2
25
5221
-
https://ourheritage.ac.nz/files/original/9653dbf2a2f5a67a24a092a43f54003c.jpg
f552965abdf07ac6ca1ba6eaa2430bb8
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'Creation' and Eric Gill, photograph by Howard Coster, reproduced from Fiona MacCarthy, Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1989
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 M282
Type
The nature or genre of the resource
Photographs
Publisher
An entity responsible for making the resource available
London: Faber and Faber
Abstract
A summary of the resource.
Eric Gill standing beside his <em>Creation</em> sculpture in his stone shop at Pigotts, 1937. This commissioned work was destined for the League of Nations Building in Geneva.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/9970d5f39e752470e74ed4e2f7bb913e.jpg
8374936ccca080ee45c8803426b4a102
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'Elephants' by Robert Gibbings reproduced from Gustave Flaubert, Salambo
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1931
Identifier
An unambiguous reference to the resource within a given context
Special Collections PQ2246 S3 E5 1931. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
Waltham St Lawrence, Berkshire: Golden Cockerel Press
Abstract
A summary of the resource.
Published in 1862, <em>Salambo</em> is set in Carthage in the third century BC. Gibbings was not a fan of his work for the 1931 Golden Cockerel Press edition of Gustave Flaubert’s work but he received positive reviews in the fine arts magazine, <em>Studio</em>. The engravings are described by the publication as having ‘dramatic boldness and grandeur’ and being virtually ‘perfect’ in combination with their placement and relationship to the text.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/0287564ab13c3ac0e025c0784aa2d1bb.jpg
5668ba2a63fcc03aad1474cdda9081a7
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
Auld Acquaintances: Celebrating the Robert Burns Fellowship. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago, Dunedin
Date
A point or period of time associated with an event in the lifecycle of the resource
29 August 2018
Abstract
A summary of the resource.
‘…for it is only through imaginative thinking that society grows, materially and intellectually…’ <br />Charles Brasch, ‘Notes’. <em>Landfall</em>, March, 1959 <br /><br />This year, 2018, is the 60th anniversary of the establishment of the Robert Burns Fellowship at the University of Otago. It is the oldest and most prestigious literary art award in New Zealand. There has always been some mystery surrounding the people who helped set it up, but Dunedin’s own Charles Brasch certainly had a hand in it. <br /><br />The purpose of the Fellowship was to commemorate the anniversary of the birth of the Scottish poet, Robert Burns (1759), and to acknowledge the Burns family’s involvement in the early settlement of Otago by the Scottish diaspora. <br /><br />The Fellowship serves as a way of fostering nascent or already established New Zealand writing talent. It is hosted by the University of Otago’s Department of English and Linguistics, where an office is provided and a stipend is paid. There is no expectation of output.<br /><br />The city of Dunedin, with its statue of Robert Burns in the Octagon, is part of the personality of the Fellowship. The University, Dunedin’s tradition of education and literature, the ‘smallness’ of the city, the ‘Scottishness’, the weather, landscape, and people have all uniquely contributed to the experience of each Fellow. For some, Dunedin has become their <em>turangawaewae</em>. <br /><br />This exhibition, <em>Auld Acquaintances: Celebrating the Robert Burns Fellowship</em>, features every Robert Burns Fellow, and where possible the publication that resulted from their tenure is on display; read their own words on how the Fellowship impacted their lives. The Robert Burns Fellowship. Long may it continue!
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Curator: Romilly Smith
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
'Hooper's Inlet' from Benzina
Creator
An entity primarily responsible for making the resource
Cilla McQueen
Date
A point or period of time associated with an event in the lifecycle of the resource
1988
Identifier
An unambiguous reference to the resource within a given context
Central PR9641 M238 B4
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Dunedin: John McIndoe
Abstract
A summary of the resource.
A poem by Robert Burns Fellow, Cilla McQueen. Hooper's Inlet is on the Otago Peninsula in Dunedin
New Zealand literature
Robert Burns
-
https://ourheritage.ac.nz/files/original/d52c3068d2ced9259142f13717619c08.jpg
fad1f7f41890bf8545c600764dde16be
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 World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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/.
Creator
An entity primarily responsible for making the resource
J. W. Mellor
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: The Ceramic Society by Longmans, Green and Co.,
Abstract
A summary of the resource.
Cartoon from<em> Uncle Joe’s Nonsense</em>
Title
A name given to the resource
'I Remonstrate Seriously with Louise the Coquette' from Uncle Joe’s Nonsense for Young and Old Children
cartoons
ceramics
inorganic chemistry
Joseph Mellor
-
https://ourheritage.ac.nz/files/original/5d33f1339ee5a2aff5241ee564b899a8.jpg
f67d84a3d56f07ed9776338850d727ba
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'Mankind' (1928) reproduced from Donald Attwater, A Cell of Good Living. The Life, Works and Opinions of Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 AV94
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
London: Geoffrey Chapman
Abstract
A summary of the resource.
