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  • Leonora. Translated from the German of Gottfried Augustus Bürgher, by W. R. Spencer, Esq. With designs by the Right Honourable Lady Diana Beauclerc. by [BEAUCLERK, Lady Diana, illustrator]. BÜRGER, Gottfried August. [BEAUCLERK, Lady Diana, illustrator]. BÜRGER, Gottfried August. ~ Leonora. Translated from the German of Gottfried Augustus Bürgher, by W. R. Spencer, Esq. With designs by the Right Honourable Lady Diana Beauclerc. London: Printed by T. Bensley; for J. Edwards, and E. an S. Harding, 1796.
    First edition of this translation and with the striking large engraved plates by Lady Diana Beauclerk. The artist was the eldest daughter of Charles Spencer,… (more)

    First edition of this translation and with the striking large engraved plates by Lady Diana Beauclerk. The artist was the eldest daughter of Charles Spencer, third duke of Marlborough. ‘Lady Di, as she was familiarly known, grew up at Langley Park, Buckinghamshire... There she enjoyed a happy upbringing, her taste for drawing developing early under the influence of Sir Joshua Reynolds’ (Oxford DNB). Her second marriage to Topham Beauclerk brought her into the orbit of Edward Gibbon, David Garrick, Charles Fox, Edmund Burke, and others. Her work — often in the gothic taste — was admired by Horace Walpole who commissioned seven large panels in black wash illustrating his tragedy, The Mysterious Mother, which he hung in a special hexagonal closet at Strawberry Hill (six of them are now at the Lewis Walpole Library, Farmington, CT). She also produced designs for Josiah Wedgwood.

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  • Paul et Virginie depicted in a printed toile fabric. by CARON, [Jean Louis Toussaint, engraver]. CARON, [Jean Louis Toussaint, engraver]. ~ Paul et Virginie depicted in a printed toile fabric. Lyons-la-Fôret (Normandy): Goutan, [first quarter of the nineteenth century]
    A SUPERB RENDERING OF BERNARDIN DE SAINT PIERRE’S TALE OF PAUL ET VIRGINIE ON A FRENCH TOILE FABRIC. The six repeated scenes depict the principal… (more)

    A SUPERB RENDERING OF BERNARDIN DE SAINT PIERRE’S TALE OF PAUL ET VIRGINIE ON A FRENCH TOILE FABRIC. The six repeated scenes depict the principal episodes of the Rousseau-inspired story, set among the exotic vegetation of the Île Maurice (then Île de France, now Mauritius). In the first, a letter from Virginie’s European family is brought to her, in the presence of Paul, their respective mothers and two black servants. In the second, the governor of the isle summons Virginie to order her return to Europe, before the horrified Paul and the supplications of their kneeling servant; in the third she leaves the island by night, borne on a litter by four servants. The fourth depicts the tragic climax of her shipwreck, as she attempts to return to Mauritius. Two small secondary scenes are symbolic of the the young couple’s pure and untainted love — braving the storm together under her apron, and Paul weeping over the body of his beloved.

    First published in 1788, Paul et Virginie was an immense success partly on account of the rich and visual culture it inspired, encompassing prints, games, ceramics and fabrics. Its abolitionist themes also coincideded with other popular fabric patterns, notable a rendition of the Traite des nègres produced around the same time. Several renderings in toile are known, but this example from the Normandy firm of Goutan around the year 1820 is one of the most impressive. The engraver Toussaint Caron (1790-1832), whose name appears as though carved on a rock in this scene, made several other toile designs around the year 1820 as well as engraved prints on paper.

    French toile prints (often referred to generically as ‘Toiles de Jouy’ after the products of the famous factory at Jouy-en-Josas) were one of the great successes of French industrial production, but are often overlooked as examples of popular iconography and of engraved printmaking. This example from Normandy was printed using the mordant technique ― the design printed from large engraved copper plates with an invisible mordant. Once the cloth was dyed, the pink colour adhered only to the mordant-printed areas, being entirely washed away from the remaining blank background. Quand les toiles racontent des histoires. Les Toiles d’ameublement normandes au XIXe siècle [exhibition catakogue] (2007), no. 25.

