<![CDATA[ourheritage.ac.nz | OUR Heritage]]> https://ourheritage.ac.nz/items/browse?collection=90&page=2&output=rss2 Wed, 24 Jul 2024 00:16:05 +1200 library.systems@otago.ac.nz (ourheritage.ac.nz | OUR Heritage) http://otago.ourheritage.ac.nz/termsofuse Zend_Feed http://blogs.law.harvard.edu/tech/rss <![CDATA[The Sunday at Home. A Family Magazine for Sabbath Reading]]> https://ourheritage.ac.nz/items/show/10823

Date

1874

Identifier

A.H. Reed Collection, Heritage Collection, Dunedin Public Library

Type

Publisher

London: Religious Tract Society

Abstract

Like its counterpart the Leisure Hour, Sunday at Home was published by the Religious Tract Society. Both publications are notable for their wood engravings, and they were designed for family consumption, with the aim of countering the effects of ‘pernicious’ reading. However, Sunday at Home included serialized novels, signalling a departure from the tract-based education for which the RTS was known. The journal’s featured stories showcase the reward of virtue, and they are characterized by their strong Christian message, rather than their literary qualities. Nevertheless, in its annual report for 1879, looking back on twenty-five years of publication, the RTS claimed that between them Sunday at Home and The Leisure Hour ‘have together addressed not far short of a million readers monthly’.
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Fri, 08 Jun 2018 09:29:04 +1200
<![CDATA[The Penny Magazine of the Society for the Diffusion of Useful Knowledge]]> https://ourheritage.ac.nz/items/show/10824

Date

1 June 1833

Identifier

Shoults Ec 1832 P 1833

Type

Publisher

London: The Society

Abstract

In the 1830s, a number of inexpensive weekly journals attempted to attract the growing number of Britain’s working-class readers. The Penny Magazine (1832-1845) was a Whig competitor to the more conservative Chambers’s Edinburgh Journal. Sponsored by the Society for the Diffusion of Useful Knowledge,the Penny Magazine was known for the striking wood engravings on its cover pages. Early sales were strong, and the journal achieved a weekly circulation of 200,000 in its first year.
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Fri, 08 Jun 2018 09:29:26 +1200
<![CDATA[The Saturday Magazine]]> https://ourheritage.ac.nz/items/show/10826

Date

4 July 1840

Identifier

Private Collection

Type

Publisher

London: Society for the Promoting Christian Knowledge

Abstract

Sponsored by the Society for Promoting Christian Knowledge, the Saturday Magazine (1832-1844) was an Anglican rival to the Penny Magazine. As the issue featured here suggests, it closely modelled its design on the Penny Magazine, but its wood engravings lacked the quality of its competitor.

Cab 9 - saturdaymag.jpg
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Fri, 08 Jun 2018 09:30:01 +1200
<![CDATA[The Magazine of Science, and School of Arts]]> https://ourheritage.ac.nz/items/show/10825

Date

27 April 1839

Identifier

Shoults Eb 1840 M

Type

Publisher

London: W. Brittain

Abstract

The Magazine of Science (1840-1849)was another attempt to reach a working-class audience, this time with a focus on science and industry. Its editor, George William Francis, later served as director of the Adelaide Botanic Garden. The 27 April 1839 cover presents a remarkable meeting of two modes of visual representation. Henry Fox Talbot had recently made public his experiments in ‘photogenic drawing’ – one of the earliest photographic processes. Francis copied Fox Talbot’s procedure, then presented his own works to his wood engravers, who produced woodcuts that imitated the new technology. In this way, readers unable to see Fox Talbot’s creations in person could at least have a sense of their characteristics.
Cab 9 - photoscience.jpg
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Fri, 08 Jun 2018 09:29:48 +1200
<![CDATA[Hardwicke’s Science-Gossip: An Illustrated Medium of Interchange and Gossip for Students and Lovers of Nature]]> https://ourheritage.ac.nz/items/show/10829

Date

1865

Identifier

Special Collections Q1 H37

Type

Publisher

London: Robert Hardwicke

Abstract

Science-Gossip (1865-1893, 1894-1902) was a popular science magazine, aimed at the educated lay reader. Its first editor was the botanist Mordecai Cubitt Cooke, and the journal purported to be ‘a medium of interchange and gossip’ regarding discoveries, developments, and the scientific world. In 1871, a review of the magazine in the scientific journal Nature noted that Science-Gossip was perceived as a scientific equivalent to Notes and Queries: ‘The two resemble each other, indeed, in many particulars, and in none more than in the very unequal value which attaches to the articles contained in their pages’.

