, who presumably offered the reader mild diversion from the serious nature of the publication. The fanned image on the foamboard is much clearer.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Oxford: Printed at the University Press, by Samuel Collingwood and Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1835
Identifier
An unambiguous reference to the resource within a given context
Special Collections BX5145 A66 1835
Bindings
fore-edge painting
Special Collections
-
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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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Height
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Bit Depth
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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
Parables of Our Lord
Abstract
A summary of the resource.
The 32 richly coloured chromolithographed pages of Henry Noel Humphrey’s <em>Parables of our Lord</em> (1847) are bound in a black polished calf with blind-stamped design bevelled boards. This publication, with its centre oval gilt title, was bound by James Hayday (1796–1872), who operated in premises at 31 Little Queen Street, Lincoln’s Inn Fields. He liked books to lay flat when opened, and to achieve this effect he often sewed the books all along every sheet. To remedy the extra thickness that would be caused by sewing with thread, he used silk. To make the back tight he dispensed with the ordinary backing of paper, and fastened the leather cover down to the back. Hayday became famous for his bindings.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Longman & Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1847
Identifier
An unambiguous reference to the resource within a given context
Special Collections BT373 E5 1847
Binder's signature
Bindings
Special Collections
-
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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.
Width
1234
Height
644
Bit Depth
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Channels
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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
The Juvenile Forget Me Not: A Christmas and New Year’s Gift or Birthday Present
Abstract
A summary of the resource.
The ornate and decoratively embossed ‘Apollo’ cover of this <em>Juvenile Forget-Me-Not</em> annual of 1831 was created by Thomas de La Rue, who introduced technical improvements in playing card production in England in the early 1830s. De La Rue (the name is visible lower left) used a fly embossing press, an early version of a blocking press, which was capable of exerting the enormous pressure required to block the covers with engraved plates. The book was actually bound by the firm Francis Westley who, according to the binder’s ticket present, was based at Friar St. near Doctors Commons. Binding annuals was big business for Westley; they often exceeded 15,000 copies per issue.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
London: Frederick Westley and A. H. Davis
Date
A point or period of time associated with an event in the lifecycle of the resource
1829-1837
Identifier
An unambiguous reference to the resource within a given context
Hogg Collection AY13 JZ2
Binder's ticket
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.
Width
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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
Dalail al-khayrat [Popular compilation of prayers, blessings and salutations upon the Holy Prophet Muhammad]
Abstract
A summary of the resource.
This manuscript copy of ‘Dala’il al-khayrat’, a work in praise of the prophet Muhammad, was written about 1805. The final product (mus’haf, a codex or collection of sheets between two boards) conforms to the style of many other Islamic books. There is the distinctive flap, an extension of the back cover extending over the fore-edge. The flap has a dual purpose: it offers protection to the text block, and serves as a bookmark. A central medallion is also present, blind-stamped on the front cover, but gilt on the back. And there is the use of coloured patterned paper for the ‘endpapers’.
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
[21/12/1219; March 1805]
Identifier
An unambiguous reference to the resource within a given context
Shoults Ms.12
Bindings
manuscript
-
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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.
Width
2652
Height
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Bit Depth
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Channels
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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
Dalail al-khayrat [Popular compilation of prayers, blessings and salutations upon the Holy Prophet Muhammad]
Abstract
A summary of the resource.
This manuscript copy of ‘Dala’il al-khayrat’, a work in praise of the prophet Muhammad, was written about 1805. The final product (mus’haf, a codex or collection of sheets between two boards) conforms to the style of many other Islamic books. There is the distinctive flap, an extension of the back cover extending over the fore-edge. The flap has a dual purpose: it offers protection to the text block, and serves as a bookmark. A central medallion is also present, blind-stamped on the front cover, but gilt on the back. And there is the use of coloured patterned paper for the ‘endpapers’.
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
[21/12/1219; March 1805]
Identifier
An unambiguous reference to the resource within a given context
Shoults Ms.12
Bindings
manuscript
-
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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.
Width
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Height
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Bit Depth
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Channels
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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
Officio della Chiesa: nel quale si contengono l’Officio della Santa Vergine per tutto l’anno
Abstract
A summary of the resource.
