2
25
78
-
https://ourheritage.ac.nz/files/original/408141b9edf6d6303a8346b9effdf810.jpg
1bbb5b535c195457e039717dd537789b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Free Russia. Vol. II
Creator
An entity primarily responsible for making the resource
William Hepworth Dixon
Date
A point or period of time associated with an event in the lifecycle of the resource
1870
Identifier
An unambiguous reference to the resource within a given context
Special Collections DK189 DL36 1870
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Hurst and Blackett
Abstract
A summary of the resource.
William Hepworth Dixon (1821-79) was a trained lawyer and journalist who travelled extensively and wrote about it. This volume is one of two chronicling his travels in Russia, ‘from the Polar Sea to the Ural Mountains’. It is not clear who provided the artwork for this colourful frontispiece to Dixon’s <em>Free Russia</em>, but the landscape orientation lends itself well to the depiction of the far-reaching Russian steppe. Here Cossacks (Kozaks) and soldiers of Kyrgyzstan (Kirchiz) accompany the infantry.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/2875a5ea39bf2f1f4841fe535a84655d.jpg
e8b2c3cacb24f451343b6e4caef8f7bf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Gulliveriana: Or, A Fourth Volume of Miscellanies
Creator
An entity primarily responsible for making the resource
[Jonathan Smedley]
Date
A point or period of time associated with an event in the lifecycle of the resource
1728
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1728 S
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for J. Roberts
Abstract
A summary of the resource.
The author of this volume, Irish clergyman Jonathan Smedley (1671-1729), had a long-running ‘beef’ with Jonathan Swift (1667-1745) and Alexander Pope (1688-1744). Smedley’s invective against the pair, <em>Gulliveriana</em>, contains a frontispiece that depicts them in an unfavourable light. This foreshadows their treatment in the text. On the left stands Swift, dressed in his robes of office as a clergyman, a cloven hoof peeking out at the bottom. Pope is on the right, a short man standing on a table, with the pronounced hunchback he had developed after a childhood illness. As part of the ‘joke’, it appears as though ‘Veritas’ (Truth) has designed the image, and ‘Justitia’ (Justice) has engraved it.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/1ede6738460ca87254a92b5f7732e8e5.jpg
ca6d51edf9e018e3955d88c1eed88f48
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Historical Collections: Or, a Brief Account of the Most Remarkable Transactions of the Two Last Parliaments Held and Dissolved at Westminster and Oxford. Second edition
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1685
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1685 H
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for S.N. and sold by W. Freeman
Abstract
A summary of the resource.
This frontispiece serves as a guide to the reader of this volume. It depicts two scenes: the trial of William Howard, Viscount Stafford (1612-80), who was accused of plotting regicide in the Popish Plot; and his subsequent beheading. Stafford (marked E) was put on trial in November 1680 at Westminster Hall; King Charles II was said to be present (see F – ‘the K’s [King’s] Box’). The trial was said to be ‘a great show’, something that the frontispiece certainly depicts – both Lords and Commoners alike attended. On the evidence of witnesses, Stafford was sentenced to death by beheading in December of the same year.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/cc32dbbd69d6683a3f4f4ac9c7c8b053.jpg
cb29aad07c942ce69212347162261173
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
I'll Die Tomorrow
Creator
An entity primarily responsible for making the resource
Mickey Spillane
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Identifier
An unambiguous reference to the resource within a given context
Special Collections PS3537 P652 I44 2009; Every effort has been made to trace copyright ownership and to obtain permission for reproduction. If you believe you are the copyright owner of an item on this site, and we have not requested your permission, please contact us at special.collections@otago.ac.nz
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Berkeley: Del Milion Editions
Abstract
A summary of the resource.
As technologies have developed, a wide variety of processes have become available for modern day bookmakers to utilise in the construction of frontispieces, which by the 20th century, were fully established as being on the left. In keeping with the times of Mickey Spillane’s tale, San Francisco-based printer Peter Rutledge Koch utilised original photographs created by Karen Filter in the 1980s. The images were then printed using a colour technique based on Technicolor prints of the 1950s. The tonal quality of the image certainly conveys the right mood.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/2ee96986de88b820d902b88989c01b30.jpg
e68bafe3d0192dfcadddfe55f2235ace
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Istoria della Città e Costiera di Amalfi
Creator
An entity primarily responsible for making the resource
Matteo Camera
Date
A point or period of time associated with an event in the lifecycle of the resource
1836
Identifier
An unambiguous reference to the resource within a given context
De Beer Itb 1836 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Naples]: Dalla Stamperia e Cartiera del Fibreno
Abstract
A summary of the resource.
