1
25
75
-
https://ourheritage.ac.nz/files/original/4d65b9e7708f92d80f9d5df36f97d1e6.jpg
152fbfb332eaac075cce552d723b4603
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
The Mathematical and Philosophical Works of the Right Reverend John Wilkins, Late Lord Bishop of Chester. Fifth 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
1708
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1708 W
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for J. Nicholson
Abstract
A summary of the resource.
Volker Remmert has written: ‘By the middle of the seventeenth century, pictorial representation [in frontispieces] played a significant role in the Copernican debate’ (2006). Indeed, astronomy was a ‘hot topic’ in the 17th century and authors used frontispieces as a way to communicate and legitimise their standpoint on scientific debates. Here, John Wilkins (1614-72), polymath, theologian, and latitudinarian, is stating emphatically, through these images, that he supports and is promoting Copernicus’s ideas on heliocentrism. Copernicus, Galileo, and Kepler, all heliocentrists, stand beneath an incomplete, yet decorative model of the solar system.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/8d93fd447b050c5fa25280611ab5d6af.jpg
ae6799065687f95d4066b192f002189b
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
The Bible, that is, the Holy Scriptures conteined in the Old and New Testament
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
1599
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1599 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: By the Deputies of Christopher Barker
Abstract
A summary of the resource.
The exact date that the frontispiece became a convention in printing and publishing is hard to pin down. Engraved title pages predate frontispieces, but confusingly some scholars use the terms ‘engraved title page’ and ‘frontispiece’ interchangeably. The Lutherans first used engraved title pages ‘as a means of pictorial propaganda’ in the early 16th century. They became a means to convey, in an aesthetically pleasing and usually symbolic way, the subject, title, and publication details of the book. This geometrically compartmentalised title page is from a Breeches or Geneva Bible. The tents of the twelve tribes are to the left; the twelve apostles are on the right; and the four evangelists, Matthew, Mark, Luke, and John, surround the heart enclosing the title.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/ecd9ef32adc2fed2b7ff78941745e1a4.jpg
a6b32678ede718a7506797adf5880ab1
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
Bell’s British Theatre, Consisting of the Most Esteemed English Plays
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
1776
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1776 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for John Bell
Abstract
A summary of the resource.
Despite being bankrupted twice in his career, John Bell (1745-1831) was one of the most successful booksellers of his day. His <em>British Theatre</em> series included tragedies and comedies, often featuring the most popular, contemporary plays. Bell employed the services of engraver, John Hall (1739-97) and his studio, to embellish his publications. Hall executed the engraving for the frontispiece on the right. It is signed. The frontispiece on the left, however, is not signed and could either have been done by Hall or one of his employees; there are plates throughout the text supplied by his studio. On the left, Britannia sits with her shield and spear, a bearded, winged man kneels before her; on the right, a tragic female figure laments the sinking of a ship.
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/ef19ff14cd41c9350f03ccb2f600137d.jpg
5070b6ec6981e74aaf426f9aa7ad2104
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
The Poetical Works of the Rev. George Crabbe. 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
1834
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1834 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: John Murray
Abstract
A summary of the resource.
This landscape frontispiece is by engraver Edward Finden (1791-1857), after a drawing by artist Clarkson Stanfield (1793-1857). It depicts the seaside town of Aldeburgh in Suffolk, England, the birthplace of the author, Reverend George Crabbe (1754-1832). Engravers, brothers William and Edward Finden, set up an atelier in London in the early 19th century and they were known for their landscape engravings of coastal Britain and their ‘elaborate finish and precision’ (ODNB). Their engravings for an edition of Byron’s <em>Life and Works</em> helped increase their popularity and they worked with famous, contemporary artist, J.M.W. Turner.
Engravings
Frontispieces
-
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/457f97ffa42a24b93948eda60119b36a.jpg
df46e97e58ba5eff7f6a4d09dae05ff5
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
Arriani Nicomedensis Expeditionis Alexandri Libri Septem et Historica Indica
Creator
An entity primarily responsible for making the resource
[Arrian of Nicomedia]
Date
A point or period of time associated with an event in the lifecycle of the resource
1757
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1757 A
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Amsterdam]: Apud Wetstenium
Abstract
A summary of the resource.
If you were lucky enough to be educated in the 18th century, Classical Studies would have featured heavily in the curriculum. Most modern-day readers of this volume of Arrian’s (1st cent. AD) <em>Anabasis</em> of Alexander the Great’s conquests (4th cent. BC) would have to resort to <em>Google</em> to decipher the imagery in the frontispiece. Victory, personified, stands upon the peoples Alexander has vanquished – the Persians, the Egyptians, the Punjabis. The scene in the distance represents his Siege of Tyre, now in Turkey. Alexander, a military genius, built a mole or pier upon which to stand his siege towers. He breached the heavily fortified walls of the castle built on the island and conquered the city-state – ‘Tyre was his [military] masterpiece’ (Cartledge, 2004).
