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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.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Marston-Moor
Abstract
A summary of the resource.
In 1893, Douglas Cockerell (1870-1945) began his bookbinding apprenticeship under Thomas Cobden-Sanderson at the Doves Bindery. Four years later he established his own business. Mentored by Cobden-Sanderson (1840-1922), who studied bookbinding with Roger de Coverly (b. 1831), who was an apprentice of Joseph Zaehnsdorf, Cockerell favoured the traditional methods of bookbinding to create durable volumes of very high quality. The front and back covers of this volume, bound by Cockerell, are sparsely but precisely decorated with a blind-tooled trefoil and gold dot design aligned with each of the five raised bands. It has two gold fillet lines, widely spaced, running around the inside of the front and back covers with three dots in each corner and has his gold-tooled signature motif and year of binding on the inside back cover.
Creator
An entity primarily responsible for making the resource
Payne Fisher
Publisher
An entity responsible for making the resource available
[London]: Thomae Newcomb
Date
A point or period of time associated with an event in the lifecycle of the resource
1650
Identifier
An unambiguous reference to the resource within a given context
de Beer Eb 1650 F
Binder's signature
Bindings
Douglas Cockerell
-
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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.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Marston-Moor
Abstract
A summary of the resource.
In 1893, Douglas Cockerell (1870-1945) began his bookbinding apprenticeship under Thomas Cobden-Sanderson at the Doves Bindery. Four years later he established his own business. Mentored by Cobden-Sanderson (1840-1922), who studied bookbinding with Roger de Coverly (b. 1831), who was an apprentice of Joseph Zaehnsdorf, Cockerell favoured the traditional methods of bookbinding to create durable volumes of very high quality. The front and back covers of this volume, bound by Cockerell, are sparsely but precisely decorated with a blind-tooled trefoil and gold dot design aligned with each of the five raised bands. It has two gold fillet lines, widely spaced, running around the inside of the front and back covers with three dots in each corner and has his gold-tooled signature motif and year of binding on the inside back cover.
Creator
An entity primarily responsible for making the resource
Payne Fisher
Publisher
An entity responsible for making the resource available
[London]: Thomae Newcomb
Date
A point or period of time associated with an event in the lifecycle of the resource
1650
Identifier
An unambiguous reference to the resource within a given context
de Beer Eb 1650 F
Bindings
Douglas Cockerell
-
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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.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Marston-Moor
Abstract
A summary of the resource.
In 1893, Douglas Cockerell (1870-1945) began his bookbinding apprenticeship under Thomas Cobden-Sanderson at the Doves Bindery. Four years later he established his own business. Mentored by Cobden-Sanderson (1840-1922), who studied bookbinding with Roger de Coverly (b. 1831), who was an apprentice of Joseph Zaehnsdorf, Cockerell favoured the traditional methods of bookbinding to create durable volumes of very high quality. The front and back covers of this volume, bound by Cockerell, are sparsely but precisely decorated with a blind-tooled trefoil and gold dot design aligned with each of the five raised bands. It has two gold fillet lines, widely spaced, running around the inside of the front and back covers with three dots in each corner and has his gold-tooled signature motif (pictured below) and year of binding on the inside back cover.
Creator
An entity primarily responsible for making the resource
Payne Fisher
Publisher
An entity responsible for making the resource available
[London]: Thomas Newcomb
Date
A point or period of time associated with an event in the lifecycle of the resource
1650
Identifier
An unambiguous reference to the resource within a given context
de Beer Eb 1650 F
Bindings
Douglas Cockerell
-
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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.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
From Pigskin to Paper: The Art and Craft of Bookbinding. Online exhibition
Contributor
An entity responsible for making contributions to the resource
Various collectors
Abstract
A summary of the resource.
The book that has the earliest English binding in New Zealand was printed in Venice in July 1481. Its binding is dark-brown calfskin over wooden boards. The spine has four raised bands, with a late 19th century red label attached. There are remnants of two catches and clasps. The end-leaves are vellum and paper. Within a central block design the blind stamped punches of birds, animals, and floral designs are arranged singly in horizontal rows. There are blind-stamped fillets. Somehow, this book ended up in Oxford, England, where about 1482 it gained its covers from a 15th century bookbinder called the Rood and Hunt Binder. Not only does the text (a Commentary on the Bible) carry the earliest English binding in New Zealand, but it carries within its pages fragments of indulgences printed by William Caxton, England’s first printer, c1480.
Wooden boards, raised bands, end-leaves, vellum, blind-stamped, and fillets are all part of the language of the bookbinder. An exhibition entitled From Pigskin to Paper: The Art and Craft of Bookbinding will begin at Special Collections, University of Otago Library on 20 December 2012. The exhibition aims to decode the jargon used by bookbinders, and showcase the creative ‘art and craft’ skills evident in all aspects of the binding process, from forwarding (construction) to finishing (decoration). To highlight the processes, a wide cross-section of binding styles will be exhibited, from the 1481 Rood and Hunt binding and 16th century European samples, to publisher’s case-bindings and those styled art nouveau. Books bound by local Dunedin binders will also feature. The exhibition runs to 22 March 2013.
There is an increasing amount of scholarly work done on the binders who create the outer garments that contain (and protect) the text-block. There is also more intensive work done examining the structural components of bindings, especially by conservators. Whether they are hand-bound calfskin, pigskin, or vellum examples from the hand-press period (and thereby unique objects), or machine-made mass-produced ones from the early 19th century, bindings do provide information on the book trade, how books were sold, how they were to be used, what were the prevailing fashions, what tools the binder owned, and in cases, the owner’s taste and standing. Indeed, as book historian David Pearson claims: ‘all historic bindings are potentially interesting, however fine (or not) they look’.
Each major library in New Zealand has its fair share of decorative, fine bindings, with the name of the binder often stamped inside: Zaehnsdorf; Sangorski & Sutcliffe; Cockerell. There are also those books known to be bound by famous binders such as Samuel Mearne, Roger Payne, or Charles Lewis. Of course, the vast majority of bindings are simple, plain, and functional, and carry no signature or famous name. If not a recognisable publisher’s house-style, most of them remain anonymous representatives, silent witnesses to the past.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bookbinding, and the Care of Books
Abstract
A summary of the resource.
Cockerell did not excel at school and could not read until he was twelve. At fifteen he travelled to Canada where he flourished and before returning to England in 1891 he had been the manager of a bank in Manitoba. Cockerell began teaching bookbinding in 1897 and first published his treatise<em> Bookbinding and the Care of Books</em> in 1901, which he hoped would ‘supplement’ not ‘supplant’ any bookbinder’s practical training and experience. The leaf tool (pictured in Fig. 101) features in many Cockerell bindings including the one on display. In 1904 Cockerell began working with W. H. Smith and Son to help them improve the durability of their trade bindings and as his career developed he became increasingly interested in the conservation of early written and printed materials. In 1935 Cockerell rebound the British Library’s <em>Codex Sinaiticus</em>, a 4th century manuscript copy of the Greek Bible.
Creator
An entity primarily responsible for making the resource
Douglas Cockerell
Publisher
An entity responsible for making the resource available
London: Sir Isaac Pitman
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
Storage ZCE C
Bindings
Douglas Cockerell
handbook