Sometimes we just need to take a break and play! Here are a selection of colouring sheets and jigsaws from items in the collections.
To use a colouring sheet:
Colour Our Collections is an annual international colouring festival on social media where libraries, museums, archives and other cultural institutions around the world share free colouring content featuring images from their collections. It was launched by The New York Academy of Medicine Library in 2016 and the number of participating institutions has grown since then. #ColourOurCollections week generally occurs on the first full week of February, when new colouring books are released on the website and are shared throughout the week by participating institutions on social media. The colouring books from 2021 and previous years remain accessible year-round for free download.
In 2022 UCC Library participates for the first time sharing images from Special Collections & Archives. The images range from prints, manuscripts, map and sketches. From Monday 7th -Thursday 10th February we'll blog about how we deliver the UCC Library Colouring Book to you. Follow #ColourOurCollections via The River-side.
Flora Graeca is the earliest of the modern Floras, with hand-coloured engravings of the plants of Greece and Asia Minor. It is authored by the English botanist John Sipthorp and illustrated by the Austrian botanical artist Ferdinand Bauer. Volume 1 includes the frontispiece with original watercolour vignette.
Festuca littoralis, Plate 80, volume 1. Sibthorp, John. Flora Graeca: sive Plantarum rariorum historia quas in Provinciis aut insulis Graeciae legit, investigavit, et depingi curavit... Illustrations by Ferdinand Bauer. Londini: Typis Richardi Taylor et Socii [etc.], 1806-40.
Each volume has its own title page in woodcut borders. The title page to volume 3 is a collage of three different pages: the text in the centre is a small page affixed between a blank page at the back, and the ornate frame at the front. This ornate frame is from the title page of The Description of Scotland (Volume 2, 2nd ed.) whereas other copies of Holinshed’s Chronicles’ title page shows various kings (David, Solomon, William the Conqueror etc.) and at the bottom of frame is Queen Elizabeth I.
For more information go to this guest blog post "Culture Night: Shakespeare’s Sources & the Boole Library’s Resources" by Dr Edel Semple, School of English, UCC.
Title page, volume 3 Holinshed, Raphael. The ... chronicles comprising the description and historie of England, the description and historie of Ireland, the description and historie of Scotland… [London]: Finished at the expenses of John Harison, George Bishop, Rafe Newberie, Henrie Denham, and Thomas Woodcocke, 1586-87].
The image shows the title page to ‘A Life of St Finbarr’ in Irish. The original ‘A Life of St Finbarr’ was obtained by the Revd P Hurley, PP of Inchigeela. It was originally transcribed by Mícheál Ó Cléirigh, one of the 'Four Masters' from a photographic copy of the Lives of the Irish Saints in the Burgundian Library in Brussels. Mícheál Ó Cléirigh noted that he wrote the Life of St Finbarr in the convent of friars at Cork in June 1629 and that he took it from a vellum book, the property of Daniel Dinneen. Ls 150 is in the hand of local Cork scribe Pádraig Ó Standúin or Patrick Stanton who transcribed and translated it in January 1893. The entire Irish text is followed by a translation into English. Both Irish and English texts have their own title page. Ls 150 was acquired by UCC Library in 1932.
Ls 150, Special Collections, UCC Library.
' A Chart of Cork Harbour and Baltimore Bay' was produced by van Keulen. The whole of the framed 'A Chart of Cork Harbour and Baltimore Bay' (1734) has two insets: that of Baltimore Bay and Waterford Harbour. The image shows the “Baltimore Bay” inset.
This is a satirical image of Napoleon as a gingerbread baker, drawing the baked figures of three kings (labelled 'Bavaria', 'Wirtembg.' and 'Baden') out of a stone baking oven with a large wooden peel. In the background Talleyrand can be seen mixing dough labelled 'Poland', 'Hungary', 'Turkey' and 'Hanover' in a vat titled 'Political Kneading Trough'. In the foreground, a wicker basket contains freshly baked figures (Napoleon's relatives and favourites) ready for delivery.
Gillray, James. Tiddy-Doll, the great French-Gingerbread Baker drawing out a new Batch of Kings – his Man hopping Talley mixing up the Dough,” [1806]. BL/CV/PolP/N/11.
This is an image of Ormiston House, a Scottish baronial-style residence in County Antrim.
Quiller Lane, R. “The Viceroy's Visit to the North of Ireland: Ormiston, the Residence of Mr. Alderman W.J. Petrie Where Lord and Lady Cadogan Will Stay While at Belfast,” 1896. BL/CV/TP/Antrim/16
Glengarriff’ is one of 94 sketches in large hardback scrapbook containing images of country scenes from Ireland and Europe, and individuals in native costumes from around Europe. It was the first Earl of Bantry’s eldest son, Richard White, who in the 1830s-1840s while still Viscount Berehaven, laid the plans for the magnificent house and gardens extant today. Prior to and after his marriage he extensively toured the Continent, travelling as far as Russia and Poland, making sketches of landscapes, vistas, houses and furnishing which he later used as inspiration in expanding and refurbishing Bantry House, Bantry, Co. Cork. These sketches can be regarded today as similar to sharing holiday photos on Instagram.
BL/EP/B/3303, Bantry Estate Collection, UCC Library Archives, University College Cork, Cork, Ireland.
‘Orchard’ is one of 94 sketches in large hardback scrapbook containing images of country scenes from Ireland and Europe, and individuals in native costumes from around Europe. It was the first Earl of Bantry’s eldest son, Richard White, who in the 1830s-1840s while still Viscount Berehaven, laid the plans for the magnificent house and gardens extant today. Prior to and after his marriage he extensively toured the Continent, travelling as far as Russia and Poland, making sketches of landscapes, vistas, houses and furnishing which he later used as inspiration in expanding and refurbishing Bantry House, Bantry, Co. Cork. These sketches can be regarded today as similar to sharing holiday photos on Instagram.
BL/EP/B/3303_orchard, Bantry Estate Collection, UCC Library Archives, University College Cork, Cork, Ireland.
'Wall decoration’ is one of 134 images in a large hardback scrapbook belonging to [Richard, Viscount Berehaven] with “Napoli 1843” embossed in gold on the spine. It was the first Earl of Bantry’s eldest son, Richard White, who in the 1830s-1840s while still Viscount Berehaven, laid the plans for the magnificent house and gardens extant today. Prior to and after his marriage he extensively toured the Continent, travelling as far as Russia and Poland, making sketches of landscapes, vistas, houses and furnishing which he later used as inspiration in expanding and refurbishing Bantry House, Bantry, Co. Cork. These sketches can be regarded today as similar to marking certain designs and colour inspiration for ideas on home improvements on Instagram.
BL/EP/B/A/10_wall decoration, Bantry Estate Collection: Ancillary, UCC Library Archives, University College Cork, Cork, Ireland.
These sketches of street scenes were drawn by Elizabeth Friedlander while she was studying at the Prussian Academy of Arts in Berlin. Students were required to produce a variety of artwork of their local areas for ongoing course work
BL/VC/EF Elizabeth Friedlander Collection, UCC Library Archives, University College Cork, Cork, Ireland.
A printer's mark or device was a symbol used as a trademark by early printers starting in the 15th century. This is the printer's device of Robert Estienne (1503?-1559). It shows an arrow surrounded by a snake and ivy. The motto is 'Basilei t'agatho kratero t'aikhmete.'
Eusebius. Eusebiou tou Pamphilou euangelikes proparaskeues bib. pentekaideka. Lutetiae [Paris]: Ex officina Rob. Stephani, typographi regii, regiis typis, MDXLIIII [1543].
This image shows an initial space with printed guide letter 'b.' This feature has carried over from medieval manuscripts which also had decorated capital letters. Decorated capital letters in medieval manuscripts varied from basic pen-and-ink drawn letter to more elaborate letters painted with gold or silver leaf. In both medieval manuscripts and early printed books, these initials were added by an illuminator after the text had been copied. Space for these letters was marked out and left blank with just a small guide letter marked so the illuminator would know which letter to paint. In some manuscripts and books the initials were never added and you can see the space that was reserved for them.
[Biblia Latina cum postillis Hugonis de Sancto Caro]. [Basel: Johann Amerbach for Anton Koberger in Nuremberg, 1498-1502].
A printer's mark or device was a symbol used as a trademark by early printers starting in the 15th century. This is the printer's device of Jacopo de Giunta (1487-1546). It shows a fleur-de-lys.
Bishop of Caesarea. Aurelii Augustini Hipponensis Episcopi Omnium operum tomus primus... Lugduni [Lyon]: apud haeredes Iacobi Iuntae: apud Sebastianum Honoratum, MDLXIII [1563].
[Biblia Latina cum postillis Hugonis de Sancto Caro]. [Basel: Johann Amerbach for Anton Koberger in Nuremberg, 1498-1502].
This image shows an initial space with printed guide letter 'p.' This feature has carried over from medieval manuscripts which also had decorated capital letters. Decorated capital letters in medieval manuscripts varied from basic pen-and-ink drawn letter to more elaborate letters painted with gold or silver leaf. In both medieval manuscripts and early printed books, these initials were added by an illuminator after the text had been copied. Space for these letters was marked out and left blank with just a small guide letter marked so the illuminator would know which letter to paint. In some manuscripts and books the initials were never added and you can see the space that was reserved for them.
A printer's mark or device was a symbol used as a trademark by early printers starting in the 15th century. This printer's device shows a hand holding a compass drawing a circle. Around the device is Christopher Plantin's (1520?-1589) motto: 'labore et constantia' which means 'through hard work and perseverance.' In the printer's device the motto is symbolised by the compass: one leg stands for perseverance and the rotating leg stands for hard work.
Gregory of Nazianzus. Sententiae et regulae vitae ex Gregorii Nazanzeni scriptis collectae: Eiusdem iambi aliquot, nunc primum in lucem editi / per Ioannem Sambucum Pannonium. Antverpiae: ex officina Christophori Plantini, MDLXVIII [1568].