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/aaced05806faf7543397fcd512c9f2fe.jpg
b9a820839a71b0b97519c11a1845b944
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
The Mirror of Perfection
Creator
An entity primarily responsible for making the resource
[Brother Leo]
Date
A point or period of time associated with an event in the lifecycle of the resource
1903
Identifier
An unambiguous reference to the resource within a given context
Brasch BX4700 F67 E5 1903
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: J.M. Dent
Abstract
A summary of the resource.
<em>The Mirror of Perfection</em> contains the teachings of St Francis of Assisi (13th century), the writing of which is attributed to his disciple and close companion, Brother Leo. One legend associated with St Francis is the ‘conversion of the wolf of Gubbio’, and it is this legend that informs the frontispiece to this edition. As the story goes, a wolf was terrorising and eating the inhabitants of the Umbrian town of Gubbio. St Francis commanded the wolf, in the name of God, to stop, which he did. In exchange for his compliance, the inhabitants were to feed the wolf every day for the rest of its life, which they did. The engraving for this image is after an unpublished drawing by English artist and set designer, Charles Ricketts (1866-1931).
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/36f01e21a5c73f48fc1b799b365a2bd8.jpg
267815fb92d381c6d4597516d315b056
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
Antiquitatum Romanorum, Libri Quatuor
Creator
An entity primarily responsible for making the resource
[Heinrich Kipping]
Date
A point or period of time associated with an event in the lifecycle of the resource
1713
Identifier
An unambiguous reference to the resource within a given context
Shoults Lb 1713 K
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Leiden]: Apud Petrum Vander Aa
Abstract
A summary of the resource.
Heinrich Kipping’s <em>Antiquitatum Romanorum</em> contains another example of what might be termed a ‘double frontispiece’. A portrait of German theologian, antiquarian, and author, Kipping (1623-78), sits on the left. A more elaborate frontispiece, on the right, represents the subject of the book: all things Roman. It is full of imagery associated with the Empire: the eagle (<em>Aquila</em>) – for the Roman military; the initials SPQR – for <em>Senatus Populusque Romanus</em> (the Senate and the People of Rome); under the right wing of the eagle sits a <em>fasces</em> – a bundle of rods with a protruding axe head, symbolising the power and jurisdiction of a magistrate; the Pantheon, the Colosseum, and the Circus Maximus; and Romulus and Remus suckling from the she-wolf.
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/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/08f80f57e831a7cf9403e133da1ae0fd.jpg
ca437509df508ae688ad855e0bb24b17
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
De Christo Imitando: Contemnendisque Mundi Vanitatibus Libellus
Creator
An entity primarily responsible for making the resource
[Thomas à Kempis]
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 D
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Cambridge: John Hayes]
Abstract
A summary of the resource.
The term ‘frontispiece’ emerged into the English language around the start of the 17th century. In an increasingly saturated book market, publishers had to make editions more attractive to the buying public. ‘Front matter’, of which frontispieces are a part, was a way of advertising and framing the content of the text that followed. There can be no doubt as to the topic of this book. Jesus stands within an architectural framework, in the doorway of the book so to speak, inviting the reader inside. <em>The Imitation of Christ</em>, by German priest Thomas à Kempis (1380-1471), is one of the most widely read Christian texts in history; it has gone through hundreds of editions. This particular volume was printed by John Hayes, Cambridge University Printer, in 1685.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/a2e7095be83c65b1326ac79ebd9d123a.jpg
97ffbef8b169b1036ab91e6864129218
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
The Theory of the Earth
Creator
An entity primarily responsible for making the resource
[Thomas Burnet]
Date
A point or period of time associated with an event in the lifecycle of the resource
1684
Identifier
An unambiguous reference to the resource within a given context
De Beer Ec 1684 B
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by R. Norton, for Walter Kettilby
Abstract
A summary of the resource.