Eric Gill’s younger sister Angela modelled for this sculpture, which was first known as <em>Humanity</em>, and then renamed <em>Mankind.</em> Carved in 1928 from a large piece of Hoptonwood stone, it is regarded as one of Gill’s most impressive carvings. It is now at the Tate Gallery, London.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/382cb602283ef7a1dbd7e40b365a7248.jpg
1b1ef21b2d99accf849a2ac054fcc978
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'Our Lady of Lourdes' reproduced from Eric Gill, The Engravings edited by Christopher Skelton
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Identifier
An unambiguous reference to the resource within a given context
Special Collections NE642 G5 A4 1990
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: The Herbert Press
Abstract
A summary of the resource.
Of Gill’s engraving ability, Hilary Pepler noted his ‘sureness and steadiness of his hand at minute detail’. This coloured woodcut of <em>Our Lady of Lourdes</em> (1920) was done by Gill in 1920 when he was living at Hopkins Crank, Ditchling Common, Sussex.
-
https://ourheritage.ac.nz/files/original/48d6d3461d91980f64827554efeedb42.jpg
e8fdf047aa2b23eb1ca58ad45a36dc54
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'Positano' reproduced from Trumpets of Montparnasse
Creator
An entity primarily responsible for making the resource
Robert Gibbings
Date
A point or period of time associated with an event in the lifecycle of the resource
1955
Identifier
An unambiguous reference to the resource within a given context
Special Collections D921 GD98. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Paintings
Publisher
An entity responsible for making the resource available
New York: E.P. Dutton and Co.
Abstract
A summary of the resource.
Gibbings’s career as a wood engraver stretched for over thirty years and by the 1950s he was feeling constrained by the black and white austerity of the medium. In 1953, after the publication of <em>Coming Down the Seine</em>, Gibbings spent some time on the Continent as he wanted to live life as a painter. This image is from <em>Trumpets from Montparnasse</em> and represents a hillside in the seaside town of Positano on the Amalfi Coast in Italy where Gibbings lived for a short time. In the first chapter of the book he wrote that he wanted ‘the freedom and the fun of brushes and colour’. There are eight oil paintings featured in the volume.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/f2a73cbaf70be36076090566172505c1.jpg
f50a4b8d93ea85a3bda0cb31c22e24bc
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
All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, 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
'Silly Novels by Lady Novelists’ in The Westminster Review
Creator
An entity primarily responsible for making the resource
George Eliot
Date
A point or period of time associated with an event in the lifecycle of the resource
October, 1856
Identifier
An unambiguous reference to the resource within a given context
Storage Journal AP 4 W47 Ser. 2, V.10
Type
The nature or genre of the resource
Periodical
Publisher
An entity responsible for making the resource available
London: John Chapman
Abstract
A summary of the resource.
Founded by the Utilitarians Jeremy Bentham and James Mill, the <em>Westminster Review</em> (1824-1914) was known primarily for its social and political engagement. It was neither popular nor successful in its early years. By the 1850s, the <em>Westminster</em> had become a respected journal, noted for its intellectualism. The writer George Eliot was assistant editor from 1851 to 1854, although she had in reality done most of the editorial work herself. ‘Silly Novels by Lady Novelists’ was one of her last essays for the <em>Westminster</em>, and it sought to expose the ridiculous nature of many works for and by women, a concern to which she was to return in her fiction.
Victorian Periodical
-
https://ourheritage.ac.nz/files/original/ec09f6548254fbd6cfac60eaac76056f.jpg
17991b08f988381f0701d606dfae425a
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'St Kevin' by Robert Gibbings reproduced from Beasts and Saints
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1942
Identifier
An unambiguous reference to the resource within a given context
Special Collections BR1710 BB88. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engravings
Publisher
An entity responsible for making the resource available
London: Constable and Company
Abstract
A summary of the resource.
This engraving accompanies the story – ‘St Kevin and the Boar’ – in Helen Waddell’s <em>Beasts and Saints</em>. Gibbings produced thirty-one engravings for the volume with stories translated from the Latin by Waddell. Over 30,000 copies were produced.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/fa6fa96cf216005cc74e72a49e5d3c7f.jpg
e72b20ad2135f4a842446f666546ed64
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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
'Tahitian Woman' (c. 1929) reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Gibbings used many life models throughout his career and the model for this sculpture was supposedly a ‘lady of title’ who refused payment. The sculpture was later named ‘Tahitian Woman’ by the now owner, the Victoria and Albert Museum, London.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/65018487910d22ca9657fe80aec8be52.jpg
41436f6a62bc4adbfde1af589ffbb6c5
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
Medical Marvels: Treasures from the Health Sciences Library. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago, Dunedin; Christy Ballard, Richard German, Terence Doyle, et al.