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Fri, 08 Jun 2018 09:35:03 +1200
<![CDATA[Charles Darwin, in Vanity Fair]]> https://ourheritage.ac.nz/items/show/10827

Date

30 September 1871

Identifier

A.H. Reed Collection, Heritage Collection, Dunedin Public Library

Type

Publisher

London: ‘Vanity Fair’ Office

Abstract

Vanity Fair was well-known for its chromolithographic caricatures of prominent figures. James Tissot’s image of Charles Darwin appeared in 1871, the year in which The Descent of Man was published. The accompanying article describes Darwin as ‘one of the most accomplished naturalists now in existence’, noting that ‘any theoretical structure that he builds upon his researches must be regarded with great respect’. While Tissot captures Darwin’s physical infirmities (note the pile of cushions, which signify his ongoing ill health), he does so gently, contrasting his subject’s physical frailty with the intense intelligence to be seen in his eyes.

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Fri, 08 Jun 2018 09:34:27 +1200
<![CDATA[The Magazine of Science, and School of Arts]]> https://ourheritage.ac.nz/items/show/10828

Date

2 April 1842

Identifier

Shoults Eb 1839 M

Type

Publisher

London: W. Brittain

Abstract

Another popular scientific publication, the Magazine of Science, and School of Arts (1840-1849) declared on its frontispiece that it ‘intended to illustrate the most useful, novel and interesting parts of natural history and experimental philosophy, artistical processes, ornamental manufactures, and the arts of life’. While it included some wood engravings, much of the journal was text. Articles included features on lathes, oil paintings, sculptors’ instruments, and insect coloration. It was superseded in 1850 by the Magazine of Science and Artists and Artists, Architects, and Builders Journal.
Cab 10- magofscience.jpg
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Fri, 08 Jun 2018 09:34:45 +1200
<![CDATA[‘Expedition Sketches – No.1’ in Dunedin Punch]]> https://ourheritage.ac.nz/items/show/10830

Date

26 August 1865

Identifier

Hocken Periodicals Pun

Type

Publisher

Dunedin: The Punch Office

Abstract

The great success of Punch, or the London Charivari led to many imitations. The best-known in the Southern hemisphere was the Melbourne Punch (1855-1928), which, like its London counterpart, also circulated in New Zealand. Regional versions appeared in Auckland (1868-1869), New Plymouth (1860), Canterbury (1865-1866), Wellington (1868), and Dunedin (1865-1867). There was also a New Zealand Punch (1898-1900). The magazine covered a mixture of local and national issues, particularly politics. Featured here is a parody of the journalist, politician, and explorer Vincent Pyke’s West Coast Expedition to discover a route from Lake Wanaka to the West Coast. Pyke is pictured astride a moa, since he was known for his theories relating to its extinction (he was to publish a pamphlet on the topic in 1890).
Cab 11 - expeditionsketches.jpg
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Fri, 08 Jun 2018 09:35:27 +1200
<![CDATA[‘West Coast Expedition’ and ‘The Coming Man’s Arrival’ in Dunedin Punch]]> https://ourheritage.ac.nz/items/show/10831

Date

23 September 1865

Identifier

Hocken Periodicals Pun

Type

Publisher

Dunedin: The Punch Office

Abstract

‘The Coming Man’s Arrival’ is one of Dunedin Punch’s better-known images, drawing attention to the arrival of Chinese gold miners in Otago. These miners were invited by the Dunedin Chamber of Commerce in the hope that they would replace those who had been lured by the promise of better and more plentiful gold on the West Coast. Dunedin Punch first appeared on 27 May 1865. On 1 September 1867, it changed its name to the Otago Punch.

Cab 11- westcoastexped.jpg
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Fri, 08 Jun 2018 09:35:49 +1200
<![CDATA[Vanity Fair: A Weekly Show of Political, Social, & Literary Wares, Vol. IX]]> https://ourheritage.ac.nz/items/show/10832

Date

1873

Identifier

A.H. Reed Collection, Heritage Collection, Dunedin Public Library

Type

Publisher

London: ‘Vanity Fair’ Office

Abstract

Vanity Fair: A Weekly Show of Political, Social, and Literary Wares(1868-1914) took its name from Thackeray’s novel and Bunyan’s Pilgrim’s Progress. Established by Thomas Gibson Bowles, it was intended to be a ‘society’ magazine. In its early years, Bowles wrote most of the articles himself, hiding behind a range of pseudonyms to make it look as though the magazine boasted more contributors. Adopting a clear satirical mission, Vanity Fair’s first editorial pledged to ‘display the vanities of the week’, which it achieved through its distinctive caricatures of prominent public figures. The publication’s eventual success led to Bowles selling it off in 1889 for £20,000.
cab 12 - vanityfair.jpg
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Fri, 08 Jun 2018 09:36:12 +1200
<![CDATA[Wilkie Collins, in Vanity Fair]]> https://ourheritage.ac.nz/items/show/10833