Theologian Thomas Burnet’s <em>Theory of the Earth</em> ‘initiated a lively tradition of scientific treatises on the origins of the earth’. First published in Latin in 1681, the frontispiece, here, appeared in the 1684 English translation. The image was included, albeit modified, in all subsequent editions; and as Magruder says is ‘so effective a summary….that his [Burnet’s] views frequently are described simply by reference to this engraving’ (2008). Here we see Jesus Christ standing atop seven globes, clockwise they each represent a stage in Earth’s development. Earth in chaos; Earth as perfect, featureless; Earth in the Great Flood, with the Ark; Earth as we know it; Earth in conflagration; Earth perfect again; and finally Earth has become a star.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/21e626157b024716ad062ede8643e954.jpg
95662f76b5afd5c936c6c362e29a17cc
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
An Account of the Rise, Progress, and Present State of the Magdalen Hospital, for the Reception of Penitent Prostitutes. 5th edition
Creator
An entity primarily responsible for making the resource
[William Dodd]
Date
A point or period of time associated with an event in the lifecycle of the resource
1776
Identifier
An unambiguous reference to the resource within a given context
Shoults Eb 1776 D
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed by W. Faden, for the Charity
Abstract
A summary of the resource.
In 1758, the first Magdalen Hospital for ‘penitent prostitutes’ was set up in London. It was founded as a ‘humane scheme devised for the relief of those pitiable sufferers; for their rescue from calamities’. Admissions were once a month and women could not be pregnant or have any diseases. Upon entry, their street clothes were taken away and they were issued with a ‘uniform’, including a ‘grey shalloon [woollen] dress’. The woman in this frontispiece is an example of how the ‘inmates’ of the hospital looked. The Hospital was closely associated with the Church, as is intimated by the appearance of the chapel in the background of this image.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/bb93dc666e94a3f3b8e120845148df78.jpg
b5a8fa25cc0f08f15c1628c73c45ac95
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
Britannia
Creator
An entity primarily responsible for making the resource
[Willliam Camden]
Date
A point or period of time associated with an event in the lifecycle of the resource
1600
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1600 C
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[London: Printed at Eliot’s Court Press]
Abstract
A summary of the resource.
William Rogers (extant 1589-1604) was one of the most important English engravers of the Tudor period. Trained as a goldsmith, the engraving he executed for the fifth edition of William Camden’s seminal antiquarian work, <em>Britannia</em>, is full of symbolism. At the top, Britain, personified, sits on a rock with spear and standard in hand. The map of Britain, imprinted with the names of pre-Roman tribes, is flanked by Neptune and Ceres, depicting fertility on both land and sea. At the bottom, a ship, Stonehenge, Roman baths, and a church symbolise Britain’s formidable navy, her history, and strong Christian faith, respectively. Despite its position, to the right, this engraving is essentially a frontispiece, not a title page.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/398ce9f6bc4dcf071f2fcc8ee905808e.jpg
5792953ebe55933882c4c25ac1e9e04e
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
Anatomy, Physiology, and Hygiene: A Textbook for Nurses
Creator
An entity primarily responsible for making the resource
A. Millicent Brown and E. Bleazby
Date
A point or period of time associated with an event in the lifecycle of the resource
1942
Identifier
An unambiguous reference to the resource within a given context
Truby King QS4 AT53 1942
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: J.M. Dent
Abstract
A summary of the resource.
Modern colour printing technologies and processes date from the latter part of the 19th century. This book, part of the Truby King collection, was once held in the Karitane Hospital in Wellington. As it states on the title page, it is a ‘Textbook for Nurses’. This colour plate frontispiece is a striking image of the body’s circulatory system. Arteries are in red, veins are in blue.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/9c9593d321327a6cb21657bcb76811a9.jpg
fc118493d9a88330637b258a68b4507f
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
The Bloody Chamber and Other Stories
Creator
An entity primarily responsible for making the resource
Angela Carter
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Identifier
An unambiguous reference to the resource within a given context
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.
In 2012, a number of artists entered a competition to design illustrations for Angela Carter’s <em>The Bloody Chamber and Other Stories</em>, a mix of Gothic-like stories centred round fairy and folk tales that first appeared in 1979. Igor Karash, who studied book design and illustration at Kharkov State Art & Design Academy in Ukraine, won the second House of Illustration/Folio Society Illustration Award. In the title’s story <em>The Bloody Chamber</em>, one finds a sinister Bluebeard luring his bride to his castle. The text that spurred Karash on to provide this frontispiece image reads: ‘He stripped me, gourmand that he was, as if he were stripping the leaves off an artichoke.’
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/c7a5ade9696a5a4ff7ba52083927469b.jpg
eecd63026841976959bbaadd97d809a8
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
Travels Thro’ Germany, Bohemia, Swisserland, Holland; and other Parts of Europe
Creator
An entity primarily responsible for making the resource
Charles Patin
Date
A point or period of time associated with an event in the lifecycle of the resource
1696
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1697 P
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed for A. Swall and T. Child
Abstract
A summary of the resource.
