This post was written by Caroline Kimbell, Joint Head Of Commercial Digitisation And Licensing at UCL Library Services

Following the digitisation of UCL’s 18th century treasures (currently in production) we turn next to a new module for ProQuest’s Early European Books, comprising 515 works of Judaica, roughly half in Hebrew, half in other European languages.

UCL’s Jewish collections are of national significance, and the majority of this project is drawn from the Mocatta collection. Books and pamphlets published before 1700 are in scope, and include 10 Incunabula, the oldest from 1470. EEB to date only includes 164 Hebrew books, but aspires to provide a comprehensive Jewish history resource.

Our contribution includes works in 10 languages besides Hebrew, including Catalan, German, Aramaic, Italian and Greek alongside English. The places of publication represented reflect early modern Jewish Europe, with major centres in Amsterdam, Venice, Antwerp, Prague, Krakow, Berlin, Geneva, Salonika and Istanbul. The module is heavy on hefty, high-status books, many bearing elaborate metal clasps and fine bindings. There is, inevitably, an emphasis on religious texts – Torahs, Psalms and lamentations, prayers, religious and ritual works, theological commentary and Jewish history. 50 works by first century Roman-Jewish historian Flavius Josephus are included, and the module will therefore represent early modern Judaism from the inside.

However, inevitably, much of the collection represents the Christian world’s responses to Judaism. From 1656 we find “A view of the Jewish religion: containing the manner of life, rites, ceremonies and customes of the Jewish nation throughout the World at this present time”, a French “Histoire des Tvrks et d’un Juif; avec discovrs de l’entier banissment des Juifs du Royaume” and an account from 1655 of “a great council of Jews assembled in the plain of Ageda in Hungaria”. There is widespread fascination with Jewish daily life – one account from 1656 promises to describe “their doings at night when they come home”.

In 17^th century London, as today, sensational language drove book sales – epitomised in one title – “wonderful and deplorable”. In this vein, we find “the Counterfiet Jew” assuring readers that “It would fill to much paper to describe all the lyes, forgeries, hypocrisies and slights of this miserable wretch”. There are many individual conversion narratives – most famously those of Eve Cohan and Theodore John, the latter baptised at the German Lutheran church in Little Trinity Lane – just one sign that London has always been a Global City. Pamphleteers skirmish back and forth on the subjects of naturalisation, conversion and protestant conformity: one Mocatta pamphlet from 1693 recounts an atheist “apostized from the Christian religion [who] died in despair”.

Writers and readers were also fascinated by cabalistic practice, Jewish medicine, magic and folklore. In MOCATTA 1666 L4 we find an account of “how the Persians were strucken with blindness, when they attempted to rifle the houses of the Jews and spoyle their goods”. In 1653, we find Robert Filmer explaining “the difference between an English and Hebrew vvitch” (always handy to know) and from Cornwall, the story of “Ann Jeffries… who was fed for six months by a small sort of airy people called fairies”.

English travel narratives from Europe and the near East tend decidedly to the picaresque – from 1699 we find “Two journeys to Jerusalem. : Containing… a strange and true account of the travels of two English pilgrims… and what admirable accidents befel them in their journey to Jerusalem, Cairo, Alexandria… beautified with pictures.” Other descriptions cover the Caucasus, the Tartar mountains, Morocco (“The present state of the Jews… in Barbary”) and recount the miraculous raising of the dead by Nathan the Prophet, earnestly evidenced as “the true copy of a letter sent to the East-India Company”. More sober accounts of the pan-European world of trade and business include, at MOCATTA 1678 M1, letters between merchants in London and Amsterdam.

Evidencing everyday co-existence and mutual curiosity, many books here navigate between languages and cultures – there are bi-lingual dictionaries and Henry Care’s invaluable “The Jewish calendar explained” from 1673. Many of the works here use the Jewish calendar: 316 equates to 1556, 448 to 1688 for example. Date formats and the right-to-left pagination of Hebrew books pose particular challenges for digitisation and on-screen navigation, but contributing a dedicated Judaica module to such a reputable, international online resource as EEB will enhance UCL’s global reputation for Jewish studies. UCL library users already enjoy access to EEB, and the collection will be available from launch in 2024. For more information on the Mocatta collection, which supplies the majority of content for this project, see the Hebrew and Jewish Rare Books webpage.

Last term the Outreach team of UCL Special Collections were delighted to collaborate with Year 9 History enthusiasts at Kelmscott School in Waltham Forest. The club, called Becoming an Historian, took place over six weekly after-school sessions. Students defined the skills and qualities which make a good historian, learnt how to undertake historical research of primary resources, and each explored an item from UCL Special Collections in-depth. They chose the History of London as their theme and have produced informative and dynamic museum labels presented in this mini digital exhibition. You can also read their personal responses to the collection items on Twitter. The students each gained different things from participating in the club, as these three examples attest:

My favourite thing about the club is the amount of discussion we have. An opportunity to speak out your thoughts freely was very encouraging.

I liked getting to know more about how research is conducted.

My favourite thing about the club was the opportunity to work with others on a subject that I am passionate about.

To conclude the club, the students came to visit UCL East on 30 January 2023 – the very first school group through the doors of One Pool Street! Supported by the Outreach team, the students were thrilled to experience the original historical items they had been researching  – having worked from facsimiles until that point. One student observed:

‘It was interesting to see the details on the real-life item, as it was much more intricate than online.’

While another commented:

‘I was surprised seeing the actual item and the actual text. It was great!’

UCL Special Collections say a huge thank you to the students for undertaking this research and for helping to tell the stories of these extraordinary rare books and archives in our care.

Living London, Volume 1, Ed. George R. Sims (1902)

Living London was written in 1902 by George R. Sims. It describes scenes of people looking for work in the London Docklands. At the time of writing, Britain was plagued by a deep class divide; upper classes saw themselves as superior to the working class. The mixing of different classes was frowned upon. Sims himself was the son of a successful merchant. Through the medium of the book Sims disparages those looking for work in the docks by describing them as ‘the common slum type, either criminal or loafer or both.’

Zahra

 

The several plans and drawings referred to in the second report from the select committee upon the improvement of the Port of London, illustrated by R. Metcalf, William Faden (1799)

William Faden (1749-1836) was a British cartographer. He was so well known that he was the royal geographer for King George III. This meant that he had to publish and supply maps to the royals and parliament. The map shows a detailed view of London.

Musa

William Faden was a British cartographer and a publisher of maps. He was born on July 11 1749 and died on March 21 1836. He self-printed the North American Atlas in 1777 and it became the most important atlas chronicling the revolution’s battles. He also made this map of the River Thames which gives a lot of information about the way buildings were placed, and the trading docks that held the actual trading ships used back in the day.

Petar

 

Letter from the Trades Advisory Council regarding wartime food regulations in relation to the baking of challah (1945)

This letter by the Trades Advisory Council was drafted in the 1930s and reconstituted in the 1940s to prevent growing hostility towards the Jewish population from British fascists. In this letter it states that the Jewish challah loaf was very similar to the bun loaf, and would be placed in the same category as it. It goes on to state that the ingredients for it should be rationed for the best of the British people.

Ahrab

The Trades Advisory Council was created in the 1930s and reconstituted in 1940 to challenge the British fascists. Because the Jewish bread challah is extremely similar to bun loaf, which was rationed, the council decided to add it to the same category as the bun loaf, saying that every British citizen was to put the nation first.

Lu’Ay

 

Vagabondiana : or, anecdotes of mendicant wanderers through the streets of London; with portraits of the most remarkable drawn from life, John Thomas Smith (1814)

This is a book written and illustrated by John Thomas Smith. It was published in 1813 and made from paper with printings of paintings. The author was born in 1766 inside a Hackney carriage. He was educated at the Royal Academy and was nicknamed ‘Antiquity.’ He attempted to become an actor, and then a sculptor. His eventual occupations were engraver, draughtsman and curator.