The history of Amalfi, on the southwestern coast of Italy near Naples, dates back to the 6th century. The small seaside town has a strong maritime and trading tradition, especially with Arab nations throughout the Mediterranean. However, local historian Matteo Camera (1820-91) turned a blind eye to these Arabian connections in his 19th century seminal work, <em>Istoria della Città e Costiera di Amalfi</em>. Camera drew all the illustrations, including this landscape-oriented frontispiece. The images were then engraved by Guglielmo Morghen. The man leaning on the stone wall, puffing on his pipe, and looking towards Amalfi stands on what is now the site of the Hotel Santa Caterina.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/426e6f6f4fc3a92b76bbbc913457965b.jpg
d46e8b2a659f6528b5e543e10e40ea8c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Londinopolis; An Historicall Discourse; or, Perlustration of the City of London
Creator
An entity primarily responsible for making the resource
James Howell
Date
A point or period of time associated with an event in the lifecycle of the resource
1657
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1657 H
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by J. Streater for Henry Twiford, [and others]
Abstract
A summary of the resource.
According to the OED, the phrase ‘title-page’ was born into English about 1600. Scholar Michael Saenger promotes the use of ‘front matter’, a catch-all phrase that encompasses title-page, epistles, dedicatory verse, and others, including the frontispiece. At this time of book production, ‘front matter’ not only advertised the book, increasingly a commodity, but it also gave readers entrée into the text. The frontispiece portrait of a rather casual James Howell (1594?–1666), an Oxford-trained historian and political writer, invites the reader into his work. It was engraved by Claude Mellan and Abraham Bosse and first prefixed to the French translation and printing of Howell’s <em>Dodona’s Grove</em> (1641). Its later use raises a question of plate ownership.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/9c9a3a1bcec36915a18679a1e2467146.jpg
24451b2c2fcd66159024b9a9f2eb2443
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Memoirs of Mrs. Siddons
Creator
An entity primarily responsible for making the resource
James Boaden
Date
A point or period of time associated with an event in the lifecycle of the resource
1827
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1827 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: H. Colburn
Abstract
A summary of the resource.
Like aquatint, mezzotint is another tonal process. It is technically a drypoint method, where the engraver works the design from a black ground to the highlights, not from a white ground to the black lines or shadows. By roughening, using a rocker, and scraping, which removes the burr, the velvety quality of the image is formed. Noticeably, much less impressions are made from mezzotint than other image-making processes. While there were many European exponents, it was also popular in England, becoming known as <em>la manière anglaise</em>. One English master was Charles Turner (1774-1857), who specialized in portraiture. Here he has worked his magic to form a frontispiece of ‘Mrs Siddons’ after a painting by Sir Thomas Lawrence.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/469feaceb196902aacac6fb373806c6f.jpg
4f280c5aa0194290392b30e8d390105d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
National History and Views of London and its Environs; Embracing their Antiquities, Modern Improvements, &c… Vol. I
Creator
An entity primarily responsible for making the resource
Edited by C. F. Partington
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
De Beer Eb 1834 N
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Simpkin and Marshall, et al.
Abstract
A summary of the resource.
This extensively illustrated volume by science and technology writer and lecturer, Charles Frederick Partington (d. 1857?), contains over 300 steel engravings of the city and its environs. This frontispiece shows a topographical view of London from Waterloo Bridge looking towards Blackfriars Bridge. The tallest building in the picture is St Paul’s Cathedral. The landscape view gives the reader, who may never have visited London, an idea of the immensity of the City.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e6eb172b82b362519f03eb260ce37292.jpg
a04ae3211685141bb335bc5f41ca7155
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Notizie Intorno alle Vita e alle Opere de’Pittori, Scultori, e Intagliatori della Citta’ di Bassano
Creator
An entity primarily responsible for making the resource
Giambatista Verci
Date
A point or period of time associated with an event in the lifecycle of the resource
1775
Identifier
An unambiguous reference to the resource within a given context
De Beer Itb 1775 V
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Venice]: Appresso Giovanni Gatti
Abstract
A summary of the resource.