Date
A point or period of time associated with an event in the lifecycle of the resource
11th December, 2018
Abstract
A summary of the resource.
In 1929, the historical collection of the University of Otago’s Health Sciences (formerly Medical) Library was established with the donation of the famed Monro Collection. The over 450 volumes were owned by Alexander Monro, father (<em>primus</em>), son (<em>secundus</em>), and grandson (<em>tertius</em>), who were successively Professors of Anatomy at the University of Edinburgh, 1720-1846. <br /><br />Wonderful though the Monro Collection is, it comprises but a fraction of the total Health Sciences Library’s Historical Collections, some 100,000 plus volumes. These include 18th, 19th, and 20th century books and manuscripts, as well as the unique Preventive Medicine Dissertations. This exhibition,<em> Medical Marvels</em>, highlights treasures from this Historical Collection, from pharmacy and phrenology, to dentistry and disease. Of particular note is the anatomical flap book by Johann Remmelin, printed in Holland in 1667; a second edition of Andreas Vesalius’s <em>The Fabric of the Body</em>, printed in 1555; and Bernhard Albinus’s <em>Tables of the Skeleton and Muscles of the Human Body</em>, printed in 1746. <br /><br />Other noteworthy items include works by medicos Edward Jenner, John Hunter, Francis Glisson, Thomas Willis, and William Smellie. For those interested in the history of medicine, the exhibition is a feast. This exhibition reflects scholarly engagement. Many of the books have been chosen by University of Otago academic staff, students, and librarians, who have used the books for their own research. We are particularly indebted to Professor Terence Doyle, Department of Medicine, and Professor Barbara Brookes, History Department. The first is an avid user of the historical collection; the second highlighted the importance of the Preventive Medicine dissertations.
Contributor
An entity responsible for making contributions to the resource
Historical Collections, Health Sciences Library, 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 Cow-Pock' (1802) by James Gillray reproduced from The Healing Presence of Art: A History of Western Art in Hospitals
Creator
An entity primarily responsible for making the resource
Richard Cork
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Identifier
An unambiguous reference to the resource within a given context
Central NK2115 A77 C674 2012
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
New Haven, Connecticut: Yale University Press
Abstract
A summary of the resource.
In the 1790s, Edward Jenner discovered that vaccination (vacca = cow in Latin) with pus from Cowpox provided cross-immunity to Smallpox. It met with great controversy, as depicted by James Gillray in this caricature of 1802. The papers in the boy’s pocket (left) read ‘Benefits of the Vaccine’, and he holds a container labelled ‘Vaccine Pock hot from ye Cow’. On the wall is a painting showing the worshippers of the Golden Calf.
Medicine
-
https://ourheritage.ac.nz/files/original/9840a522f9cae41418b93f3475de316d.jpg
6af866eaa5cac09421fa31e4ff2e1807
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 World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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/.
Creator
An entity primarily responsible for making the resource
J. W. Mellor
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: The Ceramic Society by Longmans, Green and Co.
Abstract
A summary of the resource.
Cartoon from <em>Uncle Joe's Nonsense</em>
Title
A name given to the resource
'The First Technical Research Association in Quest of Knowledge' from Uncle Joe’s Nonsense for Young and Old Children
cartoons
ceramics
inorganic chemistry
Joseph Mellor
-
https://ourheritage.ac.nz/files/original/f5457a2cb18f9639609343c8504640a3.jpg
be6a7aa21fdeda3929ffb46a8037ac44
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 World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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/.
Creator
An entity primarily responsible for making the resource
J. W. Mellor
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: The Ceramic Society by Longmans, Green and Co.,
Abstract
A summary of the resource.
Cartoon from <em>Uncle Joe's Nonsense</em>
Title
A name given to the resource
'The Mathematics of Pernicious Anaemia' from Uncle Joe’s Nonsense for Young and Old Children
cartoons
ceramics
inorganic chemistry
Joseph Mellor
-
https://ourheritage.ac.nz/files/original/8f6bdcc3c6d99db73052bd6b23a3973f.jpg
3029beca145145bd6eb56ab54a559a66
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 World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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/.
Creator
An entity primarily responsible for making the resource
J. W. Mellor
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: The Ceramic Society by Longmans, Green and Co.
Abstract
A summary of the resource.
