Every year University College London organises a day for academic, cultural and heritage institutions to come together to showcase the enormous range of historic collections in archives, libraries and museums. In pre-Covid times, the day would be held at Senate House and would be attended by anyone in London with a serious interest in historical research.Continue reading “#Hist2020: History Day 2020, celebrating our collections”
According to Anne Stevenson, who died on 14 September 2020, a poet is that rare person ‘who is in thrall to nothing but poetry’s weird tyranny and ungovernable need to exist’. The volume and breadth of her poetry and scholarly interests attest to this uncontrolled creative urge, and we are very fortunate to have part of her poetry library.Continue reading “Spotlight on the collections: Anne Stevenson Poetry Library”
What do Conservators do when separated from the archives and rare books they normally work on? One answer is that they make their own! Tony King, our Senior Manager Collections Care and Conservation, describes the process of creating a historic bookbinding.
The history of Western bookbinding stretches back to antiquity and has involved significant changes in the way books are bound, sometimes leading to obvious external differences but often not. Books are complex 3-dimensional objects and working out how a book was put together several hundred years ago requires a fair bit of detective work. Very few descriptions of life in the bindery have survived so the only way to really understand the processes involved is to make a new book using what we believe to be the techniques, tools and materials of the period.Continue reading “Book conservation in lockdown”
For those of you who are familiar with Sunderland, here is an image of the High Street in earlier times for you to colour in. The image is part of our Pictures in Print digital collection of printed local maps and topographical illustrations. This particular illustration comes from an extra-illustrated copy of William Fordyce’s The history and antiquities of the county palatine of Durham (1857), which is held at Sunderland City Library.
The domed building on the right-hand side is Hutchinson’s Buildings, opposite Havelock House where in 1898 the “Great Fire of Sunderland” started. Can you identify any other buildings?
Simona Martorana is one of a small group of intrepid Durham University students wrestling with medieval handwriting. They are guided by Michael Stansfield, Senior Manager of Archives and Special Collections, normally in person, but over the last few months online. During these palaeography sessions, students catch a glimpse of a past world through the many stories that surface in our archival sources. Simona discusses a document from the Durham Cathedral Archive, which our staff look after at 5 The College.
Durham University Library and Collections is a member of Research Libraries UK (RLUK), a consortium of the most significant research libraries in the UK and Ireland. As many members entered lockdown in March, Dr David Prosser (Executive Director of RLUK) took a virtual tour of RLUK member’s special collections via Twitter (#RLUKCollections), including those at Durham University, to highlight just a small selection of the extensive, diverse, and unique collections held within the member libraries and archives.
We have (with permission) highlighted here Durham’s brief entry, and provided links to each of the others, as an opportunity to quickly sample some of the many treasures held within the British Isles.
إشراك جيل الشباب الأردني في التعلم عن ماضي عمّان وتعدد ثقافاتها (ممول من المعهد البريطاني
Ross Wilkinson, Learning and Engagement Manager, reflects on an ongoing collaborative learning project which stretches from Durham to Jordan:
Back in the heady pre-lockdown days of August 2018, I received an email from a colleague in Archaeology, Dr. Arwa Badran. Arwa asked to meet as she was putting funding towards a project to help youth engagement in museums and needed the support of the Learning and Engagement Team. I had worked with Arwa previously on the Museum and Artefacts MA course, and at this point I assumed a simple engagement with local partner museums in the region or possibly wider, nationally…
The following post, by our rare books cataloguer Dr Aya Van Renterghem, first appeared in a longer form on the Early Modern Female Book Ownership blog in May 2020. We are grateful to the blog’s moderators for allowing us to share the content.
When considering the many shapes and forms in which early modern female book ownership appears, thoughts and discussions usually turn to the various types of books owned by different women or focus on the difference in ownership between social classes of women, for instance. It is, however, possible to broaden this view and also think about gradations of ownership and about the level of agency female book owners had. I mean by this that we could think about questions such as how much control early modern women had over their choice of books or over the type of books they owned. The Canonesses of the Holy Sepulchre collection, currently being catalogued at Palace Green Library, Durham University, presents an interesting case study in this regard and is worth exploring here. Continue reading “Whose book is it? Books owned by the Canonesses of the Holy Sepulchre”
Since the start of lockdown on 23rd March the way we all buy items has changed. From following social distancing rules in the supermarket, trying to find an online delivery slot or not being able to buy products we used to buy regularly. We are all adapting to this new shopping experience and this is no different for libraries and how they buy and provide access to books. Continue reading “Acquisitions in Lockdown – moving from print books to eBooks”
Norman Cornish: The Sketchbooks was an exhibition held at Palace Green Library from 23 November 2019 – 1 March 2020, forming part of the programme to mark the centenary of the birth of the celebrated County Durham artist. Colleagues from the Museums, Galleries and Exhibitions team worked closely with the Cornish family to present a selection of around 60 of the artist’s little-seen sketchbooks, along with carefully chosen finished paintings to provide a rich insight into Cornish’s working practice and development as an artist. The exhibition was designed to offer an intimate look at Cornish’s life and work, touching on his career as a miner, how his family encouraged and inspired his art and the many subjects for drawing and painting provided by the community of his home town of Spennymoor.