This book is an historical account of the lives and works of artists, sculptors, and engravers from a town near Venice, Italy called Bassano del Grappa. Local historian and author of the book, Giambatisti Verci (1739-95), has chosen a frontispiece that reflects the content of the book. The name of one of the most prominent painters from Bassano, Giacomo da Ponte, features in the engraving. Da Ponte, who became known as Jacopo Bassano (1510-92) was influenced by the likes of Dürer and Raphael; and is known as the ‘first modern landscape painter’.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/a113eaec47ce4637de8e56b5d7f37b65.jpg
2985630b4185ba89640f89a84fd9c829
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
354
Height
480
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
Works by Ralph Hotere
Description
An account of the resource
A sample of the works by Ralph Hotere held in Hocken Collections.
Contributor
An entity responsible for making contributions to the resource
Various collectors
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
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
O.E.M[iddleton] - a portrait.
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
[Frontispiece to The Loners].
Subject
The topic of the resource
Illustration of books
Middleton, O. E. (Osman Edward), 1925-
Portraits
Description
An account of the resource
Lower right (l.r.) in pencil: ’72 O.E.M - a portrait. Hotere; u.c. In pencil: opposite title page.
Creator
An entity primarily responsible for making the resource
Hotere, Ralph, 1931-
Date Created
Date of creation of the resource.
1972
Contributor
An entity responsible for making contributions to the resource
Middleton, O. E. (Osman Edward), 1925-
Rights
Information about rights held in and over the resource
O.E.M[iddleton] - a portrait by Ralph Hotere.
Reproduction permission courtesy of Ralph Hotere.
Is Part Of
A related resource in which the described resource is physically or logically included.
O.E. Middleton
Format
The file format, physical medium, or dimensions of the resource
Frontispieces
Extent
The size or duration of the resource.
385 x 280 mm
Medium
The material or physical carrier of the resource.
pen & ink on paper
Type
The nature or genre of the resource
Image
Still Image
Illustrations
Ink drawings
Pen works
Art
Identifier
An unambiguous reference to the resource within a given context
Hocken Pictorial Collections - 72/77
a10259
Temporal Coverage
Temporal characteristics of the resource.
Nineteen seventies
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Given by Ralph Hotere, (Frances Hodgkins Fellow, 1969), Dunedin, 1972.
Frontispieces
Illustration of books
Illustrations
Image
Ink drawings
Middleton
Nineteen seventies
Pen works
Portraits
Still Image
Works of Art
-
https://ourheritage.ac.nz/files/original/1e76aadf0851391b6816992d42e50911.jpg
09d9b7e2fdad50b4a2f558a4582b9c75
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Oeuvres de M. de Crébillon, de l’Académie Françoise. Vol. I
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
[1750]
Identifier
An unambiguous reference to the resource within a given context
De Beer Fb 1750 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Paris: De l’Imprimerie Royale
Abstract
A summary of the resource.
This classically inspired, rococo style frontispiece gracing French tragedian, Prosper Jolyot de Crébillon’s (1674-1762) <em>Oeuvres</em>, was designed and drawn by artist François Boucher (1703-70). Boucher was ‘First Painter to the King’ – Louis XV (1710-74), and although Boucher was a trained engraver the image for the book was carved by Jacque Phillipe LeBas (1707-83). LeBas also worked within the King’s artistic ‘stable’ – Le Cabinet du Roy – and was one of the most sought after <em>graveurs</em> in mid-17th century Paris. The bust on the plinth in the image depicts the author, Crébillon, and despite the fact he wrote tragedies, the scene surrounding him looks almost idyllic.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/749eebf9b97e460015e04fcfa935b960.jpg
952647f5021bf418e17d546c688bba58
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opera
Creator
An entity primarily responsible for making the resource
Cyprian
Date
A point or period of time associated with an event in the lifecycle of the resource
1682
Identifier
An unambiguous reference to the resource within a given context
De Beer Ed 1682 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Oxford: Sheldonian Theatre]
Abstract
A summary of the resource.