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  • Nouvelles heures gravées au burin dediées au Roy par N. Duval, secrétaire ordinaire de sa Chambre & M.e ecrivain juré a Paris demeurant à Versailles à la petite Place; ou ils se vendent. by DUVAL, Nicolas. DUVAL, Nicolas. ~ Nouvelles heures gravées au burin dediées au Roy par N. Duval, secrétaire ordinaire de sa Chambre & M.e ecrivain juré a Paris demeurant à Versailles à la petite Place; ou ils se vendent. & à Paris chez N. Langlois, rüe S.t Jacques à la Victoire.... [1691-1701?]
    A SUPERB SMALL-FORMAT EXAMPLE OF THE CALLIGRAPHY OF THE WRITING MASTER DUVAL, rendered with engraved plates, here with fine hand-colouring, probably contemporary. Duval (born in… (more)

    A SUPERB SMALL-FORMAT EXAMPLE OF THE CALLIGRAPHY OF THE WRITING MASTER DUVAL, rendered with engraved plates, here with fine hand-colouring, probably contemporary. Duval (born in 1635) was from a family of master writers. He became secrétaire ordinaire de la Chambre du Roi and lived at Versailles, where he published a series of treatises on administrative writing in the 1670s and 80s, some in partnership with Louis Senault. This Nouvelles heures probably appeared after the death of Senault and is a very scarce variant of one of the several reprints Heures nouvelles en françois dediées au Roy published jointly by Senault and Duval in the 1680s. Bonacini, 561, p. 114

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  • [Album]. by (PARIS SIEGE & COMMUNE). DISDÉRI, André-Adolphe-Eugène. (PARIS SIEGE & COMMUNE). DISDÉRI, André-Adolphe-Eugène. ~ [Album]. [Paris, 1870-1].
    A POWERFUL RECORD OF THE DESTRUCTION IN PARIS during the Paris siege by the Prussians in 1870 and during the brief era of the Paris… (more)

    A POWERFUL RECORD OF THE DESTRUCTION IN PARIS during the Paris siege by the Prussians in 1870 and during the brief era of the Paris Commune and its suppression. The sixty-seven prints show a variety of streets, squares and monuments. Some have captions (within the print) giving locations and Disdéri’s name and they include: Rue de Lille, Place Vendôme, the Tuileries, the Louvre, Rue de Rivoli, Place du Chateau d’Eau, Porte Maillot (chemin de fer de Ceinture), Fort d’Issy, batterie de Chatillon and St Cloud. Two photographs depict the Colonne de Juillet (intact) erected in 1830 to commemorate the 1830 revolution, while two others show the ruins of the Colonne Vendôme, torn down by the Communards in 1871. The three loosely-inserted cabinet photographs are by Émile Robert an include two the same column, with the toppled statue of Napoleon and communards posing nearby.

    Disdéri, best known for his popularisation of the carte de visite phenomenon in France, was prominent among the many contemporary photographers who captured the era. They were widely sold, disseminated and collected in the aftermath of the violence.

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  • L’Entrée de l’empereur Sigismond a Mantoue; gravé en vingt cinq feuillets, d’après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain... by STELLA-BOUZONNET, Antoinette, engraver. STELLA-BOUZONNET, Antoinette, engraver. ~ L’Entrée de l’empereur Sigismond a Mantoue; gravé en vingt cinq feuillets, d’après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain... ‘A Paris au Galleries du Louvre... 1675 et chez Chereau et Joubert rue des Mathurins aux deux piliers dor’. [1787 or soon after].
    A RARE COLLECTION PRINTED FROM THE ORIGINAL PLATES ENGRAVED BY A PRODIGIOUSLY TALENTED FEMALE ENGRAVER. ANTOINETTE [OR ANTONIA] STELLA-BAUZONNET (1641-1676) ‘was the youngest daughter of… (more)

    A RARE COLLECTION PRINTED FROM THE ORIGINAL PLATES ENGRAVED BY A PRODIGIOUSLY TALENTED FEMALE ENGRAVER. ANTOINETTE [OR ANTONIA] STELLA-BAUZONNET (1641-1676) ‘was the youngest daughter of a successful French goldsmith. Despite the restrictions placed on women in art academies at the time, her family’s prominent social status allowed her and her sisters, Françoise and Claudine, to receive private training. Her uncle Jaques Stella, a painter and close friend of Nicolas Poussin, assisted his nieces and nephew in their artwork, inviting them to live in his prestigious lodgings at the Louvre. As the youngest of the children, Antoinette was additionally trained by her older siblings. The family frequently collaborated in painting, engraving, and publishing prints. Remembered for her masterfully executed aquatints and engravings, Stella suffered a tragic fall and died in Paris at the age of 35. One of Stella’s most notable works, The Entrance of the Emperor Sigismond into Mantua, 1675, consists of 33 relief-style engravings on paper depicting crowds of men, women, children, and horses traveling alongside the emperor’ (National Museum of Women in the Arts website).

