Upcoming Exhibition: Treasures of Rochester Cathedral Library

I am very excited to announce a one-off opportunity for you to get up close to some of the most beautiful, unique and culturally significant books from Rochester Cathedral Library.

After some months of cataloguing these books, as part of a collaborative project between Rochester Cathedral and the University of Kent (funded by the Heritage Lottery Fund), I am thrilled to be able to share these books with you for the very first time!

Register to join us on Monday 7 March 2016 at the Drill Hall Library, Chatham Maritime

Book of Hours

15th century illuminated ‘Book of Hours.’

This guided exhibition will give you the opportunity to explore the treasures of the library and find out more from experts who will be on hand to answer any questions on the day. The books and manuscripts being exhibited date from c. 1150 to the 18th centuries, with highlights from the collection including:

  • Tudor Bibles (such as Henry VIII’s ‘Great Bible’ (1539), the Geneva Bible (1584) and the Bishop’s Bible (1568))
  • an excellent example of a John Reynes Tudor binding with royal armorial decoration
  • a fifteenth century illuminated Book of Hours
  • manuscript items including an 11th century St Augustine’s ‘De Consensu Evangelistarum’ and the 13th century Lombard’s ‘Sentences’
  • early modern maps of Kent

So come along and join us for this one-time opportunity to discover more about the collections and Rochester Cathedral, and to speak to members of the project teams from the Cathedral and the University of Kent.

Please register for this free event via Eventbrite at www.eventbrite.co.uk/e/treasures-of-rochester-cathedral-tickets-21555859155.

Geneva Bible

Geneva Bible, 1584

 

Happy New Year!

With the last days of Christmas coming to a close, we hope that you all had a restful and enjoyable festive season. Special Collections & Archives is now open as usual again and we look forward to seeing you in 2016.

If you’ve been getting involved in social media over the festive period, you might have seen our very own celebration of the Twelve Days of Christmas via @UoKSpecialColls. With only 140 characters in which to celebrate our wide range of collections, we had to be brief, but I thought I’d take this opportunity to tell you more about some of the items we featured.

The first day of Christmas: an ancient Greek vase

Perhaps one of our most enigmatic items, this Greek vase has been part of Special Collections for a long time, and represents those stand alone items which are not part of any collection, but are unique, rare or valuable within their own right. Although the provenance of the vase is unknown, information with the item does suggest that this is an ancient treasure.

The second day of Christmas: two pantomime clowns

Still a staple of the festive season, pantomime was an important part of the theatrical tradition throughout the Victorian and Edwardian periods. The clowns were, of course, an early part of the pantomime genre, which evolved from the Italian comedia dell’arte. These two comedians are Dick Henderson and George Jackley, who regularly collaborated with the Melville family in their annual pantomimes. This image is from the 1923/24 production of Jack and the Beanstalk at the Lyceum Theatre.

0600662

Information about the Theatre Collections.

The third day of Christmas: three cute koalas

3714This lovely image is of Hewlett Johnson, Dean of Canterbury Cathedral from 1931-1963. A contraversial figure in his lifetime, owing to his stalwart support of Communist regimes including Stalin’s Russia and Mao’s China, Johnson travelled widely. This photograph is from an album celebrating Johnson’s visit to Australia in 1950 as part of a global tour giving speeches at Peace Rallies. Having travelled via Rome, Karachi and Calcutta, Johnson then visited Sydney and Darwin, arriving in Melbourne on 15th April. The photograph was taken at  Lone Pine Wildlife Sanctuary, Brisbane in Queensland.

Information on the Hewlett Johnson Papers.

The fourth day of Christmas: the voyaging Beagle

The Jack Johns Darwin Collection includes a wealth of early and rare editions of Charles Darwin’s work, including a first edition of the ‘Narrative of the surveying voyages of His Majesty’s ships Adventure and Beagle, between the years 1826 and 1836‘. Johns became fascinated with Darwin while volunteering at the museum of the Darwin family home, Down House in Kent. This 1839 edition comprises four volumes: two written by Fitz-Roy, the captain of the Beagle, one by Philip Parker King, the naturalist on the voyage, and the third volume by Charles Darwin, whose official role on the voyage was as companion to the Captain. Following Darwin’s later fame, later editions of The Voyage of the Beagle comprised just this third volume.

Information about the Jack Johns Darwin Collection.