The sheet from the large format Cyprian in Pepys collection at Magdelene College, Cambridge is described by Pepys as a ‘frontispiece'. It is listed as no. 201 in <em>Catalogue of the Pepys Library, Vol. III Prints and Drawings</em> (1980). This Special Collections' copy shows a glade in a wood, with soldiers and civilians; in the foreground St Cyprian stands blindfolded with hands in prayer; behind, a warrior prepares to strike him with a sword; above, Fame, in an oval ray of light, extends a laurel wreath.’ Drawn by Wilhelm Sonmans, the image was engraved by Michael Burghers (c.1647–1727), a Dutch artist who lived in England.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/a25448eecbd9c2a03b12cf79e6e5e1f0.jpg
5a0d98e1499b275d4e76f7707d49d0d4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opuscula Mythologica Physica et Ethica
Creator
An entity primarily responsible for making the resource
Thomas Gale
Date
A point or period of time associated with an event in the lifecycle of the resource
1688
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1688 G, Copy 2
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Henry] Wetstenium
Abstract
A summary of the resource.
Here is a copy of Gale's <em>Opuscula Mythologica Physica et Ethica</em> with the frontispiece placed on the left hand side and title page on the right.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/10aab62e1d3eac28a9de46bfd8079fe2.jpg
bcec6f5674e0c7b75326767107680ec8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opuscula Mythologica Physica et Ethica
Creator
An entity primarily responsible for making the resource
Thomas Gale
Date
A point or period of time associated with an event in the lifecycle of the resource
1688
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1688 G, Copy 1
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Henry] Wetstenium
Abstract
A summary of the resource.
The term frontispiece in books generally refers to a decorative or informative illustration facing the title page. Originally from the French frontispice (or the late Latin frontispicium, from the Latin frons (‘forehead’) and specere (‘to look at’)), it was first an architectural term, referring to the façade of a building. However, in the early print period, the convention was to often find the frontispiece on the recto page, where the title-page would normally be. Thus the terms frontispiece and the title-page, usually an engraved one, were treated synonymously. First mention of the frontispiece in English was in 1607 (OED), appearing in Henri Estienne’s World of Wonders. This book is one copy of Gale’s <em>Opuscula Mythologica Physica et Ethica</em> (1688) with the frontispiece sitting on the right hand side.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/545637595aa3ae846ed895a9386799e2.jpg
82f9d415d41761386bf54e2a3016fb7e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Oscar & Lucinda
Creator
An entity primarily responsible for making the resource
Peter Carey
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Identifier
An unambiguous reference to the resource within a given context
Special Collections; Every effort has been made to trace copyright ownership and to obtain permission for reproduction. If you believe you are the copyright owner of an item on this site, and we have not requested your permission, please contact us at special.collections@otago.ac.nz
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Folio Society
Abstract
A summary of the resource.
‘Thou Rulest the Raging Sea’, the 59th chapter in Peter Carey’s <em>Oscar & Lucinda</em>, provides the stimulus for this frontispiece produced by the New York City-based artist, Katherine Street. Her love of collages is evident in this illustration, although it is hard to reconcile Lucinda’s image of Oscar’s face as ‘long and censorious’ versus the reality of ‘doe-like, almost pretty, with soft eyes…’. This novel by Australian Peter Carey won the 1988 Booker Prize, and the 1989 Miles Franklin Award.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/d086af149095ac741eb7c7ab357e71b1.jpg
66295a7d6512593e8d100c2b7134492c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Paradise Lost
Creator
An entity primarily responsible for making the resource
John Milton
Date
A point or period of time associated with an event in the lifecycle of the resource
1688
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1688 M
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by Miles Flesher for Richard Bently
Abstract
A summary of the resource.
This is the first illustrated edition of John Milton’s epic poem <em>Paradise Lost</em>. Produced in folio format for the first time, and ‘adorn’d with sculptures’, the publisher no doubt wanted to make a ‘splash’ for one of England’s greatest poets. William Faithorne (1616-1691) was a painter who had done portraits of notables such as Oliver Cromwell, Queen Catherine, Cardinal Richelieu, and Thomas Hobbes. Previously used for the <em>History of Britain</em> (1670), his more kindly portrait of Milton (1608-1674) was re-worked by Richard White, a prolific English engraver.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e2703935a255610b581ae2b3855a1aef.jpg
8bf4c93a0b74245cb030a0fc40856972
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Poems
Creator
An entity primarily responsible for making the resource
Sergeĭ Aleksandrovich Esenin
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Identifier
An unambiguous reference to the resource within a given context
Special Collections PG3476 E8 A23 2015; Every effort has been made to trace copyright ownership and to obtain permission for reproduction. If you believe you are the copyright owner of an item on this site, and we have not requested your permission, please contact us at special.collections@otago.ac.nz
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Lyttleton, New Zealand: Cold Hub Press
Abstract
A summary of the resource.