Ace

 

Metropolitan Sewers: Preliminary report on the drainage of the metropolis, John Phillips (1849)

Due to a combination of growing population, lack of sanitation and sewage systems, a result in the capital was several severe, contagious outbreaks of sickness, like cholera and typhoid. London’s Metropolitan Commission Sewers was established in 1848 as part of the solution to the issue. This text of 1849 describes the necessity for construction. It has plans for the running of a new sewer tunnel west to east, to transport London’s waste. The tunnel wasn’t built, but this map depicts London as far as Stratford.

Faith

 

East London, Walter Besant (1901)

‘The Hooligans’, a picture from Walter Besant’s book East London, showcases five figures, two armed, in a dark room with an arched entrance. One man seems to be lying down in pain, possibly from an injury caused by the two armed men. In a passage below the picture it is stated that ‘the blood is very restless at seventeen.’ This could be related back to London’s notoriously high knife crime and gang violence rate, with thousands of children taking part. Despite being published in 1901 East London mirrors modern London and its violent tendencies.

Natalie

What frightens me the most were ‘The Hooligans.’ Looking at the picture alone gives me the shivers. The beaten-up man lies defeated in the hands of the hooligans. These behaviours are similar in today’s knife crime London.

Habiba

This book was published in 1901, and it was written by Walter Besant. Besant was born on August 14 1836 and died on June 9 1901. He was an English novelist and philanthropist and who wrote quite a lot of works, one of them is East London. A good enough question is why did he write East London? Besant wanted to describe the social evil in London’s East End. And in my personal opinion, in this book he wanted to show people who lived in the west and in the south how people live in the east.

Kiril

 

Remarks on rural scenery : with twenty etchings of cottages, from nature; and some observations and precepts relative to the pictoresque [sic], John Thomas Smith (1797)

The book Remarks on Rural Scenery was written in 1797 by John Thomas Smith, as the first of two items bound together. The author was also known as ‘Antiquity Smith’ and was born in 1766 in a Hackney carriage. When he left school he tried to become a sculptor, but left to study at the Royal Academy to become a painter, engraver and antiquarian. With this book he tried to bring to the mainstream the picturesque life in rural areas of England.

Viky

 

Common Lodging House Act, Metropolitan Police (1851)

The industrial revolution contributed to the population growth in the nineteenth century. During the century a record number of people relocated to London. By the middle of the century areas where cheap lodging could be found grew dangerously congested. The least expensive types of lodging were common lodging houses, where residents shared rooms and frequently beds with multiple other residents. Under the 1851 Act, these homes were registered with Metropolitan Police. These regulations were a direct reaction to the inadequate conditions of crowded housing and unscrupulous landlords and recognised the risks to public health posed by disease and poor sanitation.

Maleah

The Common Lodging Housing Act, 1951, sometimes known as the Shaftesbury Act, is an Act of the Parliament of the United Kingdom. It is one of the principal British Housing Acts. It gave London boroughs the power to supervise public health regarding ‘common lodging houses’ for the poor and migratory people. This included fixing a maximum number of lodgers permitted to sleep in each house, promoting cleanliness and ventilation, providing inspection visits and ensuring segregation of the sexes. These powers were extended to local authorities in the Common Lodging Housing Act of 1851.

Malaeka and Inayah

We are delighted to announce the winner and finalists of this year’s Anthony Davis Book Collecting Prize 2022.

The prize is open to students at London-based universities, and this year applicants included students from Birkbeck, Royal Holloway, SOAS, the Royal College Of Art and UCL.

A wide range of wonderful collections was submitted, but the panel had the difficult job of choosing a winner. Four applicants were shortlisted for the finals and presented their collections live to a panel of judges that included representatives of the Bibliographical Society, the Antiquarian Booksellers’ Association and the University Of London’s Senate House Library.

Winner and finalists

The prize was awarded to Hannah Swan, studying for a PGDip in Archives And Records Management, for her collection entitled Swizzle and Serve: Party-Planning Books and Ephemera. She will have the opportunity to apply for the UK’s national collecting prize for students later this year.

Domenico Pino, studying for a PhD in History Of Art, was awarded an honourable mention by the judges for his collection of 19th-century Neapolitan books and prints entitled Bibliotheca Neapolitana.

The other finalists were Jessie Maier, an MA student in Middle Eastern Studies, for her collection of graphic novels and science-fiction material entitled The reclamation of Arab narratives in science fiction and graphic novels and Małgorzata Dawidek, a PhD student in Fine Arts and Intermedia, for her collection of works on art, health and illness entitled Body Stories, with a particular emphasis on Polish publications.

All the finalists met with Anthony Davis and were given advice and contacts to support their future collecting. We’re delighted that Małgorzata, after being shortlisted, was awarded a grant from the Adam Mickiewicz Institute in recognition of her contribution to the dissemination of Polish culture by presenting her collection.

See the shortlisted students’ collections: 27 July and 10 August

All four candidates will be presenting their collections to the public in our UCL Rare-Books Club series over the next few weeks. Domenico and Małgorzata will present in person at the UCL Bloomsbury campus in London on Wednesday 27 July: book your place on Eventbrite and drop in any time between 12.30pm and 2pm. Hannah and Jessie will present online on Wednesday 10 August 1.05-2pm: booking opens soon on the UCL Rare-Books Club Eventbrite page.

Collectors of the future

We hope you’ll be able to come along to these events to support the finalists, but we’d also like to thank all the applicants and wish them good luck and many years of joy in their future collecting. Our thanks also go to the judges for generously giving their time and, most of all, to the benefactor of the award, Anthony Davis, for helping nurture the collectors of the future with his encouragement, expertise and enthusiasm.

This post was written by Caroline Kimbell, UCL Library Services

Allow me to introduce myself and ECCO: I’m Interim Head of Commercial Licensing and Digitisation, which involves working with publishers to identify rare books and archives for online publication, earning royalty income for the libraries, acquiring preservation images, free or discounted access to online resources and, after a suitable contractual period, allowing us to re-use digital content in any way.  In a previous career in publishing, I worked on developing “ECCO” – Gale’s Eighteenth-Century Collections Online.

Working out how many books were published in the 18^th century, in the English language or in English-speaking countries has been an ambition of the library world since 1977, and the current answer according to the English Short Title Catalogue (ESTC) is 351,689 held across 2,000 libraries.

You may imagine that this epic project was completed years ago, and that everything listed by ESTC would be available in ECCO or elsewhere? Not so.

For a few years now, a “final” tranche of digitisation has been in preparation to supplement ECCO’s current 180,000 titles. The “long list” for this third tranche currently stands at 78,000 titles. UCL is not an 18^th century library, and when I arrived, I imagined that we would have little eligible material. I was wrong. We will be contributing about 320 items totalling around 66,000 pages, of which 59 have been accredited by ESTC as brand new entries – in other words, unique, first-time discoveries.

Many of these new finds are in UCL core subjects and include books on the volcanos of Sicily, agricultural enclosure, the structure of human teeth, works by Joseph Priestly and a Compleat History of Drugs from 1737. One among UCL’s thousands of eligible titles, inexplicably absent from Penguin Classics, “Human ordure, botanically considered” (1757), is already on ECCO but surely worth a mention?