    Stella-Bouzonnet’s plates were prepared after drawings by her father Antoine Stella at Mantua. They were printed first in 1675 and were later purchased and reprinted by Joubert, with Chereau, in 1787 (and probably for some time after). In this copy their imprint line giving the date of the reprint has been erased. Each of the plates has been closely cut and mounted in a large album c. 1800. It is of a type (and condition) suggesting use as an artist’s model book. Both the 1675 and 1787 editions are rare.

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  • La Petite bibliothèque de la jeunesse. by (MINIATURE BOOKS). (MINIATURE BOOKS). ~ La Petite bibliothèque de la jeunesse. Paris: [Pinard for] Marcilly, [1836]
    Bondy, p. 77; Welsh, 2012, 2788, 5569, 6481, 3312 and 5558. In the US, Worldcat lists the Wightman copy at the Morgan Library and the… (more)

    Bondy, p. 77; Welsh, 2012, 2788, 5569, 6481, 3312 and 5558. In the US, Worldcat lists the Wightman copy at the Morgan Library and the Adomeit copy at Indiana together with a copy at the University of Colorado.

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  • Constantinople. Vue prise de la Tour du Séraskiérat. by [SÉBAH Jean Pascal &; JOAILLIER Policarpe?]. [SÉBAH Jean Pascal &; JOAILLIER Policarpe?]. ~ Constantinople. Vue prise de la Tour du Séraskiérat. [n.p., n.d., but Constantinople/Istanbul, c. 1875-80].
    A RARE PHOTOGRAPHIC PANORAMA OF CONSTANTINOPLE. Taken from the Serasker or Beyazit Tower beside the Ottoman Ministry of War, the 360-degree panorama first looks north-west… (more)

    A RARE PHOTOGRAPHIC PANORAMA OF CONSTANTINOPLE. Taken from the Serasker or Beyazit Tower beside the Ottoman Ministry of War, the 360-degree panorama first looks north-west to the Süleymaniye mosque an across the Golden Horn, and sweeps clockwise) eastwards, taking in Galata, the Grand Bazaar, the Seraglio, Scutari in the distance on the Asian shore, Hagia Sophia, Sultan Ahmet (Blue) and Beyazit mosques, before returning to the square of Ministry of War and an alternate view of Süleymaniye. Though not signed it is similar to the panoramas issues by Sebah and Joallier in the 1870s and 1880s. Constantiople panoramas are more commonly taken from the Galata tower on the northern shore of the Golden Horn, where as this one looks from the southern shore.

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  • Theodore Sedwick. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de. [SAINT-MÉMIN, Charles Balthazar Julien Févret de. ~ Theodore Sedwick. 1801.
    A RARE ‘PHYSIONOTRACE’ PORTRAIT OF THEODORE SEDGWICK (1746–1813), the American attorney, politician, and jurist who served in elected state government and as a delegate to… (more)

    A RARE ‘PHYSIONOTRACE’ PORTRAIT OF THEODORE SEDGWICK (1746–1813), the American attorney, politician, and jurist who served in elected state government and as a delegate to the Continental Congress, a U.S. representative, and a senator from Massachusetts. He served as President pro tempore of the United States Senate from June to December 1798. He also served as the fourth speaker of the United States House of Representatives. He was appointed to the Massachusetts Supreme Judicial Court in 1802 and served there for the rest of his life. He died at Boston and he is buried at Stockbridge. A portrait by Gilbert Stuart of c. 1808 is at the Museum of Fine Arts, Boston.

    Sedgwick studied theology and law at Yale College and though he did not graduate, he continued in his study under attorney Mark Hopkins of Great Barrington. He played a significant role in the abolitionist movement. As a relatively young lawyer, Sedgwick and Tapping Reeve had pleaded the case of Brom and Bett vs. Ashley (1781), an early ‘freedom suit’, in county court for the slaves Elizabeth Freeman (known as Bett) and Brom. Bett (also known as MumBet)was a black slave who had fled from her master, Colonel John Ashley of Sheffield, Massachusetts, because of cruel treatment by his wife. Brom joined her in suing for freedom from the Ashleys. The attorneys challenged their enslavement under the new state constitution of 1780, which held that ‘all men are born free and equal.’ The jury agreed and ruled that Bett and Brom were free. The decision was upheld on appeal by the state Supreme Court. She was the first enslaved African American to file and win a freedom suit in Massachusetts. She marked her freedom by taking the name of Elizabeth Freeman, and chose to work for wages at the Sedgwick household, where she helped rear their several children. She worked there for much of the rest of her life, buying a separate house for her and her daughter after the Sedgwick children were grown. On her death the Sedgwicks buried her at Stockbridge Cemetery in the family plot.