The fifth day of Christmas: five Portuguese windmills

F184298The Muggeridge Collections include a variety of photographs of mills and other rural subjects, which date from 1904 onwards. William Burrell Muggeridge and his son Donald were fascinated by the vanishing rural life in Britain and across the wider world. Donald’s role in the Second World War gave him the unlikely opportunity of photographing mills across Europe, and he later supplemented this collection on family holidays. The set of images of mills in Portugal were taken in April 1966: this photograph is of a group of tower mills at Abelheira near Esposende. As well as documenting lost architecture and ways of life, the Muggeridge father and son were also innovative in their use of developing photographic technology.

Information about the Muggeridge Collections.

The sixth day of Christmas: six Stand-Up comedians

Stand-Up_LogoSince the autumn of 2014, the University of Kent has hosted the nascent British Stand Up Comedy Archive, which was founded with the deposit of materials from comedians Linda Smith and Mark Thomas. This archive includes a wealth of audio visual materials and is growing rapidly. Alongside the collections of another four comedians, materials include records of venues, interviews with comedians and some magazines relating to the early Stand Up Comedy scene.

Information on the British Stand-Up Comedy Archive.

The seventh day of Christmas: seven bad girls of the family

Melodrama was a hugely popular genre on the stage throughout the nineteenth century and into the twentieth. One of the last series of hugely popular melodramas were the so-called ‘Bad Women’ dramas written and produced by the brothers Fred and Walter Melville, during the first two decades of the 1900s. These included such evocative titles as ‘The Girl Who Wrecked His Home’ and ‘A Girl’s Cross Roads’. One of the novelties of these productions were the use of female villains, usually with a male counterpart, who often had dubious morals and plotted to ruin the heroine. Although Walter Melville was acused of being a ‘woman hater’, these roles would have offered the actresses in the company an unusually rich character to portray. This publicity postcard comes from a set for ‘The Bad Girl of the Family’, produced around 1909 at the Adelphi Theatre, London.

M699937e

Information about the ‘Bad Women’ Dramas.

The eighth day of Christmas: eight Melville children

The Melville Collection contains gems from a theatrical dynasty which started with George Robbins (1824-1898), who alledgedly ran away to join the theatre, changing his surname to Melville. His son, Andrew Melville I continued the theatre tradition, and had eight children with his wife, Alice, all of whom went on to become performers, playwrights, theatre managers and owners. Of the eight, Jack died young, but the four daughters went on into the profession and married performers. Fred and Walter became successful theatre managers in London, owning the Lyceum Theatre and building the Prince’s theatre in 1911, which is now the Shaftesbury. Andrew Melville II was an actor and manager outside London, with the Grand Theatre in Brighton on his circuit. It was the widow of Andrew Melville II’s son who donated the collection to the University.

M600671Information about the Melville family.

The ninth day of Christmas: nine worthy women

IMG_2012Alongside our archival collections, Special Collections also holds a number of rare books. Written by Thomas Heywood, this 1690 edition of The exemplary lives and memorable acts of nine the most worthy women of the world does not include the woodcuts present in the Cathedral Library’s copy. Considering the lives of ‘three Jews, three Gentiles and three Christian’ women, Heywood includes the Biblical Deborah, Judith and Esther, before considering three ‘heathens’, one of whom is Boudicca, called ‘Bonduca’ in this text. The three Christian women are ‘Elphleda’, daughter of Alfred the Great, Margaret of Anjou, queen of Henry VI, and, of course, Queen Elizabeth. Bringing together this range of women shows just how diverse Early Modern precedents for behaviour and virtue could be.

Information about the rare book collections.

The tenth day of Christmas: ten tins of talc

The British Cartoon Archive celebrated its 40th anniversary in 2015. Alongside the many cartoonists represented within this still growing collection, the well loved Giles artwork is a perennial favourite. As cartoonist for the Daily Express, Giles produced satirical political cartoons, but it is for his eclectic family of characters, including the mischevious children and irascible Grandma which he is most commonly known. This cartoon was published on 29th December 1964, proving that the post-Christmas sale is no new thing! Alongside the published version, the Archive holds the artwork and it was also included in the 1964 Giles annual. These annuals are still produced each year, with materials from the Giles Collection at the Cartoon Archive.

Information about Carl Giles materials in the British Cartoon Archive.

