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  • Moeurs et coutumes des Corses: Mémoire tiré en partie d’un grand ouvrage sur la politique, la législation et la morale des diverses nations de l’Europe. by [FEYDEL, Gabriel Victor]. [FEYDEL, Gabriel Victor]. ~ Moeurs et coutumes des Corses: Mémoire tiré en partie d’un grand ouvrage sur la politique, la législation et la morale des diverses nations de l’Europe. Paris: chez Garnery, [1798].
    First editions of two rare reports to the Directoire by a French journalist who lost his living after the Revolution and who joined a diplomatic… (more)

    First editions of two rare reports to the Directoire by a French journalist who lost his living after the Revolution and who joined a diplomatic mission to Constantinople ― before being captured by the English fleet and imprisoned for four years in Corsica. Moeurs et coutumes des Corses is a highly critical account of the Corsicans and their culture is inscribed to the author’s wife and daughter, who shared his island captivity. Feydel berates the insular character of his captors and the ‘maux affreux et presque désespérés de la nation corse’ whose only hope of salvation could be through lois simples et savantes qu’il tiendra de la force et de la sollicitude’. The frontispiece depicts Corsican brigands in characteristic capes and hoods. Moeurs et coutumes des Corses was reprinted [without the plate] in 1802. The second work is bracingly anti-British and describes England as ‘dernier ennemi de la France’.

    Carmine Starace, Bibliografia della Corsica 8300. Outside Europe, Worldcat locates the Yale copy only of Moeurs and no copies of De notre situation.

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  • The adventures of Telemachus, the son of Ulysses. By the Archbishop of Cambray. Translated into English by Mr. des Maizeaux, F.R.S. by FÉNELON, François de Salignac de La Mothe. FÉNELON, François de Salignac de La Mothe. ~ The adventures of Telemachus, the son of Ulysses. By the Archbishop of Cambray. Translated into English by Mr. des Maizeaux, F.R.S. Rouen: printed for JJ. Besongne, Book-Seller, in Grosse Horloge’s street And Paris, for Durand nephew, Galande street, 1781.
    A very rare Rouen edition in English of Avantures de Télémaque, apparently a direct piracy of the London seventh edition by Rivington, Johnson, Newbery et… (more)

    A very rare Rouen edition in English of Avantures de Télémaque, apparently a direct piracy of the London seventh edition by Rivington, Johnson, Newbery et al, with the same pagination and complete with the ’Discourse of epic Poetry’ by Andrew Ramsay. While the pagination is identical this is almost certainly French typography, with characteristic fleurons. Jean-Jacques Besongne is an interesting figure, from a long-established family of Rouen printers, but who was to go bankrupt later in 1784 and move to Paris where he published several polemics on the freedom of the press. A letter survives from him to Benjamin Franklin (9 March 1780) asking his assistance in liquidating his entire stock to form a French library in America. It is not known if Franklin responded. There are two issues of this edition, one giving Besogne’s name only in the imprint (ESTC T153158, copies at BL and Bayerische Staatsbibliothek only) and this one (ESTC N54940, copy at University of Florida only).

    This copy contains the twentieth-century bookplate of the wartime Swedish consul in Majorca, Carl Fryberg and an additional inscription from his wife Signe to the acting British consul Ivan Lake dated 1943. At some point (it is impossible to say when) a corner of page 281 has been turned down marking the text ‘Alas! cried Telemachus, lo! the evils which war draws after it! How blind a fury possesses wretched mortals! They have but a few days to live on the earth, and those are days of sorrow; why then will they quicken the pace of death which is already so near? Why will they add so many shocking evils to the bitterness with which the Gods have crowed their span of life! Men are all brothers, and yet they tear each other in pieces...’

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  • With decoupage scrapwork and hair). by (MEMORIAL DIORAMA. (MEMORIAL DIORAMA. ~ With decoupage scrapwork and hair). [England, probably 1880s].
    A striking and moving memorial to a young boy, a vision of a child’s paradise with chromolithograph scrapbook cuttings of birds, horses, children, dancers, flowers… (more)

    A striking and moving memorial to a young boy, a vision of a child’s paradise with chromolithograph scrapbook cuttings of birds, horses, children, dancers, flowers and foliage, together with cuttings of hair (some woven). It combines two popular Victorian domestic crafts of hair art and scrapbooking, within an accomplished (but probably also domestic) wooden frame in the gothic style. With it supersized hair-carrying birds dwarfing diminutive dancers this is an inadvertently unsettling piece of Victorian naïve art.

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  • Il Cortegiano, or the Courtier: written by Conte Baldassar Castiglione. And a new Version of the same into English. Together with several of his celebrated Pieces, as well Latin as Italian, both in Prose and Verse. To which is prefix’d, the Life of the Author. By A. P. Castiglione, of the same Family. by CASTIGLIONE, Baldassare. CASTIGLIONE, Baldassare. ~ Il Cortegiano, or the Courtier: written by Conte Baldassar Castiglione. And a new Version of the same into English. Together with several of his celebrated Pieces, as well Latin as Italian, both in Prose and Verse. To which is prefix’d, the Life of the Author. By A. P. Castiglione, of the same Family. London: W. Bowyer, for the editor, 1727.
    First edition of this parallel text edition, which is the third edition in English, after Hoby’s translation of 1561 and Samber’s of 1724. For a… (more)

    First edition of this parallel text edition, which is the third edition in English, after Hoby’s translation of 1561 and Samber’s of 1724. For a translator of such a substantial text, very little attention has been paid to the identity of ‘A.P. Castiglione’ and not much is known about him. He appears to have been a political refugee and a language tutor, to judge by the wording of his dedication to the King: ‘Your Majesty’s happy Realm, which has long been an Asylum to the distressed in every Nation, will now become so much their Countrey, that the Peace they enjoy in it, can alone incline them to think it not so. When your gracious Intention to establish Professors of the Modern Languages was made public I embrac’d with Pleasure the first Opportunity for expressing my Gratitude towards a generous People, among whom, as at first I was brought by Conscience, I am likely ever to remain by Inclination.’

    He evidently enjoyed the patronage of Edmund Gibson, Bishop of London, who is thanked in ‘To the Reader’ and who appears among the subscribers (taking 12 copies). The fine engraved portrait of Castiglione in his edition is by George Vertue after the portrait in the Louvre by Raphael. The work concludes with a fine woodcut tailpiece with a medallion portrait., perhaps cut especially for this edition.

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  • (TRANSPORTATION ACT). ~ An Act for the effectual Transportation of Felons and other Offenders; and to authorize the Removal of Prisoners in certain Cases; and for other Purposes therein mentioned. London: printed by Charles Eyre and William Strahan, 1784.
    First edition. To relieve prison overcrowding, Lord Sydney favoured finding an alternative place of transportation, rather than the penitentiaries advocated by the prominent social reformer,… (more)

    First edition. To relieve prison overcrowding, Lord Sydney favoured finding an alternative place of transportation, rather than the penitentiaries advocated by the prominent social reformer, Jeremy Bentham. In 1784, he sponsored the Transportation Act. Though New South Wales is not mentioned as a destination, it was favoured by Sydney after consulting the testimonies of both Joseph Banks and the mariner Joseph Matra. Initially ruled out on the grounds of its extreme remoteness, in 1786 the British cabinet came to accept Sydney’s recommendation that convicts be transported there. The Act has come to be regarded as the primary document for the British settlement of Australia.

    Though separately published with a general title for a complete sitting of Parliament, individual Acts of Parliament were paginated to be bound together in yearly volumes hence the pagination 907-919 here. ESTC N58442 (Lincoln’s Inn and State Library of New South Wales only though copies are under-recorded since they are often catalogued within volumes and sets of the Acts of Parliament.); Ferguson, Bibliography of Australia 3.

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  • (COOKERY). ~ Mrs Barber’s Receipts. [England, c. 1815 perhaps begun shortly before].
    An extensive cookery and domestic and medical receipt book once bound as a notebook, now loose but substantially complete with circa 120 complete recipes in… (more)

    An extensive cookery and domestic and medical receipt book once bound as a notebook, now loose but substantially complete with circa 120 complete recipes in several hands. Though mostly undated, two entries later in the collection are recipes copied from magazines of 1815. It is not possible to identify the owner of compiler, Mrs Barber, and the entries include a wide variety of regional and local recipes making it almost impossible to suggest a region of origin — though Dorsteshire and Somersetshire are both referred to.