A printer's mark or device was a symbol used as a trademark by early printers starting in the 15th century. This is the printer's device on the title page of Elzevier's magnificent first edition of Corpus Juris Civilis in two volumes folio. Corpus Juris Civilis or 'Body of Civil Law' is the modern name for a collection of fundamental works in jurisprudence, issued from 529 to 534 by order of Justinian I, Eastern Roman Emperor.
Leeuwen, Simon van. Corpus juris civilis: Pandectis ad Fflorentinum archetypum expressis, institutionibus, codice et novellis, addito textu Graeco, ut & in digestis & codice, legibus & constitutionibus Graecis, cum optimis quibusque editionibus collatis; cum notis integris, repetitae quintum praelectionis, Dionysii Gothofredi, JC. Amstelodami: apud Joannem Blaeu, Ludovicum & Danielem Elzevirios; Lugd. Batavorum [Leiden]: apud Franciscum Hackium, MDCLXIII [1663].
A printer's mark or device was a symbol used as a trademark by early printers starting in the 15th century. This image shows Daniel Elzevier's (1626-1680) printer's device: An olive tree and next to it Minerva with helmet and shield. The helmet and shield are adorned with the head of Medusa and Minerva is accompanied by an owl.
Hesiod. [Hesiodou Askraiou ta heuriskomena]. = Hesiodi Ascraei quae extant / ex recensione Johannis Georgii Graevii, cum eiusdem animadversonibus & notis, accedunt nota inedita Josephi Scaligeri et Francisci Guieti. Amstelodami: Apud Danielem Elzevirium, MDCLXVII [1667].
A printer's mark or device was a symbol used as a trademark by early printers starting in the 15th century. This printer's device shows an armillar sphere between the figures of Hercules. This is the device of Pieter Blaeu (1637-1706).
Cicero, Marcus. Ciceronis De officiis libri tres, Cato maior, Laelius, Paradoxa, Somnium Scipionis / ex recensione Ioannis Georgii Graevii. Cum ejusdem notis, ut & integris animadversionibus Dionysii Lambini, Fulvii Ursini, Caroli Langii, Francisci Fabritii Marcodurani, Aldi Manuttii, nec non selectis aliorum. Accessit Favonii Eulogii Rhetoris Carthaginiensis in Ciceronis Somnium Scipionis disputatio, nec non Caelii Calcagnini disquisitiones in De officiis libros. M. Antonii Majoragii decisiones contra Calcagninum. Iacobi Griffioli defensiones Ciceronis contra eundem. Amstelodami: Ex typographia P. & I. Blaeu. Prostant apud Wolfgang, Janssonio-Waesbergios, Boom, a Someren, & Goethals, MDCLXXXVIII [1688].
Click on the image to go to the jigsaw of the "Illustrated Half-title." Millikin, R. A. The River-side: A Poem. Cork: J. O'Connor, 1807.
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
Click on the image to go to the jigsaw of Robert Gibbings' designed bookplate in Simon Pelloutier's Histoire des Celtes, et particulièrement des Gaulois et des Germains: depuis les tems fabuleux jusqu'à la prise de Rome par les Gaulois. La Haye: Paris: chez Antoine Urbain Coustelier, 1741.
This image was used in the Matters French online exhibition.
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
Click on the image to go to the jigsaw of the endpapers and bookplates on this copy of Hugh MacCurtin's The Elements of the Irish Language: Grammatically Explained in English. Louvain: M. van Overbeke, 1728.
This image was used in the Matters French online exhibition.
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
A new UCC Library avatar via Babelfis.
Click on the image to go to these images of a yellow green grosbeak the jigsaw of the endpapers and bookplates on this copy of Georges Buffon's Histoire naturelle des oiseaux. De l'Imprimerie royale, 1770-1786.
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
Click on the image to go to the jigsaw William Cooke's bookplate. Cooke was the first lecturer of Spanish in UCC and his collection is held in Special Collections. We like how he's added an extra to the bookplate!
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
Click on the image to go to the jigsaw of the "Illustrated Title Page." Connellan, Owen. The Annals of Ireland: translated from the original Irish of the four masters. Dublin: B. Geraghty, 1846.
This image was included in Andrew Neville's blog post about his online work placement.
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
Click on the image to go to the jigsaw of the "A Shilling Well Laid Out" print. This print is one of the illustrations in Egan, Pierce, Life in London or, the Day and Night Scenes of Jerry Hawthorn, Esquire, and His Elegant Friend, Corinthian Tom, Accompanied by Bob Logic, The Oxonian, in Their Rambles and Sprees through the Metropolis (1821) and (1822).
This image was included in Patrick McKee's blog post about his online work placement.
Using this jigsaw creator the player can adjust the number of pieces, toggle the mat colour the jigsaw is resting on, toggle the way the pieces are arranged, drag & drop the images, check the picture to be recreated. Clicking on the question mark gives the credit line for the image.
Who would be the best person for colouring? Harry, Ron or Hermione? Share your finished creations with us on Twitter @theriversideUCC @UCCLibrary and on Instagram #ucclibrary.
