Covered in Silk & Satin: Embroidered Bookbindings

Among the decorative and fine bindings held by Special Collections are two examples of fabric/ textile bindings with embroidered decorations.

Embroidered book covers were popular during the sixteenth and seventeenth centuries, though earlier examples, such as the fourteenth-century embroidered binding on the British Library’s Felbrigge Psalter (Sloane MS 2400), do survive.

Textile bindings were produced primarily by professional embroiderers, but were also made by individual female owners. They were very much in vogue in England during the first half of the seventeenth century, particularly as covers for small devotional books, such as this copy of The Book of Common Prayer (London, 1629) that measures just eleven centimetres in height. The cover is made of white satin over blue silk, with birds and flowers embroidered with different coloured silk set within frames of gold thread, with gold thread borders on the spine and both sides.

Along with silk and satin, velvet was another popular textile for book covers. The Special Collections copy of L’Office de la Vierge Marie pour tous les temps de l’anee (Paris, [1636?]), bound with Pierre Coton’s Dévotes oraisons pour tous chrestiens et catholiques (Paris, 1637), is in a contemporary green velvet binding, heavily embroidered with floral motifs in silver thread and sequins, bordered on three sides by silver wire.

Resources

Much has been written on embroidered bindings. The British Library’s English Embroidered Bookbindings webpage provides a brief history of the subject and includes a select bibliography for further reading. One of the texts listed, Cyril Davenport’s English Embroidered Bookbindings (London, 1899), can be read on-line.

In addition to the resources noted by the BL, one can add the relevant sections in Bernard Middleton’s A History of English Craft Bookbinding Techniques (London, 1978; pp. 121–124), David Pearson’s English Bookbinding Styles, 1450–1800 (New Castle [DE], 2004; pp. 20–22), and Marianne Tidcombe’s Women Bookbinders, 1880–1920 (New Castle [DE], 1996; pp. 77–90).

Embroidered bindings can also be found throughout social media. They have been blogged about elsewhere (e.g. The Collation, Echoes from the Vault); there are pages in Pinterest (page 1 and page 2) and on Flickr (University of Glasgow Library); and one binding has even made its way onto YouTube compliments of the Bridwell Library, Southern Methodist University.

Further examples can be seen on the Princeton University Hand Bookbinding website, and over 120 specimens can be found in the British Library’s Database of Bookbindings.

Anthony Tedeschi (Deputy Curator, Special Collections)

The Booke of Common Prayer (London: Imprinted by Bonham Norton and John Bill, 1629), bound with The Whole Booke of Psalmes (London: Imprinted [by Felix Kingston] for the Company of Stationers, 1630)

L’Office de la Vierge Marie pour tous les temps de l’anee (Paris: Robert Denain, [1636?]), bound with Pierre Coton’s Dévotes oraisons pour tous chrestiens et catholiques (Paris: Marin Vaugon, 1637)


Pacific Voyages: A Book That Sailed with Cook

Among the volumes held by Special Collections concerning British exploration of the Pacific, the book with the greatest link to the subject has nothing at all to do with it at least in terms of its topic. It is a medical text called An Introduction to Physiology (London, 1759), a compilation of lectures for students by the Scottish physiologist and instructor Malcolm Flemyng (ca. 1700–1764).

The book’s importance as an object relative to Pacific exploration is evident in a contemporary note written on the front pastedown:

‘This Book went round the World in the Endeavour in 1768 /69 /70 & /71 ~’

 

The note is in the hand of William Perry, who carried the book with him when he signed on as surgeon’s mate aboard HMB Endeavour for the first of Capt. James Cook’s three Pacific voyages. Perry was later appointed to the position of surgeon upon the death of William Brougham Monkhouse on 5 November 1770, and is recorded in Cook’s journal for 7 November as being ‘equally well if not better skilled in his profession’.[1]

Title-page with Perry’s ownership inscription.