    A Receipt for Blacking; To make a Cake with Custard; To preserve Damsons; To pickle Pork; To make a Cake; To make White sauce for Fowls; Plum Cake; Treacle Beer; Rice Cheesecakes; To lake Muffins; Mrs. Gilks’s receipt to make a Cake; To make a green Ointment; Yellow Pickle; Currant Wine; Apricot Jam; For a Cough; To make a Mead; To make Raisin Wine; To pickle Salmon; A common Rice pudding; To make little Cakes; To make Breakfast Cakes; To make Snail Milk; For a scald or Burn; Shrub; Ratafia; Goldbold’s Vegatable Balsom; To make Nankeen Dye; Friend Day’s Receipt to make Parsnip Wine; Nitrous Fever mixture; Milk of Roses; Fine Sope; Gargle for a Sore Throat; Hiera Piera; A Plaister to be worn for pain restraint; Daffy’s Elixir; Stoughtons Elixir; For the Piles; Bread Pudding; Blanc Mange; Cure for Cancers; Yellow Pickle; To make Macceroons; To make Rattifies; Shrewsbury Cakes; Mint Drops; For a Violent Lax; M. Smith’s way to make Ginger Wine; S. Cash’s way to make Cowslip wine; Directions and outward Applications for all Wounds without Inflamations; Application for Swellings that are likely to break and come to a Wound; For a Cough; Nurse Jones’s Receipt for the Rheumatism; To make Potatoe Cheesecakes; To make Vinegar; To make Raspberry Jam; To make Banbury Cakes; Mr. Bickmore’s receipt for light batter puddings; Currant Wine; Another Way; To Keep Damsons; Chese of Damsons; Receipt for the Jaunders; ED receipt for the ague; Plumb Cake; Cousin Crabbs way to make Ginger Wine; To make a sere cloth plaster; To make Gingerbread; To make a Melbet Pudding; Susanna Barrats way to make Walnut Ketshup; To make Elder Ointment; To make Lime water; A Receipt for the Rheumatic Complaint; Pound Cake; To make Yorkshire tea cakes; For a cough; To make Oat or Hava Cakes; [?] Tutty’s reciept for a Cake; N. Taylor’s reciept for minced pyes; Rev’d Bishops Biscuits; Cousin Townsends receipt for British Madeira; To clean Stoves; Another way to clean Stoves; To make wash Ball; Cheap and Excellent Custards; To make Sprats taste like Anchovies; Black Currant Wine; Soft Cheese; M. Garrards Ginger bread Cakes; Fr. Ransomes Cake; To Pickle Walnuts; The manner of cureing the Bread-bag in Dorsetshire for making Cheese; Somersetshire Frumity; A method of preserving Cream; To prevent milk & Butter from tasting of Turnips; To make a Cake Fr. Moore’s way; To boil Coals in milk for Rheumatism; Preservative from Moths in Books & Clothes; Aromatic Vinegar; [4pp. on the treatment of coughs]; Doctor Badeleys first prescription for [?S or L. Martin] aged 15 supposing the fits were occasioned by indigestion. 16pp. Dell’s prescription for M Matthew’s Shortage of breath; For [illegible] or other weaknesses; November’s magazine,1815 From the practice of J. Want late Surgeon to the North London Despensary 11 North Crescent Bedford Square [followed by a disqusition on the symptoms and treatment of epilepsy and coughs, and the possible significance of variations in weather, prompted by Want’s Monthly Report of Diseases in N.W. London: from November 24 to December 24, 1815, in The Monthly Magazine, No. 277]; For Infectious Fevers Fumigation; Good Family Pills; An excellent Fever mixture; To ease a cough; To Polish Horns; For a weak Stomach; To make Calomel Ointment; A Receipt for the Scurvy; For the Rhumatism; Huxhams Tincture of Bark, 2 separate leaves and 4pp., probably formerly part of (ii). Leaf 1: Duke of Buckinghams Pudding; Duke of Cumberlands Pudding; Red Currant Wine as made in 1818; Potatoe Pudding; Elder Rob. Leaf 2: Monthly Report for October 1816 From August 24 to Sept 24; Eye Water. 4 pp: [3pp. (partial) treatment instructions]; Ginger Beer from the Monthly Magazine.�

