1 25 5222 http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F1ea6baae81a30e3ca810ebefcefdd610.jpg bde2496faf1cf7551496653b395e4e8f 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 Photograph of Alexander Crow McGeorge (1868-1953) Date Created Date of creation of the resource. 1936 Identifier An unambiguous reference to the resource within a given context Hocken Archives MS-4835/045/002 Subject The topic of the resource Gold mines and mining Type The nature or genre of the resource Photographic prints Spatial Coverage Spatial characteristics of the resource. New Zealand Temporal Coverage Temporal characteristics of the resource. Nineteen thirties Is Part Of A related resource in which the described resource is physically or logically included. McGeorge family papers (ARC-0374) Access Rights Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies. CC0 1.0 Universal (CC0 1.0) Public Domain Dedication. Copyright expired 1 January 1987. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F17662b55cc6ba044729e6480c8a2490f.jpg d6ea21edaeaf23eca0aeba798cc55462 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poems on Several Occasions: with Valentinian, A Tragedy. Creator An entity primarily responsible for making the resource John Wilmot, Earl of Rochester Date A point or period of time associated with an event in the lifecycle of the resource 1705 Identifier An unambiguous reference to the resource within a given context De Beer Eb 1705 R Type The nature or genre of the resource Inscriptions Publisher An entity responsible for making the resource available Printed for Jacob Tonson Abstract A summary of the resource. This edition of John Wilmot, Earl of Rochester’s Poems on Several Occasions was given by Gilbert Hobbs to Arscott Bickford (d.1771), son of William Arscott. William Glynn of Glynn, of Cornwall, also owned the book. According to a note within, Glynn was related to the Bickfords through marriage via the Prideaux family. Importantly, Esmond de Beer obtained, either by gift or purchase, some hundreds of books from Iolo Aneurin Williams (1890–1962), the English book collector who collected bad eighteenth century verse. A pencil note marking Williams’s ownership has been added to the label. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F79b47218b02f1e9af73c9b059f676a3c.jpg 5effec8561d3d21e90fb8bde3ae453a8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Dictionary of Maori Place Names. Creator An entity primarily responsible for making the resource A.W. Reed Date A point or period of time associated with an event in the lifecycle of the resource 1961 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available A.H. & A.W. Reed Abstract A summary of the resource. Dorothy Steel lived for many years at Otekaike, near Kurow, where she taught at the Campbell Park School (a special school for boys). She joined the teaching staff in 1925, and was the Head Teacher from 1948 to 1951. The scene depicted may well be from North Otago. At the bottom left of the bookplate are the initials ‘R.A.E’. This is the artist, who remains unidentified. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F8237407b94637962e4efcbb4727f3327.jpg 73224a5fda1e3550d579b75117f30f23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flying Fifty-five. Creator An entity primarily responsible for making the resource Edgar Wallace Date A point or period of time associated with an event in the lifecycle of the resource 1922 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Hutchinson & Co Abstract A summary of the resource. Frank Fitchett was the Professor of Clinical Medicine and Therapeutics at the University of Otago, from 1919 to 1936. His father was the Anglican Dean of Dunedin, while his younger brother became Bishop of Dunedin. As well as being an outstanding physician, Fitchett had wide interests that included literature and art. He was one of the most respected teachers in the history of the Otago Medical School. Just noticeable in the bookplate pasted in this sports mystery novel by Wallace, the ‘King of Thrillers’, are the initials ‘CW’. This may well be the artist, who to date remains unidentified. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fbf9af37978197d344efeba5dd0140b33.jpg 16e8786f1996da13992d172b53898822 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peaks, Passes and Glaciers. Creator An entity primarily responsible for making the resource Members of the Alpine Club Date A point or period of time associated with an event in the lifecycle of the resource 1932 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Methuen & Co Abstract A summary of the resource. Lindsay Rutherford Stewart (1917-2010) was an Invercargill doctor, who retired to Queenstown. He was a keen mountaineer and photographer in his youth. Although photographic bookplates are not common, this is a fine New Zealand example. Both Dr Stewart’s hobbies are represented, and fittingly, the bookplate is pasted into a work on peaks and glaciers. His climbing companion in the photograph was E. O. ‘Jim’ Dawson, who later became a well-known surgeon in Dunedin. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Ff8d5ba5b45d972c32d0e592877949d6f.jpg 75553661a05e604a2a7acce887d017b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Margaret Tarrant’s Christmas Garland. Date A point or period of time associated with an event in the lifecycle of the resource 1942 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Hale, Cushman & Flint Abstract A summary of the resource. Ellen (‘Nellie’) Elizabeth Dutton, the daughter of a Presbyterian minister in Dunedin, was the Principal of the Dunedin Free Kindergarten Association for many years. This bookplate, a memorial one produced after Dutton’s death in 1938, contains elements that reflected her interests. There are the two young children, the years marking her career at the Kindergarten, and a reference to Psalm 92, verse 12: ‘The righteous will flourish like a palm tree, they will grow like a cedar of Lebanon.’ The artist was Miss E. Reid, a former pupil. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fde4578831ab13663d93171c450d1a071.jpg cd3800019ba9ab61230cf6a08495e8ce Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Memoirs of Benvenuto Cellini; A Florentine Artist. Date A point or period of time associated with an event in the lifecycle of the resource 1927 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available J.M. Dent Abstract A summary of the resource. John Morris Scobie was born in Scotland in 1911, arriving in New Zealand in 1920. He was educated in Christchurch and taught in Auckland before becoming a master at the Southland Technical College from 1946 to 1953. During his years in Invercargill, he was prominent in the Southland musical scene. He conducted the Radio 4YZ choral singers, and established the Invercargill Symphony Orchestra. Later he moved to the North Island to become the first Principal of Wairoa College. The designer of his somewhat overlarge woodcut bookplate is unknown. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F382de1cadc06b33db1d681ef2271aeee.jpg a5f675be34e074bc7cee727ea4f08461 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Diary of Samuel Pepys M.A. F.R.S. Vol. VIII Date A point or period of time associated with an event in the lifecycle of the resource 1896 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available George Bell & Sons Abstract A summary of the resource. Dr Watt’s coat of arms with the more spare design of his other bookplate created by Hilda Wiseman, the Auckland artist. Fittingly for a medical man, she has tucked the Rod of Aesculapius along the bottom right border. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F0343fb9023c60a85fb729f6881f228a1.jpg d550b55ff0821c0b952cedf65a437559 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Diary of Samuel Pepys M.A. F.R.S. Vol. VIII Date A point or period of time associated with an event in the lifecycle of the resource 1896 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available George Bell & Sons Abstract A summary of the resource. Morris N. Watt (1892-1973) was a bacteriologist at the Otago Medical School. Apart from his medical work, Dr Watt had a prodigious range of interests. He published significant works on field entomology and early New Zealand shipping. He was also active in the study of diatoms, photography, philately, and heraldry. His colourful bookplate was created by Katherine Chart, an artist in the Court of the Lord Lyon, King of Arms in Edinburgh. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fd6985c3682f72e19686c9544248ee1a4.jpg 0ce10b91f2b2e9e44da7c7b2820f17db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Het Boek der Liefdeszangen Creator An entity primarily responsible for making the resource P. Ovidius Naso Date A point or period of time associated with an event in the lifecycle of the resource 1941 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available A.J. G Strengholt’s Uitgeversmaatschappij N.V. Abstract A summary of the resource. The Giesens were a prominent musical family in Dunedin. Amsterdam-born Johannes Giesen came to New Zealand in 1958, after working as a concert pianist and newspaper editor in Indonesia. He taught music, as well as art and French, at Otago Boys’ High School. Joan Giesen remains a mystery, but her very stylized bookplate in this Dutch language copy of Ovid’s Amores hints that she was also musical. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Ff4572241db44e2eab28588e6f0ee2fc7.jpg fa5a906c2ef339e7f5f05a23543f739d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Little Country. Creator An entity primarily responsible for making the resource John Guthrie Date A point or period of time associated with an event in the lifecycle of the resource 1935 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Thomas Nelson and Sons Abstract A summary of the resource. Robert Bruce Godward was born in Invercargill in 1916. He gained a Diploma in Fine Arts at the Canterbury School of Art, and trained as a teacher. After the Second World War, when he registered as a conscientious objector, he went overseas and studied psychotherapy in Switzerland. For many years he worked as an art psychotherapist at ‘The Retreat’, a famous Quaker psychiatric hospital in York, England. He returned to Invercargill in 1982, and lived with his sister until his death in 1992. Godward’s important collection of books, many of them splendidly bound, was donated to the Hocken Library. The bookplate, a portrait of Bruce Godward in his youth, was by his friend Rita Angus. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fcebb37df830ad52261344f1c2f4550a8.jpg f3ff6f278269ed495e9ff641007247bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays. Creator An entity primarily responsible for making the resource Francis Bacon Date A point or period of time associated with an event in the lifecycle of the resource 1936 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available J.M. Dent & Sons Abstract A summary of the resource. Reginald Medlicott (1913-1986) was a graduate of the Otago Medical School and became a pioneer of psychiatry in Australasia. He was the Director of Ashburn Hall in Dunedin, from 1947 until 1978. In 1963, he was the Foundation President of the Royal Australian and New Zealand College of Psychiatrists, and was later made a personal professor in the University of Otago. Professor Medlicott was a wide reader and a serious book collector. The Port Chalmers-born artist John Middleditch created a very simple, but effective bookplate for him. http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F1edaae47a40b45af46a86d9d85e45dbd.jpg 098c66ba7593bf4df56526a35db1ed8f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry (Henry) Soane advert Date A point or period of time associated with an event in the lifecycle of the resource 1870 Identifier An unambiguous reference to the resource within a given context Reproduction of advertising material for Harry Soane from Journal of the Ex Libris Society, 1893. Kindly provided by Anthony Pincott, Bookplate Society, England Type The nature or genre of the resource Advertisements Abstract A summary of the resource. Harry (Henry) Soane (1844-1927) was an engraver by trade (Census, 1871), and from his premises, just off Oxford Street in London, he offered many services, including the production of bookplates: ‘In finest Antique or Modern Styles’. He may have created the bookplate for James E. Matthew. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F093665c03a21043cee2273b28c4cf75e.jpg add04820a4debef02358c8cd88ee35c1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antiquitatum Angelicarum Alteris Testamenti libri tres. Creator An entity primarily responsible for making the resource Johann Bissel Date A point or period of time associated with an event in the lifecycle of the resource 1670 Identifier An unambiguous reference to the resource within a given context Shoults Gb 1670 B Type The nature or genre of the resource Inscriptions Publisher An entity responsible for making the resource available Formis Joannis Burger Abstract A summary of the resource. Handwriting can be difficult to decipher. This small inscription concerning an unidentified European library in 1744 is a case in point. A teasing written clue (at back) reveals that this small vellum work was given to the library (‘ex dono’) by Rudolphi Sonneberger, who is noted as a Professor of Poetry. Unfortunately, no further details on him are forthcoming. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F00e3b67ef9d93089c2ce522d832adb50.jpg b5667f0fee7fb2d78fceb9c4ab5e5f1c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photograph of the library at Fenay Hall. Creator An entity primarily responsible for making the resource Anon. Date A point or period of time associated with an event in the lifecycle of the resource 1911 Identifier An unambiguous reference to the resource within a given context Reproduced image of Fenay Hall Library by William Sykes, c. 1910. Kind permission of Kirklees Museums and Galleries, West Yorkshire Type The nature or genre of the resource Photograph Abstract A summary of the resource. The photograph of the library at Fenay Hall which has been used to create Brooke's pictorial bookplate. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F806fb0053f1a79a888a1f7bc34dd8e1b.jpg d401827b769f89d81becdcf73624ed25 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holy Bible Date A point or period of time associated with an event in the lifecycle of the resource 1655 Identifier An unambiguous reference to the resource within a given context De Beer Eb 1655 B Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Printed by E.T. for a Society of Stationers Abstract A summary of the resource. As is evident in his bookplate, Richard Lawson (1875-1971) had links with Australia. He was born in Victoria and attended the University of Melbourne where he graduated MA. Lawson had a particular interest in Classical Studies, and his bookplate says ‘His Book’ in Greek. In 1923, Lawson came to Dunedin to take up the role of the Foundation Professor of Education at Otago, and he remained in the position until his death. It is not certain how Hilda Wiseman came to design this bookplate, but it is one of over 100 that she executed over a fifty-year period. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fa47db57ba03996122d812405acb9ada5.jpg 695fd707e80f5ae47edbc06a478523fa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ex Libris: New Zealand Bookplates, 1925-1950. Creator An entity primarily responsible for making the resource Alexander Turnbull Library and the National Library Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1992 Identifier An unambiguous reference to the resource within a given context Special Collections Z994 N5 A432 1992 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available National Library of New Zealand Abstract A summary of the resource. A publication celebrating the Ex Libris Society of New Zealand Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F950b75d76c5dd5afc176db70bc2a214b.jpg 955a27e66967a4c4ee22f5820855c7f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Memoirs. Creator An entity primarily responsible for making the resource Bernhard, Prince von Bülow Date A point or period of time associated with an event in the lifecycle of the resource 1931 Identifier An unambiguous reference to the resource within a given context Special Collections CT1098 B84 BX66 1931 Type The nature or genre of the resource Book labels Publisher An entity responsible for making the resource available Putnam Abstract A summary of the resource. In 1942, Hilda Wiseman was asked to design a book label for the upcoming Churchill Auction. The auction was organised to raise money for the war effort, and rare books, manuscripts, and art pieces were donated by the patriotic public for sale. Four auctions were held throughout New Zealand. Almost all books for sale had a book label pasted in the front, serving as an identification sticker and a commemorative label. Three designs were executed by Wiseman for the auction, and this one has her distinctive ‘HW’ initials in the bottom right-hand side. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F0df5888ae59f8d01fd8f34fe83d86a29.jpg d06d487ad86a72eeb49f8b1dc310357a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hilda Wiseman, artist Date A point or period of time associated with an event in the lifecycle of the resource 1960 Type The nature or genre of the resource Photographic prints Abstract A summary of the resource. Hilda Wiseman (1894-1982) was born in Victoria, Australia, to New Zealand parents. The Wiseman family moved back to Auckland in 1904, and Hilda went on to study at Elam School of Art. She worked as a commercial artist, setting up on her own in 1931. From 1925 onwards, she designed over 100 bookplates, working predominately in linocuts. Wiseman printed the bookplates on her own press in her own studio: Selwyn Studio. Her style is bold and uncomplicated, and she clearly had a natural artistic talent. Wiseman also collected bookplates, and her collection of 1000 plates is now housed at the Sir George Grey Special Collections, Auckland City Library. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F7d67998af0c6c6b10df59e6879485f87.jpg 59a87022b2a62ffb1a7019871a4973f9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 75 Years of Bookplates Creator An entity primarily responsible for making the resource Ian Thwaites & Rie Fletcher Date A point or period of time associated with an event in the lifecycle of the resource 2005 Identifier An unambiguous reference to the resource within a given context Special Collections Z1008 A8 TH89 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Printed by Puriri Press Abstract A summary of the resource. This book is a 75th Anniversary edition for the Auckland Ex Libris Society, which was established in Wellington in November 1930. It is still active in Auckland today, comprising a small group of devoted bookplate lovers and collectors. The page on display features a photograph of Timaru architect and bookplate designer, Percy Watts Rule (1889-1953), who designed Timaru’s coat of arms; the bookplate of New Zealand writer, Jane Mander (1877-1949) by Stephen Champ; and two bookplates for Warwick Lawrence: one by renowned Auckland bookplate artist, Hilda Wiseman, and the other by New Zealand artist, Charles Tole. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F9c96ab6cc2b4c66694a477ded4390e7e.jpg 085606da8c40ef3ce650a7485b89ac18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Art of the Bookplate. Creator An entity primarily responsible for making the resource James P. Keenan Date A point or period of time associated with an event in the lifecycle of the resource 2003 Identifier An unambiguous reference to the resource within a given context Special Collections Z993 K446 2003 Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Barnes & Noble Abstract A summary of the resource. Fittingly, the bookplate of Dunedin teacher, heraldic artist, and genealogist, James MacIntosh McCready (1923-2012), is pasted into a book about bookplates. Born and raised in Dunedin, McCready’s interest in heraldry started young. In 1976, he arranged a ‘Scottish grant of arms’ for this father, Stanley. The McCready’s bookplate includes the arms, and features a cabbage tree on either side of the shield, the first time the New Zealand native plant appeared in heraldry. The compass at the top of the bookplate aligns with McCready’s war effort and illustrates his motto ‘Hold True’. The crosses on either side of his name signify his membership of the Military and Hospitaller Order of Saint Lazarus of Jerusalem. Not only did McCready design his own bookplate, he did so for many others. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fa52b50f57d75d7346f553acd30f9093b.jpg e78f88b6dc68ae08ea470bd4898b7413 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource De Veritate Religionis Christianae Creator An entity primarily responsible for making the resource Hugo Grotius Date A point or period of time associated with an event in the lifecycle of the resource 1675 Identifier An unambiguous reference to the resource within a given context De Beer Lb 1675 G Type The nature or genre of the resource Bookplates Publisher An entity responsible for making the resource available Ex officina Elseviriana Abstract A summary of the resource. William Downie Stewart, Junior, (1878-1949) was born in Dunedin and followed his father into a career in law and politics. In 1913, he became Mayor of Dunedin, and from 1931 until 1933, he served as New Zealand’s Finance Minister, under Prime Minister George Forbes. Stewart was also a scholar, and writer, and published several books. His bookplate was designed by the New Zealand engraver and artist, Ernest Mervyn Taylor (1906-64) and features the motto ‘Never Fear’. Around the bottom of the oval badge is, what appears to be, a rendition of the New Zealand kowhai. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F947d474b157e60823d74470255fcaf69.jpg a3a2e0d43309f11c367a33849f55118f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Plays of Philip Massinger. Date A point or period of time associated with an event in the lifecycle of the resource 1805 Identifier An unambiguous reference to the resource within a given context De Beer Eb 1805 M Publisher An entity responsible for making the resource available Bookplates Abstract A summary of the resource. Lady Diana Duff Cooper (1892-1986) was a British socialite, actress, and author. Married to politician and diplomat Alfred Duff Cooper (1890-1954), the couple lived a life of privilege and excess, surrounded by famous artists and the intellectuals of the day. Lady Cooper’s bookplate was executed by the artist Rex Whistler (1905-44). It includes images associated with her lifestyle: champagne bottles, grape vines, scrolls, and despatch boxes. Cooper herself is portrayed as Diana the Huntress in a bust that Whistler described to her as ‘haughty’; the overall rococo style is in keeping with the artist’s oeuvre. In all, Whistler produced 18 bookplates, mostly for friends, and his designs are described as having a ‘wonderful lightness and elegance’ (Lee, 1973). Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2Fbce01d708093092a2ddccf6776b440a1.jpg f032cffac0c69089ef3fcaa8dafcae7a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Agreeable Variety, Being a Miscellaneous Collection, in Prose and Verse, from the Works of the Most Celebrated Authors. Date A point or period of time associated with an event in the lifecycle of the resource 1724 Identifier An unambiguous reference to the resource within a given context De Beer Eb 1724 A Type The nature or genre of the resource Bookplates; inscription Publisher An entity responsible for making the resource available Printed for A. Bettesworth Abstract A summary of the resource. Baroness Le Despencer, Rachel Austen (c. 1706-88) owned this book before she married in 1738 Sir Robert Austen (1697-1743). Her ownership inscription ‘Rachel Dashwood 1731’ is at the top of the title page. The bookplate, designed sometime after 1781, features the crest of the Le Despencer baronetcy. The arms have four quarters and feature lions rampant (top left), gauntlets (top right), and a Saltire with a rose (bottom left). On either side of