Among female authors it is splendid to find An Essay on Combustion 1794 by Mrs Elizabeth Fulhame, “the first solo woman researcher in chemistry”, Mary Wollstonecraft on the French Revolution, the prolific Mary de la Rivière, or even a 4-part Ladies Astronomy from 1738, in which the Sun smiles approachably for female readers (fig.1)

We will also be contributing new-to-ESTC editions by major authors – Swift, Defoe, Pope, Beckford – astonishingly still coming to light in 2022. Our 1787 Mohawk language Book of Common Prayer is already online, but when it comes to travel and the exotic, we have real delights – such as new-to-ESTC, “Four letters concerning the growth of grape vines in the Island of Bermudas” from 1741 (worth a try), and a rare 1746 London edition of sci-fi novel A journey to the world under-ground by Norwegian satirist Ludwig Holberg (as in Grieg’s tribute Suite) for anyone who had ever wondered what a Baroque Dr Who monster might look like (fig.2).

Many of the concerns reflected in these works are mundane: parliamentary bills about pot-holes which have slipped all digital nets and a newly discovered Act from 1762  “for preventing annoyances” – still to take effect.  Alongside the irritations of urban life, we find pleasures and pastimes – A walk from St. James’s to Convent-Garden from 1717 and proto-Puzzler magazine “The British Oracle” from 1769 (“enigmas, paradoxes, rebusses, queries, epigrams & repartees”) both new to ESTC. Then there’s a 1779 edition of Hoyle’s Games: “whist, quadrille, piquet, chefs, back-gammon, draughts, cricket, tennis, quinze, hazard, lansquenet, and billiards”, or back outdoors “A dissertation on oriental gardening”, books on gunnery and the shoeing of horses along with plays from the Theatres Royal, poems and society gossip.

Unfortunately, data-combing our 18^th century holdings against ESTC and the online landscape has revealed a backlog of wrinkles which are being addressed, in part by our wonderful placement student Ollie Nelmes: only 61% of our 18^th century holdings were recorded on ESTC, but this project gives us a fantastic opportunity to refresh the collections, improve and enhance their discoverability and step forward as a rich repository of 18^th century rare, and in some cases, unique books.

 

We have been fortunate to host two students on a 50 hour placement from the IOE’s BA in Education Studies, and as their time comes to a close with us, they have written a blog to share their experiences.  Both students spent time learning about the Special Collections department before immersing themselves in the delivery of an Outreach project at UCL Academy – an after school club called Illustrate! which explores the use of illustration in our collection of rare books, archives and manuscripts.

Eric Xu

As part of the IOE’s Education Studies Placement Module, my course mate Duke and I have been working with Vicky Price as part of UCL Special Collections’ outreach team on the after-school workshop: Illustrate. I had a keen interest not only in working with students in a visual art focused workshop, but also in the collection itself after seeing items from the Orwell Collection around UCL’s campus. Our placement began in early January when we met with Vicky for the first time online. As the weeks went by, Duke and I had the pleasure of becoming acquainted with the people and places of Special collections, and learning about the processes of archiving, cataloguing, digitisation and of course the outreach of the collection.

Our work on Illustrate began promptly in the first weeks, reviewing the past workshop deliveries, and taking inspiration from curated catalogues of the collection. Trying to come up with original ideas of how to integrate collection items into fun and fruitful activities for the students was definitely a challenge, but Duke and I were able to come up with and produce resources for sessions which we were keen to deliver ourselves. Creating these lesson plans and resources was a much more multifaceted task than I had anticipated, the considerations of how students react to your information and questions greatly influences and informs the direction of the class, and having Vicky help us with leading the direction of these disseminations was very helpful and eye-opening. Similarly with the resources and activities, I found that oftentimes I had to give the activity a go myself to determine the difficulty and viability of it for the class, which meant a lot of the times that I had to adjust or even change the resource entirely. Ultimately, the final product of the workshops we delivered were much different and more refined than the initial plans that Duke and I had drawn up.

Working with the students at UCL Academy was also an experience that has reshaped my perspective on professionalism in schools. There were many hurdles we had to hop, both expected and unexpected, including uncertainty with the number of students coming into the workshop. The students that did consistently come every week were lovely to work with, not only were they respectful and interested to learn, but they were also amazing at drawing. Trying to keep every student up to pace with one another and engaging all of them in the content was another struggle that Duke and I faced, and we realised that sometimes it’s impossible to have everyone interested or fully committed in participating, but again with Vicky’s assistance, the workshops still ran successfully.

Overall, the experience for me was an amazing and insightful experience into the organisational operation of UCL Special Collections, the preparation of workshops and resources as well as the teaching of students. I would highly recommend anyone interested to get involved, and I’m very grateful to have worked with Vicky and UCL Special Collections as part of my placement.

 

Duke Li

This term, the placement module from BA Education Studies offered us an opportunity to be involved in the outreach team of UCL Special Collections and the project “Illustrate”. To be specific, the aim of the project was to give the knowledge of special collections items to an audience with a non-academic background. It was really great to bring out activities to the after-school club and have interactions with students on the topic of special collections.

Our experiences started with the introduction of the UCL Special Collections team. Before that, I didn’t know that the UCL Special Collection team involved so many departments. For instance, we took several visits to the UCL Science Library and “hidden rooms” in the IOE building in order to see parts of the collection. It is always exciting to see those rare collection items – archives, rare books, and manuscripts – especially in a storage space that adds a mystery to it. As the placement went by, we got to know how to search items in the Special Collections catalogue, learn about the digitalization of the special collections items, and the process of getting access to items in the reading room. We also had a chance to take a look at an exhibition of the collection. From my perspective, those activities helped me to get a better idea of how the UCL Special Collections team work and cooperates with each other, and the experiences that I got turned out to be helpful when conducting the “Illustrate” project in the later weeks.

As well as intaking this knowledge, we also managed to bring out two sessions to the students on topics related to the collection items. The “Illustrate” project was an after-school class for the students, but the participants all engaged and learned from the discussion and the drawing activities in their own ways. Most of them were really active and willing to interact with us. It’s really delightful when giving out sessions and making students involved in the class. Though the teaching experience was wonderful, we do have several aspects to reflect on.

1. The teaching experiences
In the first session, we designed the whole activity on the work of Escher and his impossible world. We also set questions to ask the students. However, since we didn’t notice the difficulty and the linkage between questions, some of the students may have felt it hard to follow these ideas. From this, we concluded that the questions should be more carefully designed to express less in-depth, but easy-to-follow ideas, or else the knowledge of the collection items can not be promoted. Luckily, the final outcomes of the drawing activities turned out to be a big success, due to the creativity of the students. They have their own designs and thoughts.

2. The external factors
We also encounter some problems with the project as a whole. Since the project was an afterschool class in the school, schools may pay less attention to our project than the school’s wider teaching and learning activity. This may be the reason that most of the time, we did not have a lot of participants for our sessions. Also, we experienced once that the school was closed due to a problem with their water supply, but we only find out that when we arrived there, so these factors may have affected the teaching quality as well as the experience of teaching and learning.

To conclude, the whole placement experience is really great, we got the chance to know the UCL Special Collection team and how a team like this operates. The teaching experience with students was always nice since they were all really engaged. Also, we were really interested by the idea of the outreach team’s work when we were trying to make linkage between the non-academic audience and the special collection items that deserve to be noticed by more people. It was a really nice experience and I learned and reflected a lot.

This guest blog post was written by Dr Steph Carter, who spent six months volunteering at UCL Special Collections as part of the Liberating the Collections project

The initial phase of the ‘Liberating the Collections’ project at UCL Special Collections has begun to highlight under-represented and marginalised voices in the collections. One area of research has been women owners, contributing not only to the existing narrative of pre-1750 books in the UCL Special Collections but also to the growing scholarly interest in early modern women book owners.

Working primarily with the UCL library catalogue, 5000 provenance statements were examined for evidence of women owners and straightaway provided ample data to pursue research on the lives of these former book owners. However, research into women book owners brought to the fore the intensely acute disparity that is so common between men and women when it comes to historical documentation and searching for biographical details. Biographies of identifiable women tend to be tied into the biographies of their fathers, husbands or brothers, typically comprising little more detail than a wedding date and how many children were born. An added complication is the repeated use of the same first name through successive generations of a single family.