In 2015, South Island publisher Roger Hickin reprinted <em>Poems by Esenin</em>, which was originally produced in 1970 by Wai-te-ata Press, Wellington. In repackaging this new edition, Hickin had the Canterbury-born artist Wayne Seyb embellish the text with images. In this instance, a simple but striking woodcut forms the frontispiece.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/94fc760f85958f0e2a619cea7731c4d5.jpg
5998c0a81dd415b89df31bc55fc615bd
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Poems
Creator
An entity primarily responsible for making the resource
Mary Robinson
Date
A point or period of time associated with an event in the lifecycle of the resource
1791
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1791 R
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by J. Bell
Abstract
A summary of the resource.
This 1791 edition of Mary Robinson’s <em>Poems</em> carries a pencil note on the front endpapers, and hints at the fate of many such frontispieces through the actions of a number of print collectors: ‘This book has become very scarce. So many having been broken up for the portrait. The portrait sells for £1. 15/- alone.’ It is a striking soft-toned frontispiece, depicting Robinson’s obvious beauty, despite the fact that when it was painted, about 1783, she had just suffered partial paralysis. The painter was her friend Joshua Reynolds (1723-1792), who was at the height of his popularity as a painter, especially of portraits. While Thomas Burke (1749-1815), the Irish-born engraver, worked his own magic on it, it was surely Reynold’s reputation that generated the demand for the image.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/da8070b91a17a287a2f05b46b309b370.jpg
cf555745f632ad7312e708a5cdb94d2f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Poems for Young Ladies: In Three Parts. Devotional, Moral, and Entertaining
Creator
An entity primarily responsible for making the resource
Selected by Dr Goldsmith
Date
A point or period of time associated with an event in the lifecycle of the resource
1792
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1792 G
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Perth, Scotland: Printed by R. Morrison Junior
Abstract
A summary of the resource.
William Cowper’s (1731-1800) comic ballad, <em>The History of John Gilpin</em> (1785), became the most ‘popular poem of the decade’. It was aided in its popularity by the energetic reading of it by actor William Henderson at the Freemason’s Tavern in London in 1785. This foldout frontispiece is by engraver David Blakemore Pyet (1759-95), and contains a scene from the poem with accompanying verse. The image serves as both an advertisement and a point of difference – book illustrations were used to distinguish or ‘assert [the publisher’s] editions’ difference from others on the market’ (Sandro Jung, 2015). Publishers worked with designers and engravers to produce a more marketable product.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/de2522bea5e40e7b538300bf3a27067a.jpg
56da3610f00fcf200dde44133f09a154
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Poems on Several Subjects
Creator
An entity primarily responsible for making the resource
[John Gilbert Cooper]
Date
A point or period of time associated with an event in the lifecycle of the resource
1764
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1764 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for R. and J. Dodsley
Abstract
A summary of the resource.
Samuel Wale (1721?-1786) was an English painter, who often worked with the British engraver Charles Grignion the Elder (1721–1810). Both men sought steady employment from booksellers. Perhaps to enliven John Gilbert Cooper’s rather dull title, <em>Poems on Several Occasions</em> (1764), publisher Dodsley asked Wale to concoct the bacchanalian scene that forms this foldout frontispiece. The vignette was certainly typical of Wale’s work. Importantly, the frontispiece has been so termed on the foldout image, and is in the position with which most modern day readers are familiar: on the left.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e34c23532551a82ca0a04acb39db6906.jpg
759cbafa3c2d9b346cdaf8efeeba4602
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Portugal and Madeira
Creator
An entity primarily responsible for making the resource
Sacheverell Sitwell
Date
A point or period of time associated with an event in the lifecycle of the resource
1954
Identifier
An unambiguous reference to the resource within a given context
Brasch DP526 SL47
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Batsford
Abstract
A summary of the resource.