Whether books are large or small, the effort in binding remains the same: collating the sections, sewing the sections together, trimming the edges, rounding and backing the spine, and wrapping the text block with a cover of some sort. Here two plain, functional vellum bindings are contrasted with an ornate red morocco binding on a 1697 Italian edition of the Office of the Church. Only the stubs of the fore-edge ties remain on the Elzevier edition (1634), which has a limp vellum cover. The vellum on the ‘landscape’ Huygens (1641) is rigid, wrapped over pasteboard. Both books have vellum cords stabbed through the outer cover; this practice giving greater strength to the binding.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Parigi: Claude and Nicolo Herissant]
Date
A point or period of time associated with an event in the lifecycle of the resource
1697
Identifier
An unambiguous reference to the resource within a given context
de Beer Fa 1697 C
Bindings
-
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f3db60a084165ec197d3d158c1c26f1d
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
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Height
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Bit Depth
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Channels
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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
Officio della Chiesa: nel quale si contengono l’Officio della Santa Vergine per tutto l’anno
Abstract
A summary of the resource.
Whether books are large or small, the effort in binding remains the same: collating the sections, sewing the sections together, trimming the edges, rounding and backing the spine, and wrapping the text block with a cover of some sort. Here two plain, functional vellum bindings are contrasted with an ornate red morocco binding on a 1697 Italian edition of the Office of the Church. Only the stubs of the fore-edge ties remain on the Elzevier edition (1634), which has a limp vellum cover. The vellum on the ‘landscape’ Huygens (1641) is rigid, wrapped over pasteboard. Both books have vellum cords stabbed through the outer cover; this practice giving greater strength to the binding.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Parigi: Claude and Nicolo Herissant]
Date
A point or period of time associated with an event in the lifecycle of the resource
1697
Identifier
An unambiguous reference to the resource within a given context
de Beer Fa 1697 C
Bindings
-
https://ourheritage.ac.nz/files/original/250e1db5bb204e8223e1e6b9f96cc42f.jpg
725b901f92240646fe660c81a867bff8
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
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Height
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Bit Depth
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Channels
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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
Officio della Chiesa: nel quale si contengono l’Officio della Santa Vergine per tutto l’anno
Abstract
A summary of the resource.
Whether books are large or small, the effort in binding remains the same: collating the sections, sewing the sections together, trimming the edges, rounding and backing the spine, and wrapping the text block with a cover of some sort. Here two plain, functional vellum bindings are contrasted with an ornate red morocco binding on a 1697 Italian edition of the Office of the Church. Only the stubs of the fore-edge ties remain on the Elzevier edition (1634), which has a limp vellum cover. The vellum on the ‘landscape’ Huygens (1641) is rigid, wrapped over pasteboard. Both books have vellum cords stabbed through the outer cover; this practice giving greater strength to the binding.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
[Parigi: Claude and Nicolo Herissant]
Date
A point or period of time associated with an event in the lifecycle of the resource
1697
Identifier
An unambiguous reference to the resource within a given context
de Beer Fa 1697 C
Bindings
-
https://ourheritage.ac.nz/files/original/2a4bc15681ccd66a4b5ae3f66ff11c45.jpg
4744388737cc5fb3ab80ef876fec1590
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
2046
Height
1288
Bit Depth
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Channels
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IPTC String
date_created:29.11.2012
IPTC Array
a:1:{s:12:"date_created";s:10:"29.11.2012";}
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
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
Biblia Latina
Abstract
A summary of the resource.
This volume of Nicolas de Lyra’s commentary on the Bible was bound by the Rood and Hunt binder of Oxford in 1482, and is the earliest English binding in New Zealand; one of only 26 examples extant world-wide. It is dated about 1482 and came to Special Collections via Selwyn College through the widow of Canon William Shoults (1839-1887). Once clothed in good quality brown calf over wooden boards, the book has suffered from use and repair. Using heated metal tools depicting dragons, birds, roses, and laced foliage, the binder has applied pressure, blind-stamping (no colouring, leaf metal or foil) each image on to the calf to build up a central block design. He has also used a roll, an instrument for making unbroken fillets, along the edges of the cover. This book has double significance in that the sewing guards (thin strips of paper or vellum sewn into centre folds of paper sections (synonymous with gatherings or quires) to protect the pages from tearing) within are fragments of indulgences printed by William Caxton in Westminster, c1480.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Venice: Johannes Herbort for J. de Colonia, N. Jenson
Date
A point or period of time associated with an event in the lifecycle of the resource
31 July 1481
Identifier
An unambiguous reference to the resource within a given context
Shoults Itc 1481 B
Bible
Bindings
Rood and Hunt