manuscripts

An original lease granted by George II to Sir Matthew Decker of lands once part of the royal park of Richmond at Richmond Green, formerly known as the Bakehouse. Sir Charles Hedges (died 1714), Secretary of State to Queen Anne had built a fine house here, which was enlarged by Decker (1679-1749), a wealthy Dutch merchant, who settled in London in 1702, becoming and MP and director of the East India Company. He created a celebrated garden on this land, widely commented on by contemporaries and the site of the first successful cultivation of the pineapple in Britain.

This little pocket book has been densely filled with diary notes by a young girl or young woman, presumably one Flora Keene. She copies out several hymns at the opening, and then completes every day of her diary, with dense and minute notes, now very hard to read, mainly noting family comings and goings. The frontispiece by John Leech entitled ‘Volunteer Movement — Jones & Family go under Canvas’ is a satire on the British volunteer rifle corps, formed in 1859 as a response to public fears of a French invasion. There is also a series of delightful vignettes by Tenniel on Shakespearean quotations.

A singular illuminated manuscript, an echo of the Celtic Twilight, interpreted in Chicago by an Italian-born American poet of considerable notoriety. ‘The Heart-Cry of the Celtic Maid’ had been first printed in Iris’s poetical collection, Lyrics of a Lad, a slim volume published by Chicago’s Ralph Fletcher Seymour Co. in 1914. But it is here given full calligraphic treatment by the illustrator Gordon Ertz, in a unique volume with five full-page miniatures and the other pages with illuminations, the colophon signed by both poet and illustrator, stating it was ‘especially done for “A Delicate Wine Glass” sometimes known as “Covelli” and at others as “Zada”’.

Though the manuscript is both genuine and attractive it soon exposes Iris’s career of deception, plagiarism, forgery and obfuscation, which stretched over the first six decades of the twentieth century. His poem ‘The Heart-Cry’ was approved of in at least one review of Lyrics of a Lad — one Milo Winter (otherwise apparently unknown) called it ‘graceful’ in the Little Review of December 1914 — but others accused Iris of plagiarism, noting the poem’s similarity to the English poet Laurence Hope’s ‘Love Lightly’ (1902). Plagiarism seems to have been the mildest literary crime practised by Iris, whose trademark strategy was to place fictional reviews of his work by famous authors in his publications. Across his career he published a series of collections often containing endorsements or approvals by association by: Ruskin, Swinburne, Gosse, Francis Thompson, Yeats, Eliot, Sarah Bernhardt, Oliver St. John Gogarty, Robert Frost, G. B Shaw and Edith Sitwell. It is probable that none of these figures had ever heard of Sharmel Iris, who remained a persistent if marginal figure in Chicago literary society until his death in 1967. The whole saga has been recounted by Craig Abbot in ‘The Case of Scharmel Iris’, The Papers of the Bibliographical Society of America, vol. 77, no. 1, 1983, pp. 15–34 and more recently in his monograph Forging Fame: The Strange Career of Scharmel Iris (2007).

‘If poets are “liars by profession,” Sharmel Iris was truly professional. Poet, plagiarist, imposter, and forger, Iris engaged in a lifelong campaign of self-promotion that linked him to a constellation of leading writers and public figures, among them T.S. Eliot, Robert Frost, Joyce Kilmer, Ezra Pound, Dame Edith Sitwell, Diego Rivera, Pablo Picasso, Salvador Dali, Winston Churchill, Theodore Roosevelt, Eleanor Roosevelt, William Wrigley, and Woodrow Wilson. “Of poets writing today, there is no greater,” states a preface, signed by W. B. Yeats, to one of Iris’s volumes of poetry―although at the time of publication Yeats had been dead for several years’ (Abbot).

The illuminator Gordon Ertz (b. 1891), while not widely known, was sought after as a magazine illustrator and designer of book covers and jackets.

Unique artist’s book in manuscript. Les Yeux au ciel contains one of the densest concentrations of De Bournazel’s unique symbolism to date, its sixteen pages bearing a plethora of human, animal and hybrid figures (some prominent, others slyly hidden) and a vortex-like mise en page. Like several other works by this artist, it explores the boundary between the conscious and unconscious, and expresses an elastic sense of time and space. Using the unique quality of the successively-turned book page as her primary medium, De Bournazel encourages her ‘readers’ to look forwards, backwards and inwards with cut windows opening unexpected sightlines and pathways through the codex.

A wonderful album of 82 drawings, with many unfamiliar views of the capital before the Regency era of metropolitan improvements — many show green spaces now long vanished, and vistas now entirely obscured. Drawings such as ‘Battersea Bridge from Mill Bank’, ‘Hampstead from Kilburn Lane’ and ‘St Paul’s from Curtis’s Hatch’ show a London of trees, open spaces and gardens punctuated by familiar monuments and windmills, and with outlying districts such as Hampstead as mere villages among woodland. This is London on the brink of industrialisation, the city of Blake (the drawings almost precisely contemporary with his poem London), of Godwin’s Caleb Williams, and the city into which John Keats was born in 1795.

Almost every page contains surprising and unusual views and vantage points. Principal subjects include Kensington Gardens, Millbank (7 drawings), Green Park (1) and Greenwich Park, of which there are several different views across the Thames to Blackwall, Deptford and Plaistow and a fine view of the colonnaded Queen’s House and parts of the Naval College. A group of four small sketches show Westminster Abbey (with St Paul’s in one) from Ranelagh gardens (one dated 29 August 1795), two more are of St Paul’s seen from Peckham and Curtis’s Hatch, and others depict Hampstead (1795), recent terraced housing seen from White Conduit Fields (Islington), and the churches of Pancras, Islington, St George Bloomsbury and Stepney. One small sketch shows Sir Isaac Newton’s Observatory in Leicester Street. There is also a concentration of images of naval operations around Greenwich, suggesting their maker was party to them; they include scenes of victualling ships at Deptford, the launch of the 72-gun ship Dragon at Rotherhithe in 1798, as well as Gravesend and Tilbury downstream on the Thames estuary. One especially intriguing diagram depicts ‘Shorter’s Machine for working ships and vessels’ at Greensland Dock — a mechanical paddling device worked by three or four men at a windlass within the boat (the British inventory and engineer Edward Shorter developed various advances in marine paddles and propellors around the year 1800, but this diagram is of an unfamiliar early variant).
The images, though often small, are very accomplished and topographically precise. Some bear the note that they were made with a perspective gage; one (of Greenwich Hospital from the Ship Tavern) states: ‘Sketched with a perspective gage of my construction, by which the real vanishing point of objects is ascertained with great ease’.
All the drawings are unsigned and with no other discernible identifying marks, but often captioned and dated between 1795-8 (from whence the later title inscription is drawn). They seem to have been pasted into this album around the year 1900 and preserved by descendants of the Giraud family of Faversham, a family which produced the notable flower artist Jane Elizabeth Giraud (1810-1868, artist of three published books including Flowers of Shakspeare and Flowers of Milton). By family tradition the drawings in our album are by Edward Augustus Giraud, born in Faversham in 1771, who joined the Royal Navy at an early age becoming a surgeon. The dates of these drawings coincide with his time in the navy, and he would have been 24 years old when the earliest of them were made. He later became a surgeon at Eythorne, Kent and died in 1827.

This manuscript provides a chronology of English history in the form of a list of ennoblements (’Creations’) made in all the reigns from William the Conqueror to Queen Elizabeth I. It was probably written up in the final years of Elizabeth’s reign, with some small later additions at the end, adding three ennoblements made in 1597-8. Each name in the roll is accompanied by a short paragraph, sometimes with some additional biographical detail, followed by an abbreviated account of their arms, usually in italic script. This follows the pattern of numerous other manuscript lists of creations, some of which are illustrated with coats of arms. In this unillustrated version each device is instead described in the abbreviated technical terms essential for all students of heraldry and such knowledge formed the background of historical knowledge for all educated gentlemen of the Elizabethan age.

At the head of each reign a large title in italic script additionally gives a heraldic description of each monarch’s arms. Henry VII’s, for example are described as ‘Fraunce et Angli’ quaterly / Dragon, volante de ore / Grayhounