1
25
2
-
https://ourheritage.ac.nz/files/original/98e100d9212aa2d33cb4434bec10a53b.jpg
e0e832256f1fc56a59e0bb8be20ebe63
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
2471
Height
3287
Bit Depth
8
Channels
3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Wallypug of Why
Abstract
A summary of the resource.
When decoration was present on the outside of the book, it took the form of either blocking onto cover material, or pasting printed paper sheets onto the front and back boards. An illustration has been blocked on to this red cloth Chatto & Windus edition of Bret Harte’s <em>Susy</em>. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of <em>The Savoy</em>, which was a rival publication to the<em> Yellow Book</em>. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895<em> The Wallypug of Why</em>, a children’s novel written in the tradition of Lewis Carroll’s <em>Alice’s Adventures in Wonderland.</em>
Creator
An entity primarily responsible for making the resource
George Edward Farrow
Publisher
An entity responsible for making the resource available
London: Hutchinson & Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
[1895]
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR6011 A77 W34 1895
Bindings
cloth cover
Special Collections
-
https://ourheritage.ac.nz/files/original/d4bae2588cf097dce68272a044440c8b.jpg
cd5934b8e713242049c1ed14e725001d
Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
2903
Height
3335
Bit Depth
8
Channels
3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Wallypug of Why
Abstract
A summary of the resource.
When decoration was present on the outside of the book, it took the form of either blocking onto cover material, or pasting printed paper sheets onto the front and back boards. An illustration has been blocked on to this red cloth Chatto & Windus edition of Bret Harte’s <em>Susy</em>. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of <em>The Savoy</em>, which was a rival publication to the <em>Yellow Book</em>. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895 <em>The Wallypug of Why</em>, a children’s novel written in the tradition of Lewis Carroll’s <em>Alice’s Adventures in Wonderland</em>.
Creator
An entity primarily responsible for making the resource
George Edward Farrow
Publisher
An entity responsible for making the resource available
London: Hutchinson & Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
[1895]
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR6011 A77 W34 1895
Bindings
cloth cover
Special Collections