Cartoon from<em> Uncle Joe's Nonsense</em>
Title
A name given to the resource
'The President's Christmas Dream of Spring' from Uncle Joe’s Nonsense for Young and Old Children
cartoons
ceramics
inorganic chemistry
Joseph Mellor
-
https://ourheritage.ac.nz/files/original/57f616abb84c99e282c745cd900b3f57.jpg
c66645b50de348909b1a21e6031cf46e
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
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
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 Sower' (c. 1931) reproduced from Donald Attwater, A Cell of Good Living. The Life, Works and Opinions of Eric Gill
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Central NB497 G55 AV94
Type
The nature or genre of the resource
Sculpture
Publisher
An entity responsible for making the resource available
London: Geoffrey Chapman
Abstract
A summary of the resource.
Accompanying Gill’s carvings of <em>Prospero and Ariel</em> at Broadcasting House, Langham Place, London, was <em>The Sower</em>, a back-to-the-land male figure distributing corn. Gill called it a ‘good image of a broadcaster’; BBC security staff termed it the ‘Overtime King’, handing out the overtime hours on extra pay.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/c3881db20c8a03b3a2bb66ff111909a5.jpg
ee3ae8688f3527b28bc078dd55d63233
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
All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, 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 Musical Instrument’, in The Cornhill Magazine, Vol. II
Creator
An entity primarily responsible for making the resource
Edited by William Makepeace Thackeray
Date
A point or period of time associated with an event in the lifecycle of the resource
July to December 1860
Identifier
An unambiguous reference to the resource within a given context
Storage Journals AP4 C67
Type
The nature or genre of the resource
Periodicals
Publisher
An entity responsible for making the resource available
London: Smith, Elder & Co.
Abstract
A summary of the resource.
<p class="Normal1">Elizabeth Barrett was already a famous poet when she secretly married Robert Browning in 1846 and moved with him to Italy. In the following years, she produced some of her finest works, including <em>Sonnets from the Portuguese </em>(1850) and the long poem <em>Aurora Leigh</em> (1856). She was an early contributor to Thackeray’s<em> Cornhill Magazine</em>, which was a rival to Dickens’s <em>All the Year Round. </em>Barrett Browning’s ‘A Musical Instrument’, a meditation on the suffering that produces art, appears here with a striking wood engraving after Frederic Leighton. Leighton, later president of the Royal Academy, designed Barrett Browning’s tomb in Florence.</p>
Victorian Periodical
-
https://ourheritage.ac.nz/files/original/01eaac7199eb6f51b5189be8a91cbd2e.jpg
5a16c609d463326e6a105b486552bef3
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
1869: The Year that Was
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date
A point or period of time associated with an event in the lifecycle of the resource
September 2019
Contributor
An entity responsible for making contributions to the resource
Curated by Romilly Smith and Dr Donald Kerr, University of Otago Special Collections, Hocken Library
Abstract
A summary of the resource.
On 3 June <strong>1869</strong>, the University of Otago Ordinance <strong>1869</strong> became law. This meant that the newly established University became a corporate body with power to grant degrees. This was a significant first for New Zealand. Two years later, with a building secured, and three professors appointed, classes began. The first class was on 10 July 1871, with 81 students enrolled. The University of Otago’s rich history continues today. Its establishment and legacy form part of this exhibition <em><strong>1869</strong>: The Year That Was</em>.<br /><br />Of course, other events occurred in<strong> 1869</strong>, forming a then unwritten but much wider history. While the University Council were debating the administrational matters necessary to make the newly formed educational institution work, events were occurring on a local and international level. Each had their own particular impact. Some of the events of <strong>1869</strong> that feature in the exhibition include the formation of the Otago Institute; the first Fine Arts Exhibition in New Zealand; the first ‘Royal’ visit to New Zealand; the introduction of the New Zealand Cross; the births of Rasputin, Emma Goldman, and Gandhi; the opening of the Suez Canal; and the formation of Dmitry Ivanovich Mendeleev’s periodic table. Tolstoy’s <em>War and Peace</em> was published in 1869, as was Louisa May Alcott’s <em>Little Women</em>.<br /> Please enjoy <em><strong>1869</strong>, The Year That Was.</em>
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 Step to the Right’: The Restructuring of the New Zealand University Students Association in 1986
Creator
An entity primarily responsible for making the resource
Grant Robertson
Date
A point or period of time associated with an event in the lifecycle of the resource
1994
Identifier
An unambiguous reference to the resource within a given context
Storage Theses JA0.1 RM53
Type
The nature or genre of the resource
Dissertation
Publisher
An entity responsible for making the resource available
Dunedin: University of Otago
Abstract
A summary of the resource.