Creator

Date

1872

Identifier

A.H. Reed Collection, Heritage Collection, Dunedin Public Library

Type

Publisher

London: ‘Vanity Fair’ Office

Abstract

Vanity Fair was known for its vibrantly coloured lithographs, which were often accompanied by satirical text. This delightful image of Wilkie Collins, author of works including The Moonstone and The Woman in White, is by Adriano Cecioni, and it is accompanied by text celebrating Collins’s contributions to the sensation novel genre.
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Fri, 08 Jun 2018 09:36:38 +1200
<![CDATA[‘The Divine Sarah’ in The Sketch. Vol. VI, no.73]]> https://ourheritage.ac.nz/items/show/10834

Date

20 June 1894

Identifier

Storage Journal AP 4 S53 V.6

Type

Publisher

London: Ingram Brothers

Abstract

Considered by some to be a pioneer of the ‘new journalism’, the Sketch (1893-1959) was conceived as a lighter alternative to the Illustrated London News. Its focus was on celebrity, culture, metropolitan life, the royal family, and society gossip. Founder and editor Clement Shorter was particularly committed to the use of photography in journalism, preferring it to more traditional techniques such as wood engravings. Sarah Bernhardt was one of the most popular actresses of the day, and she was acutely conscious of the power of the press. These images showcase her many different personae, both on and off the stage. Prominent contributors to the Sketch included Max Beerbohm, Walter de la Mare, and Agatha Christie, who wrote almost 50 stories for the publication.
Cab 13- sarahb.jpg
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Fri, 08 Jun 2018 09:37:13 +1200
<![CDATA[‘North and South’ in Household Words, No. 241]]> https://ourheritage.ac.nz/items/show/10835

Date

4 November 1854

Identifier

Storage Journal AP 4 H68 V.10

Type

Publisher

London: The Office

Abstract

Many famous Victorian novels appeared in serial format. As readers eagerly awaited each instalment, authors could respond to public opinion, sometimes changing the fate of a character in a bid to increase sales. Elizabeth Gaskell’s North and South, a serial of life in industrial Manchester, appeared over 20 weeks in Dickens’s Household Words from September 1854 to January 1855. Dickens and Gaskell frequently clashed over editorial matters, so much so that both swore never to work together again. However, Dickens realized Gaskell’s talent and popularity, and lured her back to serial publication with generous remuneration and promises of greater creative freedom.
Cab 14- gaskell.jpg
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Fri, 08 Jun 2018 09:37:44 +1200
<![CDATA[‘Framley Parsonage’ in The Cornhill Magazine]]> https://ourheritage.ac.nz/items/show/10837

Date

June 1860

Identifier

Storage Journal AP 4 C67 V.29

Type

Publisher

London: Smith, Elder & Co

Abstract

In 1859, Anthony Trollope wrote to Thackeray, the founding editor of the Cornhill Magazine, offering his services as a staff writer for the new periodical and suggesting that he might write five short stories. Trollope offered five short stories, but three days later George Smith, the Cornhill’s publisher, wrote back, offering him £1000 in exchange for a three-volume serialized novel. The first part of Framley Parsonage appeared just after Christmas 1859 (officially, the issue was January 1860). With illustrations by John Everett Millais, Trollope’s story of love, gambling, and theft was both eye-catching and compelling. The new magazine sold 120,000 copies in its first week, although figures later settled down to between 80 and 85,000 each week.
Cab 14- trollope.jpg
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Fri, 08 Jun 2018 09:38:17 +1200
<![CDATA[‘Far From the Madding Crowd’ in The Cornhill Magazine]]> https://ourheritage.ac.nz/items/show/10838

Creator

Date

April 1874

Identifier

Storage Journal AP 4 C67 V.29

Type

Publisher

London: Smith, Elder & Co

Abstract

In 1874, when Thomas Hardy’s Far from the Madding Crowd was published in the Cornhill Magazine, readers were shocked at some of the work’s sexually explicit scenes. Although the Cornhill received complaints, Hardy’s work continued to be in demand. The twelve illustrations accompanying the tale were by Helen Paterson Allingham, a watercolourist whose work also appeared in the Graphic. The scene depicted here shows the farmer William Boldwood on the verge of proposing to the novel’s complex heroine, Bathsheba Everdene.