Flemyng’s Physiology would have served Perry well in dealing with the array of illnesses and injuries that befell the crew. Needing to access information quickly, Perry’s marginal notes amount to a running index of the first 179-pages, with the occasional commentary thereafter elucidating certain concepts and citing works that by the late 1760s had superseded aspects of Flemyng’s text. One such annotation includes an anatomical rendering of the human eye:

Page annotated by Perry with drawing of the human eye.

Books would not have been an uncommon sight on the Endeavour. Cook had his atlases and travel narratives; Joseph Banks’s library is well attested; and some officers or literate crewmen surely had personal bibles or prayer books.[2]

While much is known about some of the titles consulted by Cook and the accompanying gentlemen scientists who sailed with the Endeavour, actual physical copies that have survived are extremely scarce. According to Matthew Fishburn of Hordern House, this scarcity is likely due to ‘hard usage, and the fact that with the probable exception of some of the grander atlases/ maps and natural history books, many of the books on board would have been quite utilitarian. It is little more than chance survival’.

‘Exceptionally scarce’ and ‘chance survival’ are apt phrases. Fishburn continued by noting that Perry’s copy of Flemyng’s Physiology is the only book from the Endeavour voyage ever sold by Hordern House in its twenty-eight year history. In fact, with the exception of John Hawkesworth’s account of the first voyage carried by Cook from Cape Town to St. Helena during the second voyage (1772–1775), the firm knows of no other books surviving from any of Cook’s voyages that have come onto the market.[3]

Such scarcity, when coupled with the book’s direct association with one of the most famed voyages of the eighteenth century, makes this copy of Flemyng’s Physiology one of the most important and treasured items held by Special Collections.

What became of Perry?

According to W. E. Snell’s article ‘Captain Cook’s Surgeons’, Perry served as surgeon aboard four other ships before retiring in 1782 to his native Chiswick, where it is presumed he continued to practice medicine.[4] He enjoyed a long life, dying in Hillingdon, Middlesex, at the age of 80 on 25 April 1827.

Perry’s copy of Flemyng’s Physiology was purchased by Special Collections from Hordern House in 2005 with funds from the Library Endowment Trust. It was previously in the collection of the American collector David Parsons.[5]

Anthony Tedeschi (Deputy Curator, Special Collections)

References
[1] J. C. Beaglehole (ed.). The Journals of Captain James Cook on His Voyage of Discovery, 4 vols. in 5 (Cambridge: Published for the Hakluyt Society at the University Press, 1955–1974), 1:437.

[2] For more about some of the titles consulted by Cook, Banks and the artist Sydney Parkinson, see D. J. Carr’s ‘The Books That Sailed with the Endeavour’. Endeavour, new series, 7:4 (1983): 194–201. Perry’s copy of Flemyng’s Physiology was unknown to Carr and therefore went unaccounted. Banks’s books that travelled with him were incorporated into his personal library upon his return to England, and are held by the British Library.

[3] The Parsons Collection: Rare Pacific Voyage Books from the Collection of David Parsons; Part I: Dampier to Cook. (Sydney: Hordern House, 2005), no. 86.

[4] W. E. Snell. ‘Captain Cook’s Surgeons’. Medical History 7:1 (January 1963): 46–47.

[5] For more on the formation of Parsons’ collection, see his article ‘The Pleasures of Collecting Books on Cook and Pacific Exploration’, published in Cook’s Log 30:2 (2007): 7–9.


Recent exhibition, Creativity & Correspondence: The George Paton Gallery Archive 1971-1990 and other images from the archive.

The appointment of Kiffy Rubbo in October 1971 as Director of the Ewing Gallery and Rowden White Library, marks the beginning of one of the most influential contemporary art spaces in Melbourne’s history.

The Ewing Gallery (as it was then known) was established in 1938 to house a permanent exhibition of The Ewing Collection of Australian painting. The collection was exhibited continuously from 1938 until October 1971. When Kiffy Rubbo was appointed the brief for the Ewing Gallery was expanded to begin a program of changing temporary exhibitions with funding provided by the student union.

The first Australia Council grant round was held in 1973 and the Ewing received $3,000 towards its 1974 program. Council funding was received every year until 1990, and this transformed the operations of the gallery and greatly improved the quality of exhibition documentation from 1974 onwards.

In a unique position at the beginning of the 1970’s as Australia’s only avant-garde gallery with institutional support, the Ewing and George Paton benefited from the investment of energy made by a large group of young experimental artists and associated students and academics. Amongst the diverse range of exhibitions and events held during the 1970’s and 1980’s can be found most of Australia’s acclaimed contemporary artists, curators and art writers of today.

Creativity & Correspondence: The George Paton Gallery Archive 1971-1990 explored key relationships and the creative process between artists and gallery directors during the first two decades of the gallery’s history. The exhibition featured original archival material including correspondence, photographs, slides, catalogues, early video art and posters.

Students in Art Curatorship and Cultural Heritage Charmaine Ching, Alice Mathieu and Jeremy McEachern had the opportunity to curate the exhibition through the University’s Cultural Collections Projects program. The exhibition drew inspiration from the beginnings of the blog created by archivist Georgina Ward.

The exhibition also launched the recently-completed catalogue of the archive,  catalogued with support from the Russell and Mab Grimwade Miegunyah Fund.

The opening night was a great success, with many attending and fantastic speeches from Dr Heather Gaunt, Curator of Academic Programs, Ian Potter Museum of Art, University of Melbourne; Dr Meredith Rogers, director, designer and dramaturg, Honorary Research Associate, Latrobe University and Dr Janine Burke, historian, writer, and curator, Monash University.

Thank you to all who attended the opening night and visited the exhibition.

Kiffy Rubbo in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1285 University of Melbourne Archives
Kiffy Rubbo in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1,285
University of Melbourne Archives
Photograph (digital reproduction of slide) Denise Robinson and Vivienne Shark Lewitt working in George Paton Gallery Office George Paton Gallery Collection, 1990.0144 SL/6,292 University of Melbourne Archives Denise Robinson (May 1982-Jan 1986) went on to be the founding Director of Artspace in Sydney
Photograph (digital reproduction of slide)
Denise Robinson and Vivienne Shark Lewitt working in George Paton Gallery Office, c.1982-c.1986
George Paton Gallery Collection, 1990.0144 SL/6,292
University of Melbourne Archives
Denise Robinson (May 1982-Jan 1986) went on to be the founding Director of Artspace in Sydney
Meredith Rogers in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1,306 University of Melbourne Archives
Meredith Rogers in Gallery Office, undated, George Paton Gallery Collection, 1990.0144 BWN/1,306
University of Melbourne Archives
Poster 5 Artists + 5 Architects Howard Arkley, Howard Ragget, John Nixon, Ian McDougall, Roger Kemp, Peter Corrigan, Tony Clark, Ivan Rijavek, Julie Brown-Rrap, Norman Day,  Mixed Media  George Paton Gallery George Paton Gallery Collection, 1990.0144.0533  University of Melbourne Archives
Poster 5 Artists + 5 Architects
Howard Arkley, Howard Ragget, John Nixon, Ian McDougall, Roger Kemp, Peter Corrigan, Tony Clark, Ivan Rijavek, Julie Brown-Rrap, Norman Day,
Mixed Media
George Paton Gallery
George Paton Gallery Collection, 1990.0144.0533
University of Melbourne Archives
Poster Reel Women Clare Jaeger, Sue Ford, Madelon Wilkins, Natalie Green, Women's Collective, Half Way House Collective, Monique Schwarz, Carole Sklan, Kerry Dwyer, Maureen McCarthy, Hanna Dunn,  Film screenings, discussions and workshops George Paton Gallery 27 April 1981-1June 1981 George Paton Gallery Collection, 1990.0144.0533  University of Melbourne Archives
Poster Reel Women
Clare Jaeger, Sue Ford, Madelon Wilkins, Natalie Green, Women’s Collective, Half Way House Collective, Monique Schwarz, Carole Sklan, Kerry Dwyer, Maureen McCarthy, Hanna Dunn,
Film screenings, discussions and workshops
George Paton Gallery
27 April 1981-1June 1981
George Paton Gallery Collection, 1990.0144.0533
University of Melbourne Archives
Poster Art Show  c.1986 On September 28 1985, the Union Board voted to close the George Paton Gallery, however due to a variety of legal obligations, such as existing contracts with staff, the decision was reversed by the Vice Chancellor and a reprieve was granted to August 1986. In the interim the fate of the gallery was to be decided by two referenda of the student body.  George Paton Gallery Collection, 1990.0144.0534  University of Melbourne Archives
Poster Art Show
c.1986
On September 28 1985, the Union Board voted to close the George Paton Gallery, however due to a variety of legal obligations, such as existing contracts with staff, the decision was reversed by the Vice Chancellor and a reprieve was granted to August 1986. In the interim the fate of the gallery was to be decided by two referenda of the student body.
George Paton Gallery Collection, 1990.0144.0534
University of Melbourne Archives
Poster Australian Women Artists:            One Hundred Years: 1840-1940 Mixed Media  Curated by Janine Burke Ewing and George Paton Galleries 2 September 1975-27 September 1975 George Paton Gallery Collection, 1990.0144.0533  University of Melbourne Archives
Poster Australian Women Artists:
One Hundred Years: 1840-1940
Mixed Media
Curated by Janine Burke
Ewing and George Paton Galleries
2 September 1975-27 September 1975
George Paton Gallery Collection, 1990.0144.0533
University of Melbourne Archives
Catalogues on diplay, courtesy of George Paton Gallery.  Note, collection catalogues available for access through University of Melbourne Archives Photograph: Sandie Bridie
Catalogues on diplay, courtesy of George Paton Gallery. Note, collection catalogues available for access through University of Melbourne Archives
Photograph: Sandie Bridie
Opening Night: Janine Burke speaking about her involvement in the gallery, being a student at University of Melbourne, working with Kiffy Rubbo and curating her first show, 'A Room of One's Own' 1974.
Opening Night: Janine Burke – Reflecting on early curatorial experiences
Photograph: Sandie Bridie
Opening Night: Janine Burke
Opening Night: Janine Burke
Photograph: Melinda Barrie
Opening Night
Opening Night: Susan Hewitt viewing collection items
Photograph: Sandie Bridie
Opening Night: Meredith Rogers (assistant director 1974-1979) – Reflecting on working with artists and curators in the Gallery
Photograph: Sandie Bridie
Opening Night: Meredith Rogers (George Paton Gallery Assistant Director 1974-1979), Katrina Dean (University of Melbourne Archivist), Shane Carmody (Library Senior Development Manager) and Sandra Bridie (University of Melbourne Student Union Arts Programs Coordinator) Photograph: Melinda Barry
Opening Night: Meredith Rogers (George Paton Gallery Assistant Director 1974-1979), Katrina Dean (University of Melbourne Archivist), Shane Carmody (University of Melbourne Senior Development Manager) and Sandie Bridie (University of Melbourne Student Union Arts Programs Coordinator)
Photograph: Melinda Barrie
Opening Night: Art Curatorship student Charmaine Ching (Centre); Mark Rubbo and Susan Hewitt (far right) Photograph: Melinda Barrie
Opening Night: Sandie Bride (Universiyt of Melbourne Student Union, Arts Programs Coordinator), Meredith Rogers (right). Photograph: Melinda Barry
Opening Night: Sandie Bride (University of Melbourne Student Union, Arts Programs Coordinator), Meredith Rogers (right)
Photograph: Melinda Barrie
Opening Night: Cultural Heritage student, Jeremy McEachern
Photograph: Melinda Barrie
Art Curatorship student, Alice Mathieu, invigilating Exhibition Photo: Sandie Bridie
Art Curatorship student, Alice Mathieu, invigilating Exhibition
Photograph: Sandie Bridie


Exhibition!