Grant Robertson (b. 1971) was born in Palmerston North, but grew up in Dunedin where he attended King’s High School. In 1993, while studying Politics at the University of Otago, he became President of the Otago University Students Association. Robertson graduated with a Bachelor of Arts with Honours, and his research essay (above) reflects his involvement with the Association. After graduation, Robertson worked for the Ministry of Foreign Affairs and Trade, both in New Zealand and overseas, returning home in 2001. In 2008, he stood for Labour in the Wellington Central electorate and won. He has been in Parliament ever since, in government and in the opposition. Robertson’s current roles include Minister of Finance and Minister of Sports and Recreation.
University of Otago
-
https://ourheritage.ac.nz/files/original/72925eeb26453a01099d5e8fc280f666.jpg
fffd8c8c46195b544cca93887dd37db0
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
Keeping it in the Family: British and Irish Literary Generations, 1770-1930. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
14th November, 2016
Contributor
An entity responsible for making contributions to the resource
Special Collections; various
Abstract
A summary of the resource.
Kinship and creativity are natural companions. As a child, Charlotte Brontë invented the imaginary world of Angria with her brother Branwell. William Wordsworth borrowed from his sister Dorothy’s diary to create one of the most famous poems in English. Long before Charles Darwin studied the fertilisation of orchids, his grandfather Erasmus wrote poetry about the loves of plants. Dante Rossetti created lavish illustrations to accompany his sister Christina’s volumes of poems. <br />Far from being a simple, solitary process, the creation of a poem or painting is inevitably collaborative. <em>Keeping it in the Family. British and Irish Literary Generations, 1770-1930</em> considers the family as an essential, if often overlooked, element of creative production. It presents the stories of talented families working (and sometimes quarrelling) together in creating some of the most remarkable literary, artistic, and scientific works of the long 19th century. Many of the families, like the Wordsworths and the Brontës, are well known; others, like the Hunts and Porters, were famous in the past, but deserve a new look. In some cases, the family connections are surprising. <br />There is a familial element to the exhibition itself: many of the works come from collections gifted to the University of Otago by cousins Charles Brasch and Esmond de Beer. Furthermore, the Hocken Library and the Dunedin Public Library have generously lent rare material, allowing us to tell a more complex story of the role of kinship in creative production. <em>Keeping it in the Family: British and Irish Literary Generations 1770-1930</em> is made possible by the generous support of the Royal New Zealand Marsden Fund.
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 Wilde Idea’ from Punch, or the London Charivari
Creator
An entity primarily responsible for making the resource
John Bernard Partridge
Date
A point or period of time associated with an event in the lifecycle of the resource
9 July, 1892
Identifier
An unambiguous reference to the resource within a given context
Storage Journal AP101 P8
Type
The nature or genre of the resource
Periodicals
Publisher
An entity responsible for making the resource available
London: Published at the Office, 85 Fleet Street
Abstract
A summary of the resource.
Irish novelist, essayist, poet, and playwright Oscar Wilde (1854-1900) was born into an intellectual and patriotic family. His mother, Jane, Lady Wilde (1821-1896), was a popular poet and Irish nationalist; his father, William Wilde (1815-1876) was an accomplished medical doctor and collector of Irish folktales. Instilled with the literary and political influences of his parents, Wilde established a reputation for himself as an intellectual and aesthete at the end of the nineteenth century. Here, the <em>Punch</em> cartoonist, John Bernard Partridge (1861-1945), imagines Wilde in soldier’s uniform, poking fun at Wilde’s national identity, the troubled production history of his French play <em>Salome</em> (1891), and English censorship.
-
https://ourheritage.ac.nz/files/original/f7d847ae43791b558844496f65201c2c.jpg
bc14f081d8f9fcfc61196669c7add045
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 World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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/.
Creator
An entity primarily responsible for making the resource
Unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
19 May, 1932
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers, Box 10, folder 2
Type
The nature or genre of the resource
Newspapers
Publisher
An entity responsible for making the resource available
Stoke-on-Trent: <em>Evening Sentinel</em>
Abstract
A summary of the resource.
Mellor wrote some 100 papers for the British Ceramic Society Transactions, beginning with <em>Crystalline Glazes</em> in 1904 and including others such as <em>The Zenith Temperature</em> (1923-24), the intriguing <em>Works’ Logic: The Whiskey and Soda Fallacy</em> (1925-26), and <em>The Chemical Constitution of the Clay Molecule: Review of Later Theories</em> (1938). In 1932, ‘in recognition of achievements of exceptional value in ceramics’, he was made an honorary member of the American Ceramic Society.
Title
A name given to the resource
‘America honours Dr Mellor’ from the Evening Sentinel
cartoons
Ceramic Societies
ceramics
inorganic chemistry
Joseph Mellor
-
https://ourheritage.ac.nz/files/original/95bfd64ca1378fbb96381c8590ef43ce.jpg
b58aaa58327371d7a899494136d8c897
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 Letterpress Legacy: The Dartmouth College Book Arts Workshop. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date Created
Date of creation of the resource.