Dedicated intellectual and art aficionado, Sir Sacheverell Sitwell (1897-1988), used a painting by his friend, Tristram Hillier (1905-83), as the frontispiece to his book, <em>Portugal and Madeira</em>. The younger brother of Edith and Osbert, Sitwell gained permission to reproduce the image, not only from Hillier, but from the painting’s owner, collector and gallery owner, Arthur Jeffress. Built in the 18th century in a style synonymous with Rococo, the painting of the Chapel of the Misercórdia in Viseu, Portugal, would have been reproduced by creating a plate from a photograph of the original.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/eb9db9b0a4b7b0ab11b4863d9ccb6f45.jpg
dd3ff52f2384ea049299060c55512231
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Q. Horatius Flaccus. Third edition
Creator
An entity primarily responsible for making the resource
Edited by Richard Bentley
Date
A point or period of time associated with an event in the lifecycle of the resource
1728
Identifier
An unambiguous reference to the resource within a given context
De Beer Lc 1728 H
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam]: Apud Rod. & Jacob. Wetstenios & Guil. Smith
Abstract
A summary of the resource.
This frontispiece, from Richard Bentley’s 1728 edition of Roman lyric poet Horace’s works, is full of symbolism and imagery. A bust of Horace (65-8 BC) sits on a plinth centre stage; and on the right stands Apollo, the god of lyric poetry (among other things), recognisable from his long hair, lyre, laurel wreath, and bow and arrows. On the left, Euterpe, one of the nine Muses, crouches, grasping her signature flute. On the far right, the god Pan, associated with rustic music, in his guise as a satyr with his goat hooves and horns, is embraced by a cherub who removes his theatre mask. Dutch artist Jan Goeree (1670-1731) was responsible for drawing the image after which the engraving was made for printing.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/2a327f6f5f09c541c0c13c85c7c59ba0.jpg
4ec011f564abda8b4e8b381e581fc06d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resolves: Divine, Moral, Political
Creator
An entity primarily responsible for making the resource
Owen Feltham
Date
A point or period of time associated with an event in the lifecycle of the resource
1661
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1661 F
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for Peter Dring
Abstract
A summary of the resource.
Merchant and poet, Owen Feltham (c.1602-68) wrote the first part of his ethical and religious musings, <em>Resolves</em>, while still a teenager; it was first published in 1623. The frontispiece to this 1661 edition, albeit on the right hand side, is a reworking of that which appeared in the 1628 edition. The poem, to the left, provides an explanation for the symbolism in the engraving by Robert Vaughn (c.1600-64). Opinion and Ignorance have been anthropomorphised and are trying to pull the world down while Wisdom (<em>Sapientia</em>) and Truth (<em>Veritas</em>) pull it towards Heaven, and therefore Enlightenment. As Saenger (2006) states ‘The frontispiece emblematizes the spiritual dynamics with which the text is meant to engage the reader.'
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/c186f4a64d0170acd1ee623ee1dc7020.jpg
604b289afe130910f6bb788d51dc70aa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Scripta in Naturali et Universali Philosophia
Creator
An entity primarily responsible for making the resource
Francis Bacon
Date
A point or period of time associated with an event in the lifecycle of the resource
1653
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1653 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam: Elzevir]
Abstract
A summary of the resource.
The diarist Samuel Pepys (1633-1703) was a book collector of note, amassing a library of 3,000 volumes that is still extant at Magdalene College, Cambridge. He also collected ‘frontispieces’; some 888 are listed in the <em>Catalogue of the Pepys Library, Vol. III Prints and Drawings</em> (1980). Pepys, like others at the time, did not differentiate between ‘frontispiece’ and engraved title-page; they lumped them together. Special Collections has 14 identified ‘frontispieces’ owned by Pepys. The 1653 Elzevir edition of Bacon is no. 36, described by him as ‘three male figures standing round a globe on a pedestal (with title).’
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e30981fe7e305cef047553e23f337a71.jpg
81f8197ae820694b619b8631f493d361
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sculptura: or The History, and Art of Chalcography and Engraving in Copper
Creator
An entity primarily responsible for making the resource
John Evelyn
Date
A point or period of time associated with an event in the lifecycle of the resource
1662
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1662 E
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by J.C. for G. Beedle [and others]
Abstract
A summary of the resource.
On 21 February 1661, the 17th century diarist John Evelyn learnt from the German soldier and amateur artist Prince Rupert (1619-1682) ‘how to grave in mezzo tinto.’ One result of this activity was Evelyn’s <em>Sculptura</em> (1662), which contained the first announcement of the art of mezzotint, and which was the first book on the history of engraving published in England. This work also contains an allegorical engraved frontispiece designed by Evelyn himself and engraved by Abraham Hertochs, the Dutch engraver. Evelyn’s seated girl represents the Graphic Arts; Geoffrey Keynes, his bibliographer, called the image ‘painfully banal’.
Engravings
Frontispieces