George Paton Gallery
11-27 September

Creativity and Correspondence:
The George Paton Gallery Archive 1971-1990
Presented by the University of Melbourne Archives
Curated by Charmaine Ching, Alice Mathieu and Jeremy McEachern and Georgina Ward

The University of Melbourne’s Ewing and George Paton Gallery was at the forefront of modern art experimentation in the city from the 1970s. Creativity & Correspondence: The George Paton Gallery Archive 1971 – 1990 explores key relationships and the creative process between artists and gallery directors during the first two decades of the gallery’s history. The exhibition features original archival material including correspondence, photographs, slides, catalogues, early video art and posters.

The exhibition launches the recently-completed catalogue of the archive, catalogued with support from the Russell and Mab Grimwade Miegunyah Fund.

Exhibition to be opened by
Dr Meredith Rogers, director, designer and dramaturg, Honorary Associate, Latrobe University and former assistant Director of the George Paton Gallery and Dr Janine Burke, historian, writer and curator

IMAGE: Kiffy Rubbo in You, Them  & Us
Video installation by Judi Stack and Bob Weis, September 1977 Ewing Gallery, University of Melbourne Archives

September 2013
11
OPENING NIGHT

5-7pm

Speeches 5.30pm

RSVP
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In Sisterhood: collectives for women, by women

In the late 20th century female writers were supported by relationships with publishers and the editors of feminist journals, whose aim was to nurture the development of writing by women, for women.

Founded by a close team of five women, including Hilary McPhee and Diana Gribble of McPhee and Gribble fame, Sister’s Publishing was a feminist company with working relationships with significant female writers such as novelist Beverley Farmer, historian Patricia Crawford and poet Rosemary Dobson.  Joyce Nicholson, one of the founders of Sister’s Publishing, outlines their purpose   “to ensure that anything worthwhile written by women would not be overlooked”[1]  a goal with both positive and negative consequences as “we felt that every woman who had ever written anything got it out of her bottom drawer and sent it to us.”1 The workload was too great to sustain and in 1984 Sister’s Publishing ceased operation.

Still in publication, Lilith: a feminist history journal was born from an undergraduate seminar conducted by the History Department of the University of Melbourne in 1983. By 1985 the Lilith Collective was publishing “historical articles and reviews informed with a feminist consciousness”; providing a platform for feminist history students and writers to share their work.

The impact of Lilith is evident not only it the fact that it is still published, but also in the personal impression on readers. Correspondence from a subscriber working in the library of a high school describes her value of the journal, asking for more articles as she was “trying to give a gender balance to the material which usually exists in schools.” She relays that the Lilith articles she has included so far have been “very well used by the senior girl students” The letter is signed, “In sisterhood”.[2]

Whether or not this letter inspired the editors to introduce the journal to new audiences, the minutes of 23 November 1988 reveal that the idea to publicise Lilith to History teachers was raised to assist this mission of a gender inclusive curricula in schools.[3]

UMA has a range of collections from other feminist publishing houses and journals, including Sugar and Snails, a group established in 1974 to counter sexism in children’s literature, Vashti Voice, published by the Women’s Liberation Carlton group around June 1972, and editorial material of Joyce Thorpe Nicholson.


[1] Problems of a Feminist Publishing House, Box 10, Sister’s Publishing Collection 1999.0016

[2] Letter to Meg, 17th October 1988, Box 1, Lilith Collective Collection 1997.0056

[3] Minutes, 23rd November 1988, Box 1, Lilith Collective Collection 1997.0056


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