    Before the advent of photography the physionotrace was ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his apparatus a profile cast by a lamp onto a glass plate was traced by an operator using a pointer connected, by a system of levers like a pantograph, to an engraving tool moving over a copper plate. The aquatint and roulette finished engraved intaglio plate, usually circular and small (50 mm), with details of features and costume, could be inked and printed many times’ (Photoconservation.com, sub Printing Processes).

    The miniaturist Saint-Mémin (1770-1852) had emigrated from France in 1793 to Switzerland, where he practised as an engraver. Crossing the Atlantic to Canada and then the United States, he established a portrait business in New York with his compatriot Thomas Bluget de Valdenuit (who initially produced the drawings for Saint-Mémin to engrave). When Valdenuit returned to Paris, Saint-Mémin adopted an itinerant practice all over the East Coast states, working variously at Philadelphia, Richmond, Charleston and Burlington. He too returned to France in 1814, having destroyed his drawing apparatus in a symbolic end to a prolific artistic enterprise which produced more than a thousand different portraits of significant figures in American society, including Washington, Revere and Jefferson.
    fferent portraits of significant figures in American society, including Washington, Revere and Jefferson.

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  • [A book form trinket or pill box. by (BOX). (BOX). ~ [A book form trinket or pill box. France, early nineteenth century].
    A DELIGHTFUL BOOK-FORM BOX, complete with gilt spine bands, gilt borders to the sides, four gilt bosses (one on the upper cover apparently missing) and… (more)

    A DELIGHTFUL BOOK-FORM BOX, complete with gilt spine bands, gilt borders to the sides, four gilt bosses (one on the upper cover apparently missing) and gilt edges. The lid incorporates a mirror and the base a hand coloured print.

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  • The Cruise of the Mary by Smith. by ‘SMITH’ [pseudonym of James O’HARA]. ‘SMITH’ [pseudonym of James O’HARA]. ~ The Cruise of the Mary by Smith. Dublin: Foster & Co, [n.d. c. 1858].
    First edition of a rare lithographed work, pseudonymously issued, but the artist/author James O’Hara is identified in this copy with a contemporary manuscript key. The… (more)

    First edition of a rare lithographed work, pseudonymously issued, but the artist/author James O’Hara is identified in this copy with a contemporary manuscript key. The album is in the form of a graphic narrative recording a yachting cruise from Ireland to Iceland by a group of friends aboard Captain Henry’s Maroquita (a fine two-masted schooner wrecked in Holyhead harbour in 1860). While the initial scenes depict the voyage out (with predictible sea-sickness) most of the images are Icelandic vignettes, with local characters and landmarks. One shows a member of the party photographing geysers with a tripod camera — surely an early record of photography in Iceland.

    The manuscript key identifies the four sailors, ‘Smith, Jones, Robinson and Brown’ as James O’Hara, Captain Sandes, Mr. Lane Fox and Captain Henry, ‘proprietor of the yacht Maroquita’ respectively. The National Library of Ireland copy bears the imprint ‘Wm. Robertson’. WorldCat locates only the copy in the Universitäts- und Stadtbibliothek, Cologne, which has the imprint of Robertson of Sackville Street, Dublin at the foot of the title-page (where ours is blank). There is also a copy in the National Library Ireland (also with Robertson imprint). No copy found in the National Library of Iceland Catalogue.