A Hebrew text from the 1680s includes the inscription ‘Rebecca Mocatta’ on the front endpaper. This is undoubtedly part of the surviving Mocatta Library, the majority of the collection having been destroyed by bombing in 1940. The Mocatta family were established in London by 1671 with the merchant and diamond broker Moses Mocatta. At his death in 1693, Moses identified a niece called Rebecca; his son Abraham later had a daughter also named Rebecca. Rebecca also continued to be an important female family name in the 18th and 19th centuries, and the book remained in the Mocatta family collection until at least the early 19th century as there are manuscript notes on the front flyleaves detailing information about births in the family between 1797 and 1809.

Of course, even with a family name it is not always possible to identify the correct lineage. The Countess of Warwick, Mary Rich (1624-1678), is a known author and book owner. She was addicted to plays and romances in her youth, so it is not ridiculous to assume that she is the author of the inscription ‘Mary Rich’ on the title-page of Sir John Harington’s 1591 translation of Ariosto’s Orlando Furioso – the Italian poem that is a source for Much Ado About Nothing.

However, another ascription, ‘Margarit Riche’, is also present on the title-page and an inscription on p. [186] of the main text refers to a note on the marriage of Robert and Elizabeth Riche in 1616.

These details do not match with the genealogy of the Earls of Warwick, suggesting that this book may have been owned by a completely separate family and passed down through female members of that family.

Despite the limitations of researching and identifying women book owners, the Mocatta and Rich examples contribute to a growing narrative of what the editors of Women’s Bookscapes in Early Modern England describe as ‘the myriad ways in which women bought, borrowed, accessed, wrote in, made, recorded, cited, and circulated books’ (p. 4). Such research on women book owners will also contribute to a broader engagement with the UCL Special Collections.

Dr Steph Carter, Associate Researcher, Newcastle University

References

Orbell, J. (2004) ‘Mocatta family (per.1671-1957), bullion dealers and brokers’, Dictionary of National Biography Online. Available at: oxforddnb.com [Accessed on 27 July 2021].
Cambers, A. Godly Reading: Print, Manuscript and Puritanism in England, 1580-1720 (Cambridge: Cambridge University Press, 2011), pp. 48-50.
Knight, L. and White, M. ‘The Bookscape’ in: Knight, L., White, M. and Sauer, E. (eds.) Women’s Bookscapes in Early Modern Britain. Ann Arbor: University of Michigan Press, 2018, pp. 1-18.

French translations of Beatrix Potter, English testimonies to the Holocaust and women of the South Asian Diaspora – these were just some of the collecting themes amongst the applications for this year’s Anthony Davis Book Collecting Prize, which is open to all students at London-based universities. The prize, which is generously funded by Anthony Davis, aims to encourage collectors who are at an early stage of collecting books, printed materials or manuscripts.

Because the standard of applications was particularly high this year, the panel made the exceptional decision to award two prizes.

The winners

This year’s winner is Daniel Haynes for his collection ‘The money earned by herself’: women artists of the Roycroft Press. This printing house was founded by Elbert Hubbart in New York State in 1895. It became the most influential Arts and Crafts press in America and a commercial success. Following the trend to revive 15th-century printing techniques and skills started by William Morris’ Kelmscott Press, the Roycroft Press produced books that were hand-printed and illuminated. Daniel’s collection focuses on books that contain evidence of women illuminators, highlighting the contributions made by artists whose role has often been overlooked. Daniel, who is a studying for an MA in Library & Information Studies at UCL, will receive a cash prize and the opportunity to work with a member of staff to select a new item for UCL Special Collections. He will also be entered into the national book collecting competition that is organised by the Antiquarian Booksellers’ Association.

The runner-up winner is Erick Jackaman with their collection Read My Genders: A Trans for Trans Collection. They collect a wide range of contemporary material that is published by trans people for trans people, including self-published novels, zines and leaflets. Erick is currently studying for an MSc in Digital Humanities at UCL.

“The whole experience of applying for the Anthony Davis Book Collecting Prize has been such a joy for me”, they said. “When I started writing my application back in March, it didn’t occur to me how valuable the application process itself would be or how much I would learn throughout. Speaking [to the panel] filled me with a sense of wonder for the potential of my collection.” Erick will also receive a cash prize and the opportunity to select a new item for UCL Special Collections.

The other finalists were:

• Humphrey Price for his collection of works by Clare Leighton
• Howard Kordansky for his collection of books and pamphlets on the role of the German Jewry in the First World War
• Jemma Stewart for her collection of floriography or the language of flowers

See the finalists present their collections online

Join us for special sessions of the 2021 UCL Rare Books Club Online to hear some of the finalists speak about their collections and show some of the items. These lunchtime sessions are free to attend and open to all.

• Tue, 29 Jun 2021 13:05 BST: Read My Genders: A Trans For Trans Collection
• Tue, 3 Aug 2021 13:05 BST: Women writers pre-1750 & Victorian flower-books
• Tue, 17 Aug 2021 13:05 BST: Women illustrators of the Roycroft Press

 

The Anthony Davis Book Collecting Prize is an opportunity to celebrate student collectors and the diverse collections they build and nurture. Last year we wrote about how you can be a student book collector without even realising it. But what is the difference between a book collector and someone who just owns a lot of books? For us, and the judges on the Book Collecting Prize panel, the difference is collecting with intention.

What is Collecting with Intention?

Collecting anything is about building a collection of material around a common theme for a specific purpose. You could be collecting because you really love the subject, author or artist. Or it might be about raising awareness or preserving a history you believe is important. But it becomes a ‘collection’ when it forms a cohesive whole. Think of books or items that if you would give away as a unit rather than one item at a time.

The intention behind your collection can be academic or it can just be something that you are passionate about. Some of last year’s finalists collected in areas that overlapped with their studies, while the 2020 winner submitted a collection of books she had since her childhood. You can also submit material such as letters, postcards, and comic books.

It’s all well and good talking about this in the abstract, but what exactly does an intentional collection look like? Let’s look at some examples:

Vicky’s Collection of Music for the French Horn

Potential Collection Title: Milestones for a Music Student

Vicky, our Head of Outreach, has a collection of sheet music for the French horn. Her sheet music cover different milestones of a student’s journey to learning how to play the instrument. The music was primarily bought when she was learning the instrument herself as a child. None of the music in the collection are particularly rare, but some of them are now out of print.

When Vicky started the collection, it was music that she needed to proceed to the next milestone of learning music. It wasn’t really a collection at the time – it was just the assigned sheet music for learning the French horn. However, over time she filled her books with annotations that documents her journey as a musician. This includes names of music teachers, recitals and more. They now serve as a history of her progress as a music student. Once she finished her studies, she kept the collection as a single unit. They have a certain amount of sentimental value – they represent the journey she took when learning the French Horn and remind her of the teachers and concerts that helped her along that journey. But it also represents what the musical journey of most French horn players – the music pieces that she has are very popular amongst people learning the French Horn and become more technically difficult over time. If she was to give the collection away, she’d give it to a music student at the beginning of their learning journey as, in theory, they then wouldn’t need to buy another piece of music until they finish their studies. But it’s also a collection that’s still in use. Vicky returns to old music to practice her skills and finds that the music she learned years ago is still challenging for different reasons. Why she isn’t actively adding to the collection, it serves as a physical representation of a learning journey.

What does this mean for you, a potential applicant to the Anthony Davis Book Prize? Books that you may have purchased over the course of learning something new, but then changed in significance to you overtime, may be a great thing to submit to the Book Prize. When looking at your collection, try asking yourself the following questions:

• What does this collection represent to you?
• What about it tells a story that I think is important?
• What about my relationship to these items has changed that makes me think of them as a cohesive whole?

Sarah’s collection of modern science fiction and fantasy written by women

Potential Collection Title: Imagined Feminist Futures

I collect science fiction and fantasy novels written by women. These are primarily books published in the past five years, but I am also actively seeking earlier works. A few years ago I realised that despite the fact that I love the science fiction and fantasy genre, almost all of the authors I’ve read were men and the authors I had on my shelves were entirely men. So, I decided to change that by intentionally reading and buying science fiction and fantasy books authored by women. It started out as just a reading project – I read primarily library books or ebooks. But as I realised how many authors I had been ignoring, my purchasing patterns started changing as well. The moment I started seeing it as an intentional collection was when I bought a special edition of the collected Binti novellas – a series of novellas that had initially been published online but were re-issued in a physical format.

As my collection has grown, it has become a reference library for myself and other people in my social circle. I also am more likely to buy a book by an author that I haven’t read if I believe it will fill a gap in my collection. While my collection is also dependant on the books I enjoy – part of it has been regifted to friends when I didn’t enjoy the story – there is a core set of books that I would be very reluctant to part with and serve as a representation of women’s contributions to the genre.

If you, like me, started a collection to fill a knowledge gap or encourage better buying habits, these questions might help you think a bit more deeply about your own collection:

• Why do you buy the books you buy (beyond them being required reading)?
• Why do you buy particular editions?
• What have you learned from building your collection?

Final Thoughts

Even though Vicky and I both collect printed material, your collection doesn’t have to be limited to printed books or sheet music. Instead, it can be a collection of letters or diaries, postcards or greeting cards. The items you collect do not have to be old or historically valuable – modern material is welcome. What we want to see in applications to the Anthony Davis Book Prize is intention and purpose. If you can tell us why these items serve as a cohesive whole and the story they tell, then you’ll be the ideal applicant to the Book Prize.

 

We are now accepting applications for the 2021 Anthony Davis Book Prize! The prize is open to all students at a London based university and applications close on 30 April 2021. For more information, visit our main page for the Anthony Davis Book Prize.

Calling all budding book collectors studying at London universities! Would you like to win a £600 cash prize to grow your collection, a chance to present your collection to an international online audience and the opportunity to work with library and archive staff to select an item for UCL Special Collections? The 2021 Anthony Davis Book Collecting Prize is now open for applications.

To many, the term book collection conjures up the image of shelves groaning under the weight of century-old leather-bound volumes, but that is not what this prize requires. The size, age and the financial value of your collection are irrelevant, because we expect these collections to be embryonic. Queer comics, debut Chinese poetry, books by Black British publishers, post-war architectural books, and Slovakian Beat poetry; this selection of themes from the shortlist for last year’s Prize gives a flavour of the broad spectrum that the Prize covers.

Your collection should consist of at least eight printed and/or manuscript items that reflect a common theme. It’s worth noting that despite its name, the Anthony Davis Book Collecting Prize is not only restricted to books – other paper items such as collections of sheet music, manuscripts, magazines, booklets, and other ephemera are all admissible for the Prize. For more inspiration, have a look at our blog post explaining how you can put a collection together.

To apply, you need to submit an essay of not more than 500 words explaining the coherence and interest of your collection and why and how it was assembled, a list of items in the collection, and a list of five items that you would like to add to their collection. You can find full details and an application form here. The deadline for applications is 30th of April 2021. Good luck!

If you’re interested in applying for the 2022 New Curators Project, visit The New Curators Project 2022 is Open for Applications! Application deadline for the 2022 New Curators Project is midnight on February 28th. For more information, visit our page on how to apply.

 

The New Curators Project is a new programme by UCL Special Collections and Newham Heritage Month. It will offer 10 young people in East London the chance to develop the skills and experience needed to start a career in the cultural heritage sector.

UPDATE: The application deadline has closed. If you’d like to apply for the 2022 New Curators project, visit The New Curators Project 2022 is Open for Applications!

What will the project entail?

Successful applicants will receive training from industry experts in key areas such as carrying out historical research, creating an exhibition and engaging with cultural heritage audiences. Participants will also work together to create an exhibition for Newham Heritage Month. Using historical material from UCL Special Collections and the Archives and Local Studies Library in Stratford, the exhibition will be an opportunity for participants to gain real life curation experience for a public heritage festival audience.

We expect the entire project to take place online, with the possibility of face to face sessions towards the end of the project (this will depend on national and local restrictions.  Any face to face activity that does take place with be compliant with government guidelines).

Who can apply?

Applications are open to people who:

• Are aged 18 to 24 at the time of making their application.
• Are living, studying or working in Newham, Hackney, Tower Hamlets and Waltham Forest.
• Are not a university graduate.
• Have less than 6 months paid experience in the cultural heritage sector.

As this project is a part of Newham Heritage Month, there are 5 places available to individuals who live, work or study in the borough of Newham. The remaining 5 places are available to those who live, work or study in Tower Hamlets, Hackney or Waltham Forest.

When is it happening?

Application close midnight on 12th February 2021.  There will be two online sessions per week, the first will be during the week of 1st March 2021 (date and time to be agreed with participants).  The final week of activity will be the week of 24th May 2021.

The project is running again durring the spring of 2022 – you can find more information on our page The New Curators Project 2022 is Open for Applications!

What’s in it for me?

We will be providing training in essential skills for working in the cultural heritage field, including:

• How to carry out historical research.
• How to use an archive.
• How to create an exhibition.
• Presentation and public speaking skills.

We are also offering a £200 bursary, paid in instalments, to support participants in attending as many of the workshops as possible.

Do I need to have any specific A Levels or GCSEs?

Absolutely not. We want to recruit participants who have a passion for local history, regardless of their qualifications.

What is Cultural Heritage?

The cultural heritage field is an area of work focused on preserving history and culture and making it available to the general public. Among other things, it includes:

• Museums.
• Arts organisations and charities.
• Libraries and Archives.
• Historic Buildings and heritage sites.
• Archaeology.
• Conservation.

How do I apply?

Applications for the 2021 New Curators Project are currently closed. If you’d like to apply for the 2022 New Curators Project, visit our page The New Curators Project 2022 is Open for Applications!

Questions?

You can send us an email at: library.spec.coll.ed@ucl.ac.uk.
Or, if you’d prefer to give us a call, you can call Vicky Price, Head of Outreach, on 07741671329.

To start, I feel this post needs a disclaimer – there is no way I can cover all the inspiring women who have played important roles in the life of the Institute of Education. These are just snapshots, hopefully they will inspire people to look further and read more about these women. I have put them in order of date of birth, in an effort to equalise any hierarchy of perceived significance.

Explanation of abbreviations;

• LDTC – London Day Training College, the name of the IOE on its founding in 1902
• IOE – Institute of Education, the name adopted in 1932

Margaret Punnett (1867-1946)

As Mistress of Method and later Vice Principal at the LDTC, she was responsible for organising and overseeing the teaching of the women students, and had overall responsibility for the teaching of maths, to which scripture and psychology were later added. She lectured also on the Principles of Education.

For many years she carried the main burden of administration, and also took a personal interest in students and their welfare.  When she retired the responsibilities of her post were divided, perhaps demonstrating how much work Punnett carried. It is interesting to note that, at a time when women’s salaries were generally lower than those of men with the same level of responsibility her salary on appointment, and subsequently, often equalled that of her male colleagues’.