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  • Lettres, memoires & negociations particulières du chevalier d’Éon, Ministre Plénipotentiaire de France aupres du Roi de la Grande Bretagne; Avec M. M. les Ducs de Praslin, de Nivernois, de Sainte-Foy, & Regnier de Guerchy Ambassadeur Extraordinaire, &c. &c. &c. by EON DE BEAUMONT, [Charles Geneviève Louis Auguste André Timothée] chevalier d’. EON DE BEAUMONT, [Charles Geneviève Louis Auguste André Timothée] chevalier d’. ~ Lettres, memoires & negociations particulières du chevalier d’Éon, Ministre Plénipotentiaire de France aupres du Roi de la Grande Bretagne; Avec M. M. les Ducs de Praslin, de Nivernois, de Sainte-Foy, & Regnier de Guerchy Ambassadeur Extraordinaire, &c. &c. &c. ‘A la Haye imprime chez H. Scheurler, F.Z. aux Dépens du Corps Diplomatique & se vend a Francfort chez les Frères Van Dures, a Londres chez Jaques Dixwell, dans la Ruë St. Martin’, 1764.
    Two rare works, probably both London-printed, by the Chevalier D’Eon — the French diplomat recognised as one of the first openly transgender figures in European… (more)

    Two rare works, probably both London-printed, by the Chevalier D’Eon — the French diplomat recognised as one of the first openly transgender figures in European print. The Lettres appear here in their second edition, identical to (and swiftly following) the first, but with a new preface, while the Dernières Lettres is in its rare first edition (at least one more followed).
    Following a successful military career d’Eon served Louis XV in English diplomacy and espionage from 1762, gathering defence intelligence for a projected French invasion. Living lavishly in London he alarmed the French government, who stopped his pension and sought to recall him to France. He became embroiled in a bitter row with his compatriot Claude Louis François Régnier de Guerchy (1715–1767), who he saw as an interloper on his diplomatic patch. ‘From October 1763 the dispute took a spectacular turn as d’Eon published allegations that Guerchy had tried to poison him. In March 1764, he went further still and published a selection of his diplomatic papers, which heaped ridicule on Guerchy and his allies in France’ (the present Lettres discussed by Burrows, A King’s Ransom). The dispute was an embarrassment to the French, not least because d’Eon successfully brought the matter to the English courts and because it drew attention to the chevalier’s increasingly complex personal life. It was in the wake of this affair that the chevalier went into hiding in Byfleet (Surrey), spending a year disguised as a woman and going by the name of Madame Duval. This trans experiment initiated the period in which, D’Eon lived partly as a woman and became a celebrated figure in London society.

    The Dernière lettre is a superb piece of propaganda issued on d’Eon’s behalf appearing after the comte de Guerchy’s death in 1767 and reproducing the last letter sent to him by d’Eon recounting the facts of the poisoning case together with extensive translations from English legal records of the law case as it worked its way, very publicly, through the courts.

    This copy is from the library of politician John Baker Holroyd, 1st Baron Sheffield (1735-1821, friend of Edward Gibbon). ESTC lists only the BL and UL copies of the ‘La Haye’ second edition of Lettres (and notes a separate large paper issue in a handful of copies) and the BL, Harvard and Czartoryski Library (Cracow) copies of Dernière Lettre only.

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  • English Sea Side Cottages photographed by Albert Levy at Hastings, Margate, Birchington, etc. by LÉVY, Albert. LÉVY, Albert. ~ English Sea Side Cottages photographed by Albert Levy at Hastings, Margate, Birchington, etc. [Paris], 1902.
    A superb survey of turn-of-the century British domestic architecture by an important French photographer who used cyanotype to notable effect. These examples of seaside ‘cottages’… (more)

    A superb survey of turn-of-the century British domestic architecture by an important French photographer who used cyanotype to notable effect. These examples of seaside ‘cottages’ in East Kent and Sussex depicts an array of then recently constructed high quality houses, a good number of which survive. Broadly within the Arts and Crafts tradition, the houses fuse a variety of older English vernacular styles with modern innovations, notably in the range of moulded and cut bricks and tiles.

    Albert Lévy (1847-1931) was both a pioneering and prolific architectural photographer, unusual for his time in working on both sides of the Atlantic, with studios in Paris and New York. Characteristically, his collections were issued as cyanotypes printed directly from the original glass negatives. His collections included numerous sequences of French, British and American buildings of the Gilded Age, but are now very rare indeed. Jisc locates no UK copies. FirstSearch locates US copies at Columbia, Princeton and Lawrence Technological University only.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘A Winter’s Tale’, Act IV, scene 3:

    ‘the fairest
    flowers o' the season
    Are our… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘A Winter’s Tale’, Act IV, scene 3:

    ‘the fairest
    flowers o' the season
    Are our Carnations and streak’d Gillyflowers’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘As you like it’, Act II, Scene 7:

    ‘Heigh-ho! sing heigh-ho! unto the… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘As you like it’, Act II, Scene 7:

    ‘Heigh-ho! sing heigh-ho! unto the green holly.
    Most friendship is feigning, most loving mere folly.
    Then, heigh-ho, the holly!
    This life is most jolly’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Richard III’, Act IV, scene 3:

    ‘Their lips were four red roses on… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Richard III’, Act IV, scene 3:

    ‘Their lips were four red roses on a stalk,
    Which in their summer beauty kiss’d each other’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Henry V’, Act I, scene 1:

    ‘The Strawberry grows underneath the Nettle
    And wholesome… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Henry V’, Act I, scene 1:

    ‘The Strawberry grows underneath the Nettle
    And wholesome berries thrive and ripen best
    Neighbour’d by fruit of baser quality:
    And so the prince obscured his contemplation
    Under the veil of wildness; which, no doubt,
    Grew like the Summer-Grass, fastest by night,
    Unseen, yet crescive in his faculty’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Henry V’, Act V, scene 2:

    ‘The even mead, that erst brought sweetly… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Henry V’, Act V, scene 2:

    ‘The even mead, that erst brought sweetly forth
    The freckled Cowslip, Burnet and green Clover,
    Wanting the scythe, all uncorrected, rank,
    Conceives by idleness and nothing teems
    But hateful Docks, rough Thistles, Kecksies, Burs,
    Losing both beauty and utility’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Hamlet’, Act IV, scene 7:

    ‘There is a Willow grows aslant a brook,
    That… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Hamlet’, Act IV, scene 7:

    ‘There is a Willow grows aslant a brook,
    That shows his hoar leaves in the glassy stream;
    There with fantastic garlands did she come
    Of Crow-flowers, Nettles, Daisies, and Long purples’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Primroses illustrating ‘Twelfth Night’, Act 3, scene 1:

    ‘Cesario, by the Roses of the… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Primroses illustrating ‘Twelfth Night’, Act 3, scene 1:

    ‘Cesario, by the Roses of the Spring,
    By maidenhood, honour, truth and every thing,
    I love thee so, that, maugre all thy pride,
    Nor wit nor reason can my passion hide’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph, from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Twelfth Night’, Act I, scene 1:

    ‘That strain again! it had a dying… (more)

    An original hand-coloured lithograph, from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Twelfth Night’, Act I, scene 1:

    ‘That strain again! it had a dying fall:
    O, it came o’er my ear like the sweet sound,
    That breathes upon a bank of Violets,
    Stealing and giving odour!’

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Titus Andronicus’ Act II, Scene 3:

    ‘The trees, though summer, yet forlorn and… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Titus Andronicus’ Act II, Scene 3:

    ‘The trees, though summer, yet forlorn and lean,
    O’ercome with Moss and baleful Mistletoe...
    But straight they told me they would bind me here
    Unto the body of a dismal Yew,
    And leave me to this miserable death’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating Ophelia’s ‘mad speech’ in Hamlet:

    ‘There’s Rosemary, that’s for remembrance. Pray you, love,
    remember.… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating Ophelia’s ‘mad speech’ in Hamlet:

    ‘There’s Rosemary, that’s for remembrance. Pray you, love,
    remember. And there is Pansies, that’s for thoughts.
    ... There’s Fennel for you, and Columbines. There’s Rue for you,
    and here’s some for me. We may call it herb of grace o’ Sundays.
    O, you must wear your Rue with a difference! There’s a Daisy. I
    would give you some Violets, but they wither’d all when my father
    died’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph, the title-page from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating roses, honeysuckle and thistles with the quotation:

    ‘And this our life,… (more)

    An original hand-coloured lithograph, the title-page from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating roses, honeysuckle and thistles with the quotation:

    ‘And this our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in everything’ (’As You Like It’, Act II, scene 1, the Duke in the Forest of Arden).

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘The Winter’s Tale’:

    ‘Daffodils,
    That come before the swallow dares, and take
    The winds of… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘The Winter’s Tale’:

    ‘Daffodils,
    That come before the swallow dares, and take
    The winds of March with beauty; Violets dim,
    But sweeter than the lids of Juno's eyes
    Or Cytherea’s breath; pale Primeroses...
    ... bold oxlips and
    The Crown Imperial; lilies of all kinds,
    The Flower-de-luce being one’.

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