The eleventh day of Christmas: eleven Ken Smith poems

Modern literature is well represented in the Collections, with our Modern First Editions including poetry and prose. Alongside the reconstructed library of poet Charles Olson (collected and deposited by Ralph Maud), first editions of Brideshead Revisited and a number of works by E. M. Forster, we have small print press items which are regularly used in teaching. This volume is by Ken Smith, a major voice in world poetry, who died in 2003 and whose archive is at Leeds University, which Smith attended and where he also became tutor as Yorkshire Arts Fellow 1976-78.

Information about the Modern First Edition and Modern Poetry collections.

The twelfth day of Christmas: twelve William Harris letters

William sent his letters home via his friend Mr Hunter, who lived in Paris.

As with the ancient Greek vase, this small collection of letters represents gems in the archive which do not necesserily link with a wider range of materials. As successive blog posts have shown, however, the Harris correspondence offers insight into the adventures of an architect exploring Europe in the early nineteenth century.

Information about the William Harris letters.

If you’d like to know more about any of our items or collections, do take a look at the website, or contact us.

Rochester Cathedral Cataloguing: The mystery of the missing title page

The book cataloguing for Rochester Cathedral has been going very well and has been a fairly smooth process to date, but sometimes a book presents itself that turns out to be a bit of an enigma.  Sometimes it can be something small that stops you in your tracks for a short time, but on the odd occasion something bigger turns up, and the need to don a proverbial deer stalker hat whilst bearing a spy glass in one hand may indeed be necessary.

I always start, with every book that passes though my hands, by running a series of checks using a range of databases to find out if any other organisations or institutions hold the same copy.  These organisations can range from universities from around the world, to libraries such as those at Lambeth Palace and the British Library.  This not only helps me to work out if the copy I have in front of me is what I think it is, which is especially useful when my book lacks a date of publication, but also allows me to see if my copy has any unique attributes, such as bindings that vary from other copies or editions. This is for the most part a successful process.

However, the problem with rare book cataloguing is that the book I am looking for isn’t always available anywhere else. They are not always held by other institutions and are not held on any of my usual ‘go-to’ databases.  Even my back-up checks of auction houses fail to generate results in some cases. This is never a huge problem as I tend to be able to work with what I have in front of me, until I met this inconspicuous little number.

Front cover

From the outside it offers very little in the way of aesthetically pleasing design or any clues as to what may lay within.  It is somewhat plain and quite unremarkable in appearance, particularly when compared to other ornate bindings within the collection.

I opened the front cover not expecting anything out of the ordinary, and was greeted by what appeared to be a dedication to Her Majesty Queen Anne, as well as a preface to the reader and an engraving.  Not an unusual grouping of items in themselves, but where was the title page?

First few pages

Finding a place to start was going to be difficult, but I had to start somewhere.  After checking the entire book for supplementary title pages (of which there were none), I began reading the text within the first two pages to look for clues as to what this book may be.

My first clue came from the dedication to Queen Anne.  One sentence stated that “It is (Madam) The History of the Holy Bible.”  I also noted that the dedication was signed by Richard P…. so kept in mind that this was most likely going to be the author or publisher of the work.

Title and author clue

I started exploring all the usual databases and uncovered a few close matches, but nothing concrete.  As a cataloguer, my need to source the most accurate information available needs to be satisfied before I share it with the world.  So, although still lacking the full knowledge as to the definite identity of this book, I set off on a page by page exploration.  This text is very fortunately full of Biblical images created by a range of well known engravers. This, I hoped, would help me on my way to discovering the true identity of the text, and to start building a catalogue record containing the details of every single engraver with responsibility for one of these beautiful illustrations.

Engravers

This process helped me to identify nine engravers.  Although I still lacked the title, author and publication, it was a reliable start.

I then worked on building a catalogue record where the information I could source about my book was easily available.  Sometimes even the simplest of details, such as how the page numbers are structured within the text (which isn’t always straight forward with rare books), can help in identifying a particular edition or imprint of a publication.

Engravings and provenance

I was well on my way to completing my record. I’d referenced everything from the page numbers and subject matter, to the condition of the item, its binding, provenance and the presence of any inscriptions and signatures. But still without a title, I returned to the drawing board, optimistic that my metadata was sufficient to cross-reference with my favorite data sources. I used the information that I had gathered so far and started my search once more.  Here I had a breakthrough and sourced several versions of the same title, ‘The history of the Old and New Testament extracted out of sacred Scripture and writings of the fathers‘ by Nicholas Fontaine, and was delighted with this discovery.   However, I needed to establish if it was indeed the given title and if so, which edition.

I headed over to EBBO (Early English Books Online) to view their digitised content of rare books. Here I found five potential matches, but after thorough checking I concluded that these were not exactly the same in every way (variant dedication, note to the reader and frontispiece image).  However, I had concluded that the above title was correct in its basic form and that this would be sufficient for my catalogue record. I also had an author I was certain was correct.

My record was almost complete. However, one mystery remains even to today. When was it published and who published it? Because I’ve not been able to source any absolute confirmation that my copy is exactly the same as any other copy, it would be inappropriate to rely on other sources for the name of potential publishers,booksellers, or a date of publication. To overcome this, the best that can be done is to calculate the likely date of publication based on all other evidences, ensuring this is appropriately referenced as an estimated date in the catalogue record.

For the most part, the majority of the books within this collection have had in tact title pages, making life much easier from the cataloguing perspective. But becoming a detective for a while adds another level of interest to the job.  When you love rare books as much as I do, getting to discover more along the way that you wouldn’t have otherwise encountered is an added bonus.

Rochester Cathedral Rare Books: All that glitters – gold tooling, gilding and engraved illustrations

Link

As I waited  to begin working on the Rochester Cathedral collection, I found myself excited with the anticipation of getting to work with so many beautiful handcrafted bindings and ornate illustrations.

Including information about the bindings of a book in the catalogue records I create is relatively new practice for me.  I was lucky enough to visit Canterbury Cathedral Library before the start of this project, where I received some expert guidance in recognising different elements of book bindings.  I was struck by the beauty of even the most ‘basic’ historical book bindings, and couldn’t wait to start seeing what the Rochester Cathedral collection had in store for me.

‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Operai’ is one such book that offers both beautiful bindings as well as artwork.

Full gilt edges from the book 'Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera'

Full gilt edges from the book ‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera’

I was initially struck by the full gilt edges that seem to glow in the picture above.  This is the finest example of gilt edges that I have as yet come across in this collection. However, I have learned to not be fooled by this type of decoration, as all that glitters is not gold.  It was common for cheaper editions of books to be decorated with gold coloured paint, but this can quickly dull in appearance.

Gilt edges were not always applied to all sides of a book, and there are many examples of others within the collection that are gilt along only the top edge. This is because gilding book edges is as equally practical as it is beautiful, and when the gold leaf is applied with glue, it can help to protect the pages from the damage that can be caused by dust and moisture.  By gilding the top edges of the pages, the books are protected from dust when shelved upright.

Gilding was not only applied to the edges of this particular book, as it has also been applied to this crest, which adorns the front cover.  I recently discovered a very interesting blog which shows how gold tooling and gilding is applied to a bookbinding. Take a look here to find out more: https://lilbookbinder.wordpress.com/bookbinding-portfolio-2/gold-tooling-and-gilding/

Gold tooled coat of arms on the front cover of 'Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera'

Gold tooled coat of arms on the front cover of ‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera’

The engraved title page and frontispiece (the image facing a books title page) are both as interesting to me as the binding itself, and I was initially struck by the extent of decoration across these two pages, which have been created by printers Anton (Antonius) Hierat (active 1597-1627) and Balthasar Lipp (active -1623).

Title page and frontispiece from 'Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera'

Title page and frontispiece from ‘Sancti Bonaventurae ex Ordine Minorum S.R.E. Episcopi Card. Albanen. eximii Eccles. doctoris Opera’

The images across the title pages appear to have been created using an intaglio printing technique.  Armed with only a very basic knowledge about this method of printing, I decided to go on a journey to find out more, and have made some fascinating discoveries along the way:

  • ‘Intaglio’ comes from the Italian, meaning ‘to carve.’
  • Intaglio printing was the main method of book illustration between the late 16th century and early 19th century.
  • The earliest form of intaglio printing could date back as far as the 1430’s.
  • This style of printing uses a variety of techniques, such as engraving, etching, stipple and aquatint. All are based on the same principle of making an impression into a metal plate.
  • Illustrating books with engravings didn’t start becoming popular until the 16th century.  The results can often be seen, as with this book, in the form of engraved title pages and frontispieces.
  • The art of illustrating books with intaglio prints began to lose popularity in the 1800’s, mainly because of the expense involved in this process.