the arms are a Griffin and a bull, and they stand on a ribbon with the motto ‘Pro Magna Charta’ emblazoned upon it. Bookplates http://s3.amazonaws.com/ourheritagemedia%2Foriginal%2F12167eeed7bbb3af0b60b69c90c9456e.jpg 77475a85e55c6c44b65d520e69e3a96b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This Book Belongs To..... Bookplates, Book Labels, & Inscriptions Creator An entity primarily responsible for making the resource Curated by Romilly Smith and Donald Kerr, Special Collections, University of Otago Date A point or period of time associated with an event in the lifecycle of the resource December 2019 Abstract A summary of the resource. New Zealand’s Trinity of book collectors marked their books in different ways, thereby signifying ownership with the claim ‘This book is mine!’ Sir George Grey had no bookplate, inscribing his books rarely. Alexander Turnbull had ten different bookplates, one being a ‘rebus’ designed by the artist Walter Crane. Dr T.M. Hocken marked each book he owned many times, often using an Ex libris bookplate (which he was not allowed to carry); a ‘Hakena’ label, ink stamps, and his signature. Marking ownership (provenance) by inserting bookplates, book labels, stamps or inscriptions into a book is part of a long tradition, begun in the period of the first printing presses (1450s), when multiple copies of books were produced. Book collectors started to amass libraries, either as a resource for their own intellectual pursuits, or just for show. It became chic to have a library, a collection of books and manuscripts. In later times, it was doubly chic to have a prominent artist design your bookplate. Many of the first bookplates were based on coats of arms that many aristocrats and landed gentry had the right to bear. Mottoes dominated. As time progressed, and book collecting increased, an increasing number of owners did not have coats of arms to adorn their books. Consequently, they developed their own pictorial bookplates, often containing symbols or objects that reflected some personal aspect or interest. Traditionally, bookplates were engraved, or were produced through wood or linocuts. As the modern era progressed, the use of photography and colour has increased. Some book collectors are more circumspect. They use small, often unadorned labels, or specially made stamps, to affix in their books. Others just simply inscribed their name in their books. Special Collections does not own a collection of bookplates like Auckland City Libraries with their Hilda Wiseman Collection, nor the Auckland Museum Library with its Percy Barnett Collection. Nevertheless, Special Collections has numerous bookplates, book labels, and inscriptions evident in the thousands of books held. On display is a small fraction of the total held, a wide variety of armorial, pictorial, and modern designs representing a wide range of book collectors. What is pleasing are the number of bookplates and labels representing female book collectors, who have traditionally not figured greatly in the field of book collecting. In addition, bookplate samples from the collection of Professor David Skegg have been included. They are particular to the South Island as they feature Otago and Southland bookplate owners. In order to display more bookplates, far more smaller (octavo) format books and much less large format ones have been used. Often found pasted on the front endpaper, these individual design and provenance statements have their own distinct beauty. Please enjoy. Contributor An entity responsible for making contributions to the resource Special Collections, University of Otago Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Itinerario, Overo Nova Descrittione de’ viaggi Principali d’Italia Creator An entity primarily responsible for making the resource Franciscus Schottus Date A point or period of time associated with an event in the lifecycle of the resource 1628 Identifier An unambiguous reference to the resource within a given context De Beer Ib 1628 S Type The nature or genre of the resource Bookplates; inscriptions Publisher An entity responsible for making the resource available Franc Bolzetta Abstract A summary of the resource. ‘A Jollie Good Book Whereon to Looke is Better to Me Than Golde’ – so reads the text on the bookplate of Lucy Wharton Drexel (1841-1912). ‘Golde’, or money for that matter, was not in short supply for Drexel as she was married to wealthy American banker and philanthropist, Joseph Wilhelm Drexel (1833-88). The bookplate is a stylised scene of a woman reading in her library executed in 1904 by the designer, Edwin Davis French (1851-1906). Marks of previous ownership also appear with the stamped initials of ‘HL’ on the front cover, and an inscription above the bookplate recording when John English Doben (4th Baronet of Finedon, 1750-1837) purchased the volume at the Kettering Book-Meeting in March 1803. Bookplates