Clotilde Rosalie Regina Von Wyss (1871-1938)

Clotilde von Wyss was a pioneer of educational broadcasting and film.  Her teaching at the LDTC was enriched by her introduction of collections of plants, an aquarium, artists’ materials and animal photographs. In an article Nature Study for Fidgety Children in the Londinian, the Student Union magazine (Summer 1909), von Wyss expressed her belief in practical manual work as an outlet for children’s natural energy; one example was the creation of gardens in boxes brought in and painted by the pupils. She offered two separate courses in biology at the LDTC, for specialists and non-specialists and, in the 1930s, a special voluntary course for the colonial group.  In addition to her work at the college she taught on a voluntary basis at Wormwood Scrubs prison. In retirement she acted as adviser to producers of a film on Wood Ants.

Susan (nee Fairhurst) Isaacs (1885-1948)

Susan Isaacs was an influential child psychologist, her primary interest being in child development. She had had a varied career before joining the Institute of Education, including several years as Head of an experimental school in Cambridge, and was an advocate of nursery education.

At the Institute of Education she was the first Head of the new Department of Child Development. The Department grew rapidly, her work and reputation bringing prestige to the Institute. When the Institute was evacuated to Nottingham in 1939, and the department temporarily closed, Isaacs led the Cambridge Evacuation Survey.  Illness prevented her from returning as Head of Department when the Institute moved back to London in 1943 and she was succeeded by one of her earliest students, Dorothy Gardner.

Between 1929 and 1940 Isaacs, under the pseudonym Ursula Wise, was an “agony aunt” replying to readers’ problems in child care journals. She also had her own practice as a psychoanalyst, which she maintained while working at the Institute. Isaacs was awarded the CBE in 1948.

Grace Mary Wacey (1894-1987)

During her 38 years at the LDTC/IOE Grace Wacey saw it grow from a small college chiefly engaged in preparing students to teach in London schools, to a major academic institution with an international reputation.  The changes were reflected in the scope and responsibility of her own post: starting off as the only full time member of administrative staff, by the time of her retirement the complement was about 50, over which she, as Secretary, presided.

Grace Wacey was remembered as an approachable, kindly yet firm administrator – so much so that in 1984 the IOE organised a party to celebrate her 90th birthday. In 1953 she was awarded the MBE in the Coronation Honours.

Margaret Gladys Calthrop (1886-?)

At the LDTC/IOE Margaret Calthrop taught French and German, lectured in methods of teaching Modern Languages and supervised student teachers’ school practice.  She was one of a number of subject tutors who sought to make learning her subject more interesting to children, incurring some opposition from those who wondered whether the essentials of grammar were receiving sufficient attention. Her demonstration lessons attracted a good deal of attention, one on a La Fontaine fable drawing applause from children and students.

In the mid-1930s she suffered health problems.  Restored to health she continued to work until she reached retirement age in 1952; she was then offered the possibility of remaining on for a time, but decided not to accept.

Margaret Helen Read (1889-1991)

Margaret Read joined the Colonial Department after five years engaged in missionary social work in India. She had carried out research in anthropology at LSE, and been awarded a doctorate.  She took charge of the department during the war years and became Head in 1945.

She was a pioneer in applying social anthropology to issues in the developing world, with a particular interest being the nature of cultural change affecting families and individuals who, having for generations practised agriculture in villages, had become part of the industrial proletariat. She thought that education in colonial territories should not be simply in basic skills, but also in citizenship and social relations, taking account of cultural traditions, and she stressed the need for adequate histories of education in each territory, to provide an objective description of what had happened since the earliest European contacts.

Read was a member of, and advisor to, various governmental, and world-wide organisations. In 1948 she was awarded the CBE for work in connection with colonial education.

Marion Elaine Richardson (1892-1946)

As art mistress at Dudley High School Marion Richardson started to develop a child-centred approach to art education, encouraging pupils to use memory and visual imagination in creating art works. At the LDTC she established a specialist course for students training to teach art. She was one of several subject tutors who challenged the prevailing methods of teaching in schools. In addition to her work in schools and the LDTC, Marion Richardson taught classes in Winson Green and  Holloway prisons.

Her ideas about child centred art education gained international recognition, while her book Writing and Writing Patterns remained in use in schools for some 50 years. A London school, Senrab Street in Stepney, has been renamed Marion Richardson School in her memory.

Sophia Weitzman (1896-1965)

Weitzman had progressive ideas on methods of teaching history and on the contents of the school curriculum which, she felt, had traditionally been overly concerned with political and constitutional matters.  She believed in working from the realities of children’s lives, and saw the value of visits in arousing their interest in history. Weitzman also considered that school should no longer be a forcing house for knowledge, but should prepare children for social living, encouraging initiative and independence.

Her lectures to students on teaching methods spelled out ways in which historical content might be communicated through the medium of active interest, including modelling, drawing, talking, writing and acting of historical plays, historical excursions, films and radio talks.

Like many of her colleagues at the Institute, Weitzman was interested in the educational systems of other countries, and in her later years she devoted much time to work with students who studied Indian education.

Geraldine Susan Maud de Montmorency (1900-1993)

Geraldine de Montmorency’s appointment as the first Librarian of the LDTC was on a part time basis. Realising the restrictions of this, with the help of students from UCL’s School of Librarianship, she worked on cataloguing and on a classification scheme within the subjects. Additions to the stock came from donations of books and material, as well as purchases.

Over the years de Montmorency increased the number of days she spent at the Institute, in 1940 her post was made full time. Both before and after the second world war specialist collections were developed, e.g. in the fields of colonial education, child development, comparative education and English as a foreign language. Although the marriage bar had been lifted some years earlier, the expectation that women could not cope with working and managing home life prevailed, and de Montmorency retired her post at the IOE upon marriage in 1957. By the time Geraldine de Montmorency resigned her post, the Institute Library had grown massively, with a stock over 50,000 volumes, and had achieved an international reputation.

Dorothy Ellen Marion Gardner (1900-1972)

Dorothy Gardner trained as a Froebel teacher, then worked with young children in a variety of settings and as a trainer of teachers and nursery nurses before becoming a part time student on the new advanced Child Development course at the IOE, while lecturing at Bishop Otter College.  As a student she greatly admired Susan Isaacs, the first Head of the new Department of Child Development, and in due course succeeded her.

Gardner became head of the Department of Child Development in 1943. When teaching – which included a course on the needs of young children in war time – resumed in January 1944 it had to take place in the evenings because teachers were unable to get paid leave. In 1948 Gardner established a research centre at Coram Fields: one of its projects, conducted jointly with the Institute of Child Health, was a long term study of local children.

Gardner played an important part in shaping the development of child centred education.   A highly regarded community nursery centre in West London, catering for 100 children, bears her name.

A number of these women recount their experiences in the volume Studies and Impressions, 1902-1952 Harrison, A. S., and University of London.  [edited by A. S. Harrison … Et Al.]. London: Evans Brothers for the U of London Institute of Education, 1952. Print. https://ucl-new-primo.hosted.exlibrisgroup.com/permalink/f/5qfvbu/UCL_LMS_DS21167882720004761

Further biographical information has been collated from the Institute archives. Extended profiles of most of these women are available on request from the IOE archives ioe.arch-enquiries@ucl.ac.uk

If you have any ideas of who could be included in this list, and why they should be here, please add them in the comments.

Parts of this blog also appear in a post on the UCL Teaching And Learning blog

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How do you teach the materiality of rare books, manuscripts and archives without the materials themselves? That was the challenge facing Special Collections’ staff when, at just a few days’ notice, academic activities suddenly moved online two weeks before the end of Term Two, just when students’ deadlines were looming.

Special Collections ordinarily runs roughly 50 classes a year, embedded across the University’s curricula and involving up-close encounters with physical collection items for over 1,000 students. Add to those a further 50-odd events a year supporting academic research and public engagement, from conferences to workshops to festivals. With getting up-close to most things – collections or humans – suddenly cancelled, we faced an innovation challenge, and had a lot of collaborators and participants to contact very fast in those first few days.

Student coursework

Our immediate challenge was students’ assignments. Over the past eight years, the Academic Support Team at Special Collections has worked with academics to develop modules that require in-depth study of our unique collections. Now, students needed to finish their coursework at a distance.

Impressively, many were already well acquainted with the features that made their chosen items unique, such as this Early Modern hedgehog:

But as enquiries arrived about items not yet digitised, we worked with students to re-frame their essay or dissertation questions so that work could be completed to a high standard despite our reading rooms being temporarily closed. For those working on printed material rather than archives, our rare-book cataloguers also searched for online images of similar features in other institutions’ collections – bindings, annotations, scripts, bookplates, printers’ marks – or images of other copies as close to the same imprint as possible – not an easy task for hand-printed books, which are each unique. This was a new area of collaboration between Special Collections’ Academic Support, Rare Books, and Retrospective Cataloguing teams, and sharing expertise greatly increased the speed at which we could get responses out to students who were working to coursework deadlines.

Digital images

In the process, we learnt a lot about the limitations of many institutions’ platforms for digitised special collections. It is often surprisingly difficult, for example, to discover which copy, and whose, you are looking at, let alone find your way to the full catalogue record for the physical original.

So our Digitisation Team, while waiting to be able to access the physical collections to photograph more items in full, have pulled together as many existing single images of our own collections as possible. Starting with rare books to supplement our existing Digital Collections, they are uploading more images every day to a new rare-books area of our Digital Collections, complete with collection descriptions lower down the page. We’re aiming, where we have them, to include images of features often omitted on other sites, such as bindings, annotations and provenance marks: anything that enhances the sense of the three-dimensional materiality of our items.

Meanwhile the cataloguers are checking that the metadata for our images matches that on our catalogues. Crucially, they are adding a link from the library catalogue record of the physical original through to the digital images. See, for example, four images from this book of maps and images of Shoreditch, now available from the catalogue record for UCL’s copy of the physical original.

Preparing for Connected Learning

Next we needed to find ways of fitting our summer and autumn programmes into UCL’s plans for online learning. Most of our activities involve object-based learning, so to prepare asynchronous resources, we needed both digital images and ways of allowing students and participants to explore our collections in three dimensions. We also needed to develop online forms of live interaction. This is needed both to provide engaged learning for our taught-course students, and because our public audiences expect our online-events offering to match those of other institutions, including museums’ and other organisations’ public-workshop series.

After extensive software testing, we found ways for students to join events with a second camera in order to show books and archives live. We hope to use our own visualisers to teach with our collections, even if students are logging on remotely, and to confirm with researchers and academics which features of an item need high-quality digitisation for their work. I secured access to UCL-supported software for recording videos with a half-and-half split screen, to compare, for example, a manuscript and its transcript, or two similar printed title-pages. Our exhibitions staff has started creating videos to bring our physical exhibitions to life online.

To make all of these resources, tools and events available to our students and academic partners, I secured a Moodle site for Special Collections for which we can set an access key for each group of users. That means our future suite of resources can be re-used, in different combinations and with different contextualising information, across the many modules and courses we support, saving us time. It also means we can use UCL-supported software such as Blackboard Collaborate to run live events. We’ve developed online booking and feedback forms. Finally we’ve arranged training for the whole team, and access to courses on UCL’s Connected Learning strategy.

Launching our online teaching and events programmes

All that remains now is to work with our academic partners to agree how we can support each module and academic project, and begin to prepare and trial events and resources. It has been extremely hard work, and personally I’d like to thank the Academic Support Team and the rest of our colleagues for adopting new ways of working and achieving so much so quickly.

But it’s been worthwhile when we’ve experienced how incredibly resilient our students have been. They have had to think thoughtfully and creatively about research and coursework while trying to secure flights home, changing time zones, moving back in with parents they’d hoped to move on from, finding their home city changed in the grip of the pandemic, or coping with the illness of family and loved ones.

This is a generation of students that is facing more challenges than most, so we were all the more impressed by the online exhibitions created by our BASc students (‘Attention’, for example, showcasing our Brazilian process poetry) and the overwhelming 64 applications for the Anthony Davis Book Collecting Prize  from students at universities across London.

Launching this year’s Rare-Books Club online, I have tried to programme as many student speakers as possible, before they face the challenge of job-hunting in a recession. Students and experienced researchers in the series have presented passionately on collecting Black British publishing, exploring fictitious publishers in the 17^th century, developing the terminology that 19^th-century book-bindings deserve, how our catalogue can provide context for the books of the Galton Laboratory Collection, and many other topics. We have been overwhelmed by the popularity of these sessions, with audiences reaching well over 100 at times – far greater than we could ordinarily accommodate in our physical reading room. Although chairing and moderating such large sessions online has been new and challenging for us, it has also enabled us unexpectedly to reach new audience members from Asia, Europe, the US, and Australia, and we look forward to engaging with them further in the future. We have recorded the sessions, and are rapidly learning how to caption and produce transcripts for the often specialist language used. I hope to make these publicly available as a series later in the year.

Our collections online

Meanwhile, here are even more ways to explore our collections from your armchair:

• Introductory video to our Rebel, React, Reform exhibition

More online exhibitions by BASc students:

• After Death, featuring Ben Jonson’s emblem book
• Search For Sacrifice, featuring our earliest manuscript in English
• Reproduction In Society, featuring Daemonologie (1624)

Further viewing, listening and reading:

• Treasures From UCL (free open-access book from UCL Press)
• Our podcast collection
• Our Digital Collections

The winner – Alexandra Plane – and six other finalists have been announced for this year’s Anthony Davis Book Collecting Prize, which aims to encourage students at an early stage of collecting physical books, manuscripts and printed material.

The competition is open to any student studying for a degree at a London-based university, and this year received a record-breaking 64 applications – the largest number in the prize’s history. Universities represented included Birkbeck, Queen Mary University of London, Goldsmiths, SOAS, King’s College London, and UCL which hosted the prize for the first time this year.

Collectors under lockdown

Despite the pandemic, students applied from wherever they found themselves during lockdown, from Norway to Texas, Bulgaria to China, Vienna to North Wales, with many applicants unexpectedly reunited with, or separated from, their collections.

The range of collection themes was similarly wide, from Singaporean debut poets to Slovakian Beat poetry, Norfolk history to a 20th-century novelist who used eight different pseudonyms, photobooks and queer manga to bilingual parallel texts and women’s genealogical health.

Finding the collectors of the future

The guidelines of the competition specify that ‘the intention is to encourage collecting and we expect that applicants’ collections will be embryonic, so their size, age and value are irrelevant. What is much more important is the enthusiasm and commitment of the collector, the interest of the theme and the vision of how the collection will be developed’. But selecting a winner from so many applicants was a challenge.

After a process of longlisting, shortlisting and interviews, the judges have chosen Alexandra Plane for ‘Books that built a zoo’: her collection of works by Gerald Durrell. Alexandra is studying for an MA in Library And Information Studies at UCL.

The other finalists were:

• Imogen Grubin for her collection of early 20th-century editions of Victorian literature
• Blake Harrison who collects material on James Joyce’s Ulysses
• Jiayue Liu for a collection of early 20th-century English Private Press editions
• Naomi Oppenheim who collects editions produced by Black British publishers in the mid 20th century
• Bori Papp for her collection of Hungarian translations of English literature illustrated by the artist Piroska Szántó
• Kit Rooney for a collection of hand-written inscriptions in books.

See the finalists present their collections online

Join us for this summer’s UCL Rare-Books Club Online, every Tuesday lunchtime, to hear the winner and finalists discuss their collections and present some of their books, starting on 14 July with Alexandra Plane, introduced by Anthony Davis.

Judges

The judges included representatives of the UK’s Antiquarian Booksellers’ Association, the UK’s Bibliographical Society, and Senate House Library who hosted the prize last year, as well as UCL Special Collections.

For the Special Collections team, it was also a great pleasure to collaborate this year with the founder of the prize, Anthony Davis, and to share his inspiring enthusiasm for books and collecting with the students. We hope many of them will continue to develop and cherish their collections long into the future.

 

 

UCL’s Special Collections contains UCL’s collection of historical, academic and culturally significant works.  It is one of the foremost university collections of manuscripts, archives and rare books in the UK. Included in its holdings is a collection of Islamıc manuscripts, Masnavi-i Akbar Sultan (“Romance of the Sultan Akbar”), (MS PERS/1), is one of the manuscripts in this collection.

The conservation of this manuscript was carried out by Fatma Aslanoglu, Project conservator 

The Masnavi-i Akbar Sultan by Mír shams al-Dín Faqír Dihlavi originally written by Jalal al-Din Muhammad Rumi (1207-1273), is a copy of part of the Mesnevi poem collection.  Written in Persian using carbon ink and Ta’liq calligraphy, the manuscript contains a poem written for Sultan Akbar in 1749.  Bound in an Islamic style using the Lacquer technique, the book came to the conservation department because the binding was very tight, causing restricted opening and making access and handling for any purpose unsafe.

 

A preliminary examination of the manuscript determined that it had undergone previous repairs, the binding was now too tight compressing the textblock preventing free opening, causing distress and damage. It was decided to rebind the manuscript thus alleviating these problems, and ensure safe access to this important collection item. It appeared that during previous repairs, the original covers were reused but the leather on the spine had been replaced. Figure 2 shows the extent to which the manuscript opened without undue force.  In addition to the problems created by the spine repair, superficial dust, separation of the text block and cover, tears, and stains were noted, along with fragility of the end leaves due to the acidity present in their paper, these conditions contributed to different but significant deteriorations in the manuscript.

The first step was removing the cover from the text block.  The leather covering of the spine consisted of two pieces of leather, one attached to the left board and one attached to the right board. This is a typical characteristic of Islamic bindings and made it easier to separate the covers from the text block.  The spine leather removal was carried out using Methylcellulose to hydrate the adhesive, allowing easy mechanical removal.

It became obvious as the removal of the binding progressed that the manuscript had not been fully disbound during the old repair. The original leather spine covering was still present under the new leather added during the repair. The sewing appeared untouched but the original primary endband sewing and endbands had been renewed.

The original leather and adhesive – probably ciris, a traditional paste made with the root of a yellow asphodel -were still preventing the manuscript from opening fully.  Using Methylcellulose, the spine was hydrated, and the residue removed.  The original spine lining, a typical characteristic of Islamic bindings, and adhesive was then removed from the text block.  After removing all the original leather adhesives and lining from the spine, the text block started to open fully.  This allowed the original sewing of the text block to be preserved.

With spine cleaning complete, the tie-down sewing and endbands added during the repair were removed.  The text block had three sewing stations, in some of the gatherings; some threads were detached or broken.  New thread was attached to the existing thread and the sewing repaired using the original sewing holes.

During the old repairs, new end papers were attached; the paper used for these is now known to be highly acidic therefore, a decision was taken to remove them from the textblock.  Fabriano paper was used to create new end leaf papers.

The original textile spine lining was not strong or wide enough to hold the text block because its width had been trimmed during the old repair.  A new textile lining was adhered to the text block with excess left along the front and back joints, for later reattachment of the boards.

Following the repair and stabilisation of the textblock spine, it was now possible to proceed with the dry cleaning of the textblock using a soft hake brush.

Paper repairs were carried out using re-moistenable Japanese tissue paper (Japico 0.02/3.8g – Using 4% (w,v) Methylcellulose).  These two processes were completed after the spine-lining repair because the spine and sewing were so sensitive to opening and closing.

Another form of paper repair undertaken was the removal of paper layers adhered to the folios from the adjacent pages.  The delaminated pieces were removed mechanically with local humidification and a spatula.  They were then reattached to their original places using 4% Methylcellulose.

The new spine lining was trimmed at the head and tail of the textblock.  An additional traditional leather core was added to the head and tail of the spine to further stabilise the structure.  The primary endbands were sewn through the spine lining.  It was decided to not re-use the endband created during the old repair.  An endband with a chevron pattern was added.

A barrier between the spine and the text block, using the hollow back method, was created using Japanese tissue and pasted with wheat starch paste (1:6).  This technique ensured that the manuscript would be able to open comfortably and therefore prevent any further damage to the gilded decorations present on all the pages.

 

After the textblock treatments, the boards were reattached to the text block.  The spine lining extensions were positioned within the original board layers using wheat starch paste.

The spine leather was then pasted onto the hollow back present on the spine with wheat starch paste. Japanese tissue appropriately toned using Schmincke acrylics was added to the inner joint, the final process carried out to complete the conservation.

Working on The Masnavi-i Akbar Sultan manuscripts was a rare occasion to work on non-Western binding structures and a first-hand learning experience under the expert guidance of Fatma, for the conservators at the Conservation Department.

For more information about this manuscript please visit the UCL Special Collections page.  (https://ucldigitalpress.co.uk/Book/Article/2/9/48/)

NOTE: Due to the COVID-19 outbreak, we are unfortunately unable to provide an image of the final state of conservation.  We will update this article with a photograph as soon as possible.

 

The retrospective cataloguing team recently embarked on a project creating records for London History Maps, ca. 300 Special Collections maps, atlases and panoramas of London and the surrounding area.

The size of some of the maps was a little problematic (see images!), and finding appropriate locations to safely examine them was difficult in the busy Science Library. With a little planning, however, we were able to schedule map cataloguing time for when the office is at its emptiest, and at times (carefully) use floor space as well as any available desk space.

Maps also require extra fields in catalogue records, such as scale and coordinates, and there are elements of vocabulary that cataloguers are not usually accustomed to using, for example identifying whether gradient is marked by hachures or bathymetry.

Thankfully, there are a number of helpful internet tools out there (such as this one to discern scale), and we discovered the “Bounding Box,” a website by Klokan Technologies, a Swiss company specialising in online map publishing. The bounding box tool gives approximate coordinates when adjusted to contain the area of the individual map. This is particularly helpful when many of the older London History maps do not operate on coordinates at all, but rather have numbered or lettered grids for reference to that map alone. Those that do, often have St. Paul’s, the centre of historic London as the meridian, not Greenwich. In fact, it was not until the 1880s that maps had any consensus as to what meridian to refer to, and many chose the centre of their respective cities/countries rather than settling on an international standard.

Finding their objective coordinates would have been a very arduous task if we had needed to relate to other maps, so the Bounding Box has been an invaluable resource to help us provide as much detail as possible. The site even helpfully provides coordinates formatted specifically for MARC cartographic fields 034 and 255.  Alongside these websites, we also shared expertise and created standard phrases for common occurrences, such as the way the maps have been cut and mounted, and cartographic detail extending beyond the neat line (border) of the map.

With the nitty gritty out of the way, we had space to focus on the content of the maps. Many are beautifully engraved and hand-coloured, with parks showing detail up to the individual tree or flowerbed and the individual docks labelled along the Thames. Some maps emphasise railways, hackney carriage routes or walking distances, some even show the network of sewers! What is most striking is how different London was, and how quickly its expansion occurred. Up to the late 19^th century, the land North of Regent’s Park dissolves into fields and farms, and South of the River is even less urbanised. Some maps even split boroughs into landowners’ estates. On a personal level, seeing UCL campus slowly emerge on the maps was particularly interesting.

The retrospective team began cataloguing London History Maps in February 2020, and almost half the collection is now online. Further map-related posts to follow when we regain access to our physical collections.