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  • Autograph letter, signed, to Sir Francis Chantrey. by SCOTT, Sir Walter. SCOTT, Sir Walter. ~ Autograph letter, signed, to Sir Francis Chantrey. 16 May, 1828.
    Sir Walter Scott here makes arrangements for a short sitting with sculptor Sir Francis Chantrey before lunching with Lady Shell[e]y. In 1820 Chantrey had produced… (more)

    Sir Walter Scott here makes arrangements for a short sitting with sculptor Sir Francis Chantrey before lunching with Lady Shell[e]y. In 1820 Chantrey had produced his celebrated bust of Scott. A further marble version was made in 1828, with additional sittings by Scott, as alluded to in this letter. ‘The original bust in plaster was completed in 1820. It is now in the Ashmolean Museum at Oxford University. According to Chantrey’s ledger, five marble replicas were made, the most famous of which is that at Abbotsford. Begun in 1820, the Abbotsford bust was not completed until 1821, when Scott gave Chantrey a number of further sittings in the course of two visits to London. The Abbotsford bust remained in Chantrey’s studio from 1821 until 1828, and all the engravings and medallions representing Chantrey’s bust would appear to derive from it. Chantrey offered the bust as a gift to Lady Scott while visiting Abbotsford in May 1825... A third marble version was made for Chantrey's own studio in 1828, for which Scott gave further sittings, and which shows minor changes in the configuration of the face. This version was purchased by Sir Robert Peel in 1838 and is now in a private collection’ (Oxford DNB).

    Frances Lady Shelley was one of the principal English diarists of the George III period and a close (if not always sympathetic) acquaintance of the Scotts.

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  • Fragment. by [BOOK OF HOURS, [BOOK OF HOURS, ~ Fragment. France, ?Bourges, c. 1450.
    Ex libris James Dearden. Folio Society, Collectors Corner, catalogue 2 (1961), item 66 (£2.10). (more)

    Ex libris James Dearden. Folio Society, Collectors Corner, catalogue 2 (1961), item 66 (£2.10).

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  • A single leaf from an illuminated manuscript. by [BIBLE. [BIBLE. ~ A single leaf from an illuminated manuscript. France (Paris or Avignon), c. 1270].
    A fine fragment from a typical median sized French thirteenth century Bible, with characteristic illumination in a good state of preservation. The text is from… (more)

    A fine fragment from a typical median sized French thirteenth century Bible, with characteristic illumination in a good state of preservation. The text is from Saint Paul’s Epistles 1 Corinthians 15:44 to 2 Corinthians 3:4. Though in a typical Parisian style, the Bible’s origin may actually have been Avignon — it is mentioned in N. R. Ker, Medieval Manuscripts in British Libraries, I, 1969, p, xii, n.2, for its punctus flexus punctuation, distinctive of the Carthusians, and it belonged to the Carthusians of Villeneuve-lès-Avignon. The Bible broken up by the dealer Louis Bondy, c.1961.

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  • The Collected Works... edited with Preface and Notes by William M. Rosetti... by ROSSETTI, Dante Gabriel. ROSSETTI, Dante Gabriel. ~ The Collected Works... edited with Preface and Notes by William M. Rosetti... London: Ellis and Elvey, 1890.
    First published in 1886. (more)

    First published in 1886.

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  • The Life and Letters of Sir John Everett Millais... second edition. by MILLAIS, John Guille. editor. MILLAIS, John Guille. editor. ~ The Life and Letters of Sir John Everett Millais... second edition. London: Methuen & Co, 1900.
    First published the previous year. (more)

    First published the previous year.

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  • De la primitive Institution des roys, heraulds, & poursuivans d’armes, composé par Maistre Iehan le Feron, advocat en la cour de Parlement à Paris. by LE FÉRON, Jean. LE FÉRON, Jean. ~ De la primitive Institution des roys, heraulds, & poursuivans d’armes, composé par Maistre Iehan le Feron, advocat en la cour de Parlement à Paris. Paris: Maurice Ménier, [14 December] 1555.
    First edition of this rare French treatise on the origins, history and functions of a herald. The title bears a woodcut of a herald in… (more)

    First edition of this rare French treatise on the origins, history and functions of a herald. The title bears a woodcut of a herald in a fleur-de-lys tabard, while the arms on the title verso are those of the dedicatee Claude Gouffier and those on the final leaf of author Jean Le Féron (1504-1570) himself. With its Middle Hill boards and pencil markings to the front pastedown this is likely to be from the collection of Sir Thomas Phillips.

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  • Hannah BRECK. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de. [SAINT-MÉMIN, Charles Balthazar Julien Févret de. ~ Hannah BRECK. Philadelphia, 1799].
    A rare ‘physionotrace’ portrait of Hannah Breck (1772-1846, later Mrs James Lloyd). The original charcoal and white chalk drawing from which it was engraved is… (more)

    A rare ‘physionotrace’ portrait of Hannah Breck (1772-1846, later Mrs James Lloyd). The original charcoal and white chalk drawing from which it was engraved is preserved at the Philadelphia Academy of the Fine Arts. Hannah Breck was daughter of statesman Samuel Breck (1747-1809), and sister to Samuel Breck (1771-1862), a congressman from Pennsylvania. She married James Lloyd (1769-1831), a senator from Massachusetts, and is referred to as Anna or Hannah in various sources. Dexter, The St. Memin Collection of Portraits (New York, 1862), 24; Miles, Saint-Mémin and the Neoclassical Profile Portrait in America (Washington, 1994), 83.