Although there are great many useful resources that offer advice on this topic, it can still be tricky identifying precise traits to help with verifying the printmaking technique used. However, there are a couple of things that I have picked up over the course of this project that are proving helpful.

I always now check to see if there is a plate mark. Plate marks tell us that the image was created by either engravings, etchings, and other styles of printing associated with intaglio.  The arrows on the image below point to the plate mark that surrounds the engraving from the main title page.

The faint line around the edge of the impression helps us to identify the intaglio technique.

The faint line around the edge of the impression helps us to identify the intaglio technique.

I also try to look at the style of cross-hatching used in the creation of the image.  I have learned that smooth flowing intersecting lines, like those shown in the hand of Saint Bonaventura, have been made using singles cuts.  This helps me to identify the intaglio technique of engraving.

Close up of a small section from the frontispiece image. The larger image depicts Saint Bonaventura.

Detail from an image depicting Saint Bonaventura.

It isn’t always easy to identify the style of printing used to create the images, but it has been interesting to learn more about the methods used.  I feel I have a new-found appreciation of the craftspeople of the day who would have applied a great deal of time, skill and care to their creations.

Today we live in fast paced society, with printing presses that have been able to respond to demand by utilizing technology, producing thousands of bestselling paperbacks to a disposable society.  By stark contrast, I see rare books everyday such as this, that I regard as unique pieces of art, owing to the level of skill, time, and labour put into creating these masterpieces.

My hope is that this unique, historic and culturally fascinating collection is also appreciated for its art and for the skill used in the creation of the books, and that we can all enjoy them to their fullest, from the words, to the art works and the bindings that hold all of these together.

Our new home – a big underground move update

Yesterday afternoon, I popped up to what’s currently level 2 west of the Templeman library, for a quick glimpse of the new extension. It looks fantastic, and it’s great to see the building – and Special Collections and Archives’ space in it – coming together.

Photograph of the first floor of the library extension.

This will be the link between the existing building and the extension: leading to the Gallery and Special Collections & Archives offices.

Unfortunately, there have been a few delays, so we are now advising that we will be reopen our services by 21st September, which is Welcome Week for new members of the University.

This doesn’t mean that we’re having a quiet August by any means, and I thought I’d take a few moments to tell you a bit about how we’ve been preparing, and what we will be doing to transport all of our collections carefully over to the new basement in Templeman West. In all, we’re moving 3.5km of books and archival materials from their current locations, a number of basement stores below Templeman East, into the new space.

As you’ve probably noticed from our blog and Twitter feed, we’ve been lucky enough to have a small army of volunteers working with us since last September, who have been going through all of the books in the collection to clean and prepare them for the move. This includes making boards where books are bound in paper, or have lost their original bindings, tying them where they’re fragile and also wrapping them, in cases where damage might be done to the decoration on the cover. Although our volunteers have now finished for the summer, we’re still continuing this work. Recently, we tackled the huge scrapbooks owned by Sir Howard Kingsley Wood, several of which are far too heavy to be lifted by a single person!

A photograph of KW19 scrapbook, prepared for the move.

KW19 – the largest scrpabook in the Kingsley Wood Collection – now wrapped and ready to go.

In addition to this, we have been boxed a number of materials which previously weren’t boxed, or weren’t boxed particularly well. Some of the Cartoons collections have benefitted from this work, and we’ve also reboxed some 19th-20th century photographs of Italy which were previously in an embroidered scrapbook. In addition, materials from the University Archive are being carefully boxed and organised under the watchful eye of the University Archivist, Ann MacDonald.

Photograph of labelled shelves.

We’ve been labelling all of hte shelves in the basement to make sure the movers know what should go where.

Rather less exciting has been the work labelling everything, from trolleys to filing cabinets, shelves to whole bays of material in order  to match these up with our (rather complex!) plans of where everything is going to go. As we have professional movers coming to help us with the work, we need to make sure that everything is identified both in situ and during the move process, so that it ends up in the right place.

So as the final touches are being added to the building, we’re still continuing our ‘behind the scenes’ work of collections care and preparation. Because of this work, and thanks to all of the people who have been helping us, the archives and books will reach their new home in the best condition to continue being fascinating resources for research, teaching and study and we look forward to welcoming you to our new home, on the first floor of Templeman West, in September.

For more information about Templeman West, and what this means for library use, take a look at the Library News blog.

We’ll keep you up to date on progress through the website and via Twitter, @UoKSpecialColls.