8 August, 2016
Contributor
An entity responsible for making contributions to the resource
Dartmouth Book Arts Workshop; Special Collections, University of Otago
Abstract
A summary of the resource.
In 1936, Ray Nash (1905-1982), an American graphic-arts historian and calligraphy expert, established a hand press in the Baker Library, Dartmouth College, Hanover, New Hampshire. The Graphic Arts Workshop, as it was called then, with the imprint of The Baker Library Press, ran for some 25 years. Teaching, instruction and discussion were all part of the print programme. In 1989, three Nash students - Mark Lansburgh, Roderick D. Stinehour, and Edward Connery Lathem - re-established the Workshop. This initiative was aided by the kindness of the Kenneth and Harle Montgomery Endowment that not only provided funding to re-establish the workshop in the Baker Library but also the support for a Fellow in the Book Arts. Today the Workshop provides students with access to a letterpress studio and a bookbinding studio. There they can mix inks, create posters and cards, and learn how to set type and bind a book. In the spirit of Nash and his students, the Workshop is open to all Dartmouth students and the Dartmouth community after they complete an orientation session.
In 2015, Dartmouth College celebrated the Workshop’s 25th Anniversary with an exhibition entitled: ‘The Secret Revealed. The Books Arts Workshop at 25 Years’. This exhibition showcased a selection of print and book arts materials produced by students and staff at Dartmouth over the years. To celebrate the University of Otago’s association with Dartmouth College through the Matariki Network*, this exhibition highlights a small selection of materials borrowed from Dartmouth’s Books Arts Workshop and Rauner Special Collections Library. Please enjoy.
*The Matariki Network of Universities (MNU) is an international group of seven universities that focuses on strong links between research and undergraduate teaching. Alongside the University of Otago, the other six are Durham University; Queen’s University; University of Tübingen; University of Western Australia; Uppsala University; and Dartmouth College.
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
‘As a Practitioner and an Historian of His Art’ by Alvin Eisenman in Ray Nash and the Graphic Workshop at Dartmouth College.
Creator
An entity primarily responsible for making the resource
Edited by Edward Connery Lathem
Date
A point or period of time associated with an event in the lifecycle of the resource
1987
Identifier
An unambiguous reference to the resource within a given context
Dartmouth Book Arts Workshop
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Hanover, New Hampshire, The Friends of the Dartmouth Library
Abstract
A summary of the resource.
Ray Nash was mentor to Alvin Eisenman (1921-2013), an American graphic designer and educator well-known for founding the Yale School of Art’s graduate programme in graphic design. Eisenman was a Dartmouth College undergraduate who was influenced by Nash and his professed functionalism towards design. Eisenman wrote that Nash was ‘a very wily teacher who knew how to put to good use the passing enthusiasm of a lazy student!’ While at Yale Eisenman recruited design masters like Alvin Lustig and Herbert Matter, and had among his students Garry Trudeau, the author of the comic strip Doonesbury, and Min Wang, who designed graphics for the 2008 Olympic Games in Beijing. Here are Eisenman’s reflections on Nash and Dartmouth.
-
https://ourheritage.ac.nz/files/original/450bdc745fac8f2ed7c8962be7c39927.jpg
007335bab228b1f6634d5a06fc32be35
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
For the Love of Books: Collectors and Collections. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago Library
Date
A point or period of time associated with an event in the lifecycle of the resource
7th March 2019
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Curated by Donald Kerr and Romilly Smith
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
‘Baby Records from Seacliff’
Creator
An entity primarily responsible for making the resource
Frederic Truby King
Date
A point or period of time associated with an event in the lifecycle of the resource
1907-1911
Identifier
An unambiguous reference to the resource within a given context
Truby King WS103 B256
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
Frederic Truby King (1858-1938) was an exceptional man. His library, the <strong>Truby King Collection</strong>, which has been at Otago since 1989, reflects his wide-ranging and extensive interests and philosophies. Consisting of about 1000 volumes, the library is top-heavy in topics of health, especially those concerning women and children. However, Truby King, founder of the Plunket Society (1907), also owned volumes about gardening, animal husbandry, race theory and eugenics, to name but a few. This notebook is the first ‘Plunket book’. In it, Truby, or Bella his wife, recorded detailed descriptions of babies they visited in the Dunedin, Karitane, and Seacliff areas. This entry reminds us that Truby King was also the director of the Seacliff Lunatic Asylum from 1889 to about 1921.