Sometimes books appear to have two frontispieces. Here, in the conventional position of the frontispiece (left), sits a portrait engraving of the author, physician, numismatist, and traveller, Charles Patin (1633-93). The portrait is by Flemish-born engraver, Michael vanderGucht (1660-1725), who spent most of his career working in England. It is unclear whether the second frontispiece on the right, an engraving of an antiquarian scene, and the other images in the book are by vanderGucht as they are unsigned; however, they most probably are.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/39e93af21d8a055aea88270340055ab6.jpg
7da2bbcba0330e16560b1ac591376e6c
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
‘Goblin Market’ and Other Poems. Second edition
Creator
An entity primarily responsible for making the resource
Christina Rossetti
Date
A point or period of time associated with an event in the lifecycle of the resource
1865
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR5237 G6 1865
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Macmillan and Co.
Abstract
A summary of the resource.
Here is the title page and frontispiece illustration for Rossetti’s second edition <em>Goblin Market</em>, published in 1865. The double-page spread was illustrated by her brother, Dante Gabriel Rossetti.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e092d5f2c6fe6a5701e324a8d5e92971.jpg
24e607de60531c6f0fbfcad272026939
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
‘Goblin Market’ and Selected Poems
Creator
An entity primarily responsible for making the resource
Christina Rossetti
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Identifier
An unambiguous reference to the resource within a given context
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.
Books are often repackaged for a new reading audience. Jillian Tamaki has provided her own modern illustrative interpretation of Christina Rossetti’s <em>‘Goblin Market’ and Selected Poems</em>, providing eleven images throughout the volume. This much lighter illustration was chosen for the frontispiece. Sisters Laura and Lizzie are present, but there is no sign of any evil goblins. This new Folio Society edition was donated to Special Collections by Emeritus Professor Colin Gibson.
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/1527494753837c846d1d434fb50534ae.jpg
429a40133a6381218338bdd406f5abce
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
The Whole Life and Strange Surprising Adventures of Robinson Crusoe, of York, Mariner
Creator
An entity primarily responsible for making the resource
Daniel Defoe
Date
A point or period of time associated with an event in the lifecycle of the resource
1785
Identifier
An unambiguous reference to the resource within a given context
De Beer Eb 1785 D
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Printed at the Logographic Press
Abstract
A summary of the resource.
The image of Daniel Defoe’s Robinson Crusoe and Man Friday on the remote castaway island is an iconic image in literature. John Walter (1738–1812), founder of <em>The Times</em>, purchased a patent for a new method of printing from logotypes (i.e. founts of words or portions of words, instead of letters), and printed this 1785 edition of <em>Robinson Crusoe</em> using this method. The frontispiece he commissioned for it is an important one, because it was the first instance of the elevation of this classic scene to frontispiece status (Blewett, 1986). Drawn by the Boston-born Mather Brown (1761–1831), the image was engraved by Robert Pollard (1755–1838), an English engraver and painter who specialised in naval and sea-battle scenes.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/4550b3a938dfc9614c2a7b7237e1eaa9.jpg
62fdc5bbbea22b09553f83f280ca3810
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
Engravings on Wood
Creator
An entity primarily responsible for making the resource
E. Mervyn Taylor
Date
A point or period of time associated with an event in the lifecycle of the resource
1957
Identifier
An unambiguous reference to the resource within a given context
Special Collections NE1217 T697
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Wellington: Mermaid Press
Abstract
A summary of the resource.
This limited edition displays the exceptional talent of E. Mervyn Taylor (1906–1964), one of New Zealand’s best engravers, who was justly recognised by international agencies such as the New York-based Society of Illustrators. If there is one image that captures the essence of Taylor’s fine work it is this frontispiece -‘The Magical Wooden Head’, engraved on boxwood in 1952.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/213c601a32e802141ec535480cc1161e.jpg
3cd68422e49d9bb12c00a1fdfde68c51
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
The Narrative of Arthur Gordon Pym
Creator
An entity primarily responsible for making the resource
Edgar Allan Poe
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; 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.
This Folio Society reprint of Edgar Allan Poe’s <em>The Narrative of Arthur Gordon Pym</em> has provided the British-born artist, David Lupton, an opportunity to indulge. He has admitted to a love for melancholy and the macabre, something that Poe’s tale certainly offers. Again the frontispiece stands alone, with an ‘Illustrations’ list in the preliminary pages that not only gives the page number of where the action takes place, but also gives a portion of the text that presumably the artist worked from to create the image.
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
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Special Collections, University of Otago
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Title
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National History and Views of London and its Environs; Embracing their Antiquities, Modern Improvements, &c… Vol. I
Creator
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Edited by C. F. Partington
Date
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1834
Identifier
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De Beer Eb 1834 N
Type
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Books
Publisher
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London: Simpkin and Marshall, et al.
Abstract
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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