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  • ou l’art de combiner l’élégance, la modestie, la simplicité et l’économie dans l’habillement. Avis utiles adressés aux femmes sur la conservation de leur santé et de leur beauté, sir l’agrément des manières et le bon ton dans la Société; par une dame qui a étudié la mode et le bon goût chez les nations les plu civilisées de l’Europe. Traduit de l’anglais. by LE MIROIR DES GRACES LE MIROIR DES GRACES ~ ou l’art de combiner l’élégance, la modestie, la simplicité et l’économie dans l’habillement. Avis utiles adressés aux femmes sur la conservation de leur santé et de leur beauté, sir l’agrément des manières et le bon ton dans la Société; par une dame qui a étudié la mode et le bon goût chez les nations les plu civilisées de l’Europe. Traduit de l’anglais. Paris: [Brasseur aîné for] l’Editeur, Galignani, Delaunay, 1811.
    Sole edition of this rare little handbook of ladies’ fashion and deportment. Advertised as a translation from the English, there is no obvious British analogue,… (more)

    Sole edition of this rare little handbook of ladies’ fashion and deportment. Advertised as a translation from the English, there is no obvious British analogue, though it is an interesting indication of the esteem in which British fashion was held in France at this period. The four plates are especially charming depictions of Austen-era styles. The format is very much that of contemporary almanacs with similar titles, but Le Miroir des Graces appeared only once. WorldCat lists no UK or US copies (copies at BnF, Bayerische Staatsbibliothek and Kunstbibliothek Berlin only).

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  • Album. by (MONOGRAMS and CRESTS). (MONOGRAMS and CRESTS). ~ Album. [British: c. 1850-60].
    A well-presented Victorian monogram album containing over 1600 cut monograms. Many here are private monograms and include a large number of women’s christian names, while… (more)

    A well-presented Victorian monogram album containing over 1600 cut monograms. Many here are private monograms and include a large number of women’s christian names, while there are pages devoted to regiments, naval ships, clubs, associations and Oxford and Cambridge colleges. The presentation is typical, but especially neat and varied, with the cut monograms arranged on decorative pen and watercolour grounds. These are often geometric (circles and other interlocking figures are frequent) but include a gothic window, patriotic flags, mossy borders, anchors and a heraldic garter. Monogram collecting was hugely popular in the mid-nineteenth century and collections like this usually included genuine examples cut from stationery, together with others specially produced by stationery companies capitalising on the fashion. These latter monograms, evidently sold in sets can be quite elaborate, often featuring gold inks and sometimes with amusing and whimsical subjects.

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  • Idylls of the King. by FORTESCUE-BRICKDALE, Eleanor, illustrator. Alfred TENNYSON, Lord. FORTESCUE-BRICKDALE, Eleanor, illustrator. Alfred TENNYSON, Lord. ~ Idylls of the King. London: Hodder & Stoughton, [ 1911].
    Number 184 of 350 copies, signed by the artist. ‘Eleanor Fortescue-Brickdale never married, and from 1903 to 1943 she lived with her sister, Kate, who… (more)

    Number 184 of 350 copies, signed by the artist. ‘Eleanor Fortescue-Brickdale never married, and from 1903 to 1943 she lived with her sister, Kate, who was also unmarried, at 23 Elsham Road, Shepherd's Bush. She travelled often to the continent and was clearly influenced by the fifteenth- and early sixteenth-century art which she saw on visits to Italy. There were further exhibitions of her works at Leighton House in 1904, with a catalogue containing appreciative remarks by George Frederic Watts, and at Dowdeswell’s in 1905 and 1909. She continued her illustrative work, which from about 1905 consisted of both line drawings and watercolours made for reproduction as half-tone colour plates. In 1911 two editions of Tennyson’s Idylls of the King (de luxe and popular) were published with illustrations from her watercolours while the originals were on show in another of her one-woman exhibitions, this time at the Leicester Galleries. From that year she taught in the art school in Kensington founded by Byam Shaw’ (Oxford DNB).

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