Collectors and collecting
Special Collections
-
https://ourheritage.ac.nz/files/original/2f1e8c77b51f9fd99c961b85330773d1.jpg
66abac009e013bd7d42838587d77e31f
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
1841
Height
2860
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
Celebrating Charles Dickens (1812-1870). Online exhibition
Description
An account of the resource
On 7 February 1812, Charles Dickens was born in Portsmouth, England. As a consequence, world-wide celebrations have taken place in 2012, the bicentennial year of his birth. And why not celebrate the birth of the creator of some 989 named characters such as the Artful Dodger, Mr Micawber, Little Nell, Wackford Squeers, Uriah Heep, Peggotty, Fagin, William Dorrit, Scrooge, Pecksniff, Paul Dombey, Sally Brass, and Bucket? These unforgettable characters (and others) appear in classic works such as Sketches by Boz (1836), Pickwick Papers (1836-37), Oliver Twist (1837-39), David Copperfield (1850), Great Expectations (1860-61), Our Mutual Friend (1864-65), and the unfinished The Mystery of Edwin Drood (1870).
Special Collections, University of Otago Library, is fortunate to hold first and second editions of works by Dickens, as well as scarce published parts and periodicals that offer first time appearances. And many of these works contain memorable images executed by artists who collaborated closely with him. They include George Cruikshank, Hablot Knight Browne (‘Phiz’), John Leech, Frank and Marcus Stone, and Luke Fildes. Indeed, who can forget Cruikshank’s depiction of Oliver holding out his cup and asking for more gruel?
Dickens was a man of his times; the Victorian times. With his publishers, he capitalized on technologies and innovative marketing strategies by supplying instalments of his works to a growing reading public. He was inundated with letters from readers, many begging him not to kill off Little Nell in The Old Curiosity Shop. And on the eve of her coronation, Victoria was so taken with Oliver Twist that she recommended it to her minister, Lord Melbourne. In her words, the work was 'excessively interesting'. Dickens also took his works on the road, performing numerous public readings in Britain and overseas.
His writing career spanned 34 years, during which he wrote 15 major novels, his famed Christmas books, travel books, plays, numerous newspaper and periodical contributions, and many miscellaneous pieces. To contextualise his life and works a select number of themes that figure so strongly during the reign of Queen Victoria will be on display. They include the City of London; the poor and dispossessed; Punch; the Great Exhibition; and the Crimean War. Dickens and his enduring legacy will also feature.
21 September - 13 December 2012
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
‘Barnaby Rudge’, in Master Humphrey’s Clock.
Abstract
A summary of the resource.
<p><em>Barnaby Rudge</em>, Dickens’s fifth novel, centred round the Gordon ‘No Popery’ Riots of 1780 and the murder of Reuben Haredale. Originally planned to be his first novel and entitled <em>Gabriel Varden, the Locksmith of London</em>, it was put aside because of the success of <em>Pickwick</em>. An historical novel in the tradition of Sir Walter Scott, <em>Barnaby Rudge</em> first appeared in serial form in <em>Master Humphrey’s Clock</em> from February to November 1841. Maria Beadnell, Dickens’s first love, was the original of the flirtatious Dolly Varden.</p>
<p>[Chapter the First from Charles Dickens's ‘Barnaby Rudge’, in <em>Master Humphrey’s Clock</em>. 1st edition. Vol. II.<em></em>]</p>
Creator
An entity primarily responsible for making the resource
Charles Dickens
Publisher
An entity responsible for making the resource available
London: Chapman and Hall
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1841
Identifier
An unambiguous reference to the resource within a given context
Special Collections de Beer Eb 1840 D
Barnaby Rudge
Dickens
-
https://ourheritage.ac.nz/files/original/d82ec87cad27c94e7979638a58c19815.jpg
d447f4bc13dd96fa544eec4caed06147
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
By Land & By Sea: Scientific Expedition Reports in Special Collections from 1826 to the 1960s. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
17th November, 2015
Abstract
A summary of the resource.
Rich with photographs, colourful plates, scientific descriptions, anthropological and geographical observations, and general insights into expeditionary life, the Scientific Expedition Reports, housed in the University of Otago’s Special Collections, are a veritable mine of information. From the Arctic to the Antarctic, from Uganda to Patagonia, the earliest of the reports dates from D’Urville’s expedition in the <em>Astrolabe</em> from 1826 to 1829, published in 1832; the latest are from the University of Canterbury Snares Islands expeditions beginning in the 1960s. Men and women from New Zealand, Australia, Norway, France, Sweden, America, the United Kingdom, Canada, Denmark, China, Egypt and many more countries besides, have travelled the world by land and by sea in the name of science and exploration and have documented the results in these scientific reports. Many of the scientific observations made and specimens taken are still being researched today and despite the treacherous conditions and ever present risks, most members of these expeditionary parties returned alive. The Scientific Expedition Reports in Special Collections are a testament to and a record of humankind’s insatiable desire for knowledge.
Contributor
An entity responsible for making contributions to the resource
Various
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
‘Birds of Tristan da Cunha’ from Results of the Norwegian Scientific Expedition to Tristan da Cunha, 1937-1938. No. 20
Creator
An entity primarily responsible for making the resource
Yngvar Hagen
Date
A point or period of time associated with an event in the lifecycle of the resource
1952
Identifier
An unambiguous reference to the resource within a given context
Storage QL692 T8 H3632
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
Oslo: Jacob Dybwad
Abstract
A summary of the resource.
When Tristan da Cunha was first permanently settled at the beginning of the 19th century, birds were plentiful but their ‘lack of escape-reaction’ and ‘total lack of fear’ culminated in several species being ‘eaten out of existence’ (Lovegrove, 2012). Fortunately much of the damage caused by animal grazing and over-harvesting is now being reversed. Zoologist Yngvar Hagen from the University of Oslo began the ornithological survey for this expedition on the three larger islands of the archipelago – Tristan da Cunha, Nightingale, and Inaccessible. Despite being hampered by rough weather and the difficulties of accessing bird nesting sites, Hagen collected 210 specimens of 26 species. This volume is the result of his observations.
Scientific Expeditions
-
https://ourheritage.ac.nz/files/original/aeffb4d5d64405bd2a1e3119da87d496.jpg
432b873a66834aa424461121431745c7
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
797
Height
1179
Bit Depth
8
Channels
3
IPTC String
date_created:18.05.2012
IPTC Array
a:1:{s:12:"date_created";s:10:"18.05.2012";}
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charting the Land on the Ocean: Pacific Exploration, 1520-1876. Online exhibition
Description
An account of the resource
On 28 November 1520, Magellan sailed through the straits that would bear his name into the great expansive waters he dubbed ‘Mar Pacifico’. His venture opened up the exploration of the southern seas, a vast tract of water with numerous islands dotted about, most uncharted. Politically and commercially-driven expeditions then began that put shape to continents and the (re-) discovery of these islands. Notable first explorers included Mendaña de Neira, Sir Francis Drake, Abel Tasman, William Dampier, Samuel Wallis and Philip Carteret; the latter two discovering Tahiti and Pitcairn respectively.
Scientific expeditions began with Bougainville and Cook, each aided by the improvements in navigational equipment, and with institutional backing that employed a full contingent of artists, draughtsmen and botanists to help record and collect.
Cook travelled hundreds of miles throughout the Pacific in the course of his three voyages. By the time of his death in 1779, the map of the Pacific was practically as it is now. It is no wonder that La Pérouse (1785) once said: ‘Cook had left me nothing but to admire.’
Other voyages of exploration then followed, including those commanded by Malaspina (1789), d’Entrecasteaux (1791), Kotzebue (1815-18; 1825-26), Freycinet (1817-20), Dumont d’Urville, and the later United States Exploring Expedition.
The exhibition ‘Charting the Land on the Ocean: Pacific Exploration, 1520-1876’ features books and maps found in the Hocken Collections, the Science Library and Special Collections, University of Otago. Although the exhibition is by necessity selective, three goals are paramount: to highlight through their publications the brave endeavours of these explorers; to reveal the steady charting of the Pacific; and to remind everyone that these resources do exist, and can be viewed, touched, read, and enjoyed.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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
‘Bougainville’
Abstract
A summary of the resource.
In one part of his journal, Bougainville wrote: ‘at supper we ate some rats and found them very good.’ This copy of an anonymous pastel depicts Tahitians presenting much more edible fruits to Bougainville and his officers.
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1768
Identifier
An unambiguous reference to the resource within a given context
Rex Nan Kivell Collection NK5066. National Library of Australia (copy)
Pacific
-
https://ourheritage.ac.nz/files/original/eec8e30cf8bf6fa38381b13a77308ac1.jpg
6a1f7cb444c1650d5e1b608b03d795c0
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 World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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/.
Creator
An entity primarily responsible for making the resource
John K. H. Inglis
Date
A point or period of time associated with an event in the lifecycle of the resource
c. 1899
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers
Type
The nature or genre of the resource
Manuscripts
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
This page from a manuscript notebook contains Inglis’s lecture notes on the history of chemistry; it is unclear how Mellor came to have it in his possession.
Title
A name given to the resource
‘Chemical Theory. History of Inorganic Chemistry from the Time of Lavoisier’ from Inglis's Notebook
cartoons
ceramics
inorganic chemistry
John K. H. Inglis
Joseph Mellor