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Fri, 08 Jun 2018 09:38:34 +1200
<![CDATA[‘From Powder Monkey to Admiral’ in The Boy’s Own Paper, Vol. I, no. 9]]> https://ourheritage.ac.nz/items/show/10841

Date

15 March 1879

Identifier

Olga and Marcus Fitchett Collection

Type

Publisher

London: Boy’s Own Office

Abstract

This early issue of the Boy’s Own Paper (1879-1967) offers insights into the range of diverting material that its publisher, the Religious Tract Society, thought suitable for boy readers. In addition to its weekly serial (in this case by the prolific adventure-writer W.H.G. Kingston), the BOP featured puzzles and games, accounts of sporting achievements, and other articles designed to be morally and spiritually improving. The magazine circulated across the British Empire and became known for its patriotic values.

Cab 15- kingstonBoysown.jpg
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Fri, 08 Jun 2018 09:47:03 +1200
<![CDATA[The Captain. A Magazine for Boys & ‘Old Boys’ Vol. I]]> https://ourheritage.ac.nz/items/show/10840

Creator

Date

September 1899

Identifier

Olga and Marcus Fitchett Collection

Type

Publisher

London: George Newnes

Abstract

The Captain: A Magazine for Boys and Old Boys (1899-1924) was known for its school serials (hence its sub-title), and included works by P.G. Wodehouse, including his famous Mike stories. Published by George Newnes (whose many periodicals included Tit-Bits and the Strand), the magazine promoted athleticism and notions of ‘fair play’, and it appeared monthly, priced at six-pence. Its editor was credited as ‘the old Fag’, pointing to his credentials as one who understood public school life.
Cab 15- captain2.jpg
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Fri, 08 Jun 2018 09:46:46 +1200
<![CDATA[The Captain. A Magazine for Boys & ‘Old Boys’ Vol. XVI]]> https://ourheritage.ac.nz/items/show/10839

Creator

Date

October 1906

Identifier

Olga and Marcus Fitchett Collection

Type

Publisher

London: George Newnes

Abstract

The Captain was notable for having a separate ‘athletics editor’, renowned cricketer C.B. Fry, and it sought to disseminate notions of ‘gentlemanliness’ across classes.
Cab 15- captain1.jpg
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Fri, 08 Jun 2018 09:46:31 +1200
<![CDATA[The Yellow Book. An Illustrated Quarterly. Vol. V]]> https://ourheritage.ac.nz/items/show/10844

Date

April 1895

Identifier

Special Collections PR 1145 Y44

Type

Publisher

London: John Lane

Abstract

The short-lived Yellow Book (1894-1897) was an important outlet for those writers and artists who identified with the Decadent Movement, ‘an aesthetic ideology of excess and artificiality’. The first four volumes were illustrated by Aubrey Beardsley, whose mesmerizingly grotesque drawings became one of the journal’s hallmarks. Appearing quarterly, the Yellow Book was lengthy, with each volume weighing in at around 300 pages. The cost was high at five shillings. The content was designed to be beautiful, daring, and shocking to bourgeois sensibilities. Contributors included Henry James, George Gissing, and H.G. Wells. Beardsley was dismissed following Oscar Wilde’s prosecution for ‘indecency’ in 1895. It is believed that the journal failed in April 1897 because of anxieties surrounding the Wilde trials.
Cab 16- yellowbook.jpg
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Fri, 08 Jun 2018 09:48:08 +1200
<![CDATA[The Savoy. An Illustrated Monthly, No. 7]]> https://ourheritage.ac.nz/items/show/10843

Date

November 1896

Identifier

Special Collections AP 4 S28, V.1

Type

Publisher

London: Leonard Smithers

Abstract

The Savoy (January-December 1896), first a quarterly then a monthly, folded altogether at the end of its first year. Its eight issues were edited by the symbolist poet, Arthur Symons. It was published by Leonard Smithers, the book dealer and pornographer, best remembered as one of the few publishers willing to work with Decadent writers (including Wilde) in the aftermath of the Wilde trials. Aubrey Beardsley’s distinctive artwork is present, although there were amendments to the original cover because George Moore, a contributor, complained about a naked cherub urinating on a copy of the Yellow Book. Even heavy-weight contributors like Max Beerbohm, George Bernard Shaw, and W.B. Yeats could not keep the journal afloat in a climate of suspicion and fear.

Cab 16- savoy.jpg
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Fri, 08 Jun 2018 09:47:44 +1200
<![CDATA[The Pall Mall Magazine, Vol. XVII]]> https://ourheritage.ac.nz/items/show/10842

Date

1899

Identifier

Olga and Marcus Fitchett Collection

Type

Publisher

London: Editorial and Publishing Offices

Abstract

The Pall Mall Magazine (1893-1914) was an off-shoot of the Pall Mall Gazette. This monthly publication, bankrolled by William Waldorf Astor, aimed to capture a middle-class readership. As the literary critic John Sutherland has noted, its policy was ‘to steer a respectable middle course between the morbid excesses of the 1890s aesthetes and the crassness of the English philistine’. The works of Thomas Hardy, George Meredith, Algernon Swinburne, and Rudyard Kipling appeared in its pages. Sadly, it was unable to compete with the Strand and it merged with Nash’s Magazine in 1914, becoming Nash’s Pall Mall Magazine.

Cab 16- pallmall.jpg
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Fri, 08 Jun 2018 09:47:25 +1200
<![CDATA[The Adventure of the Speckled Band’, in The Strand Magazine, Vol. III]]> https://ourheritage.ac.nz/items/show/10846

Date

1892

Identifier

Storage Journal AP 4 S77, V. 3

Type

Publisher

London: George Newnes

Abstract

The Strand Magazine (1891-1950) was founded by George Newnes, who envisioned it as a journal for the middle-class. It cost sixpence a week. The first editor, H. Greenhough Smith, was keen on publishing stories that featured a recurring hero, often a detective. This approach netted Smith a loyal cohort of readers, and the magazine became known for its crime fiction. Newnes contracted Arthur Conan Doyle to write his Sherlock Holmes tales for the Strand. The great detective had made his debut in A Study in Scarlet, published in Beeton’s Christmas Annual in 1887. Holmes appeared in the Strand’s first issue in 1891, marking the beginning of a long association with the magazine, and with Sidney Paget, the illustrator responsible for Holmes’s now-famous deerstalker hat.
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Fri, 08 Jun 2018 09:48:42 +1200
<![CDATA[‘The Hound of the Baskervilles’ in The Strand Magazine, Vol. XXII, no. 136]]> https://ourheritage.ac.nz/items/show/10845

Date

April 1902

Identifier

Storage Journal AP 4 S77, V. 22

Type

Publisher

London: George Newnes

Abstract

Conan Doyle was able to resign from his work as a doctor from the proceeds of his Sherlock Holmes stories, yet he soon came to resent the great detective as a distraction from what he saw as his true vocation, the penning of historical novels. Doyle attempted to kill the character off in a death struggle with his evil nemesis, Professor Moriarty in ‘The Final Problem’ (1893). However, such was Holmes’s popularity, that Newnes persuaded Doyle to revive the character. Holmes returned to the pages of The Strand in 1901 with The Hound of the Baskervilles, which purported to be a retrospective narrative recounted by a grief-stricken Watson. Doyle famously resurrected his character in 1903’s ‘The Adventure of the Empty House’.
Cab 17- doyle1.jpg
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Fri, 08 Jun 2018 09:48:23 +1200
<![CDATA[Mary Shelley]]> https://ourheritage.ac.nz/items/show/10850

Date

c.1840

Identifier

Online - Wikipedia

Publisher

___

Abstract

2018 is the bicentennial of the publication of Mary Shelley’s novel Frankenstein. Though the novel received limited attention when it first appeared, several theatrical adaptations in the 1820s brought it a larger audience. In 1831, it was republished in the Standard Novels series, with a frontispiece that offered an early vision of Victor Frankenstein and his creation. In the following decades, journals like Punch regularly turned to Mary Shelley’s story when commenting on current events. In doing so, they made Frankenstein a familiar representative for figures whose dangerous creations escape their control.

cab 18 - shelley.jpg
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Fri, 08 Jun 2018 09:49:41 +1200
<![CDATA[‘The Irish Frankenstein’ in Punch, or the London Charivari]]> https://ourheritage.ac.nz/items/show/10853

Creator

Date

1843

Identifier

Storage Journal AP 101 P8 1843-45

Type

Publisher

London: Published at the Office

Abstract

In 1843, a growing number of Irish citizens called for the repeal of the Acts of Union that combined Ireland and Great Britain. Daniel O’Connell, mayor of Dublin and a leader of the repeal movement, had held a series of rallies, called ‘monster meetings’, at various historical sites. When Prime Minister Robert Peel ordered the cancellation of a pro-repeal rally on 8 October 1843, O’Connell relented and called off the meeting. He was charged with conspiracy and sentenced to prison, and the repeal movement splintered. Punch shows O’Connell losing control of the forces of repeal, here represented in an ethnic stereotype that also takes the ‘monster meeting’ literally.

Cab 18- Punch4.jpg
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Fri, 08 Jun 2018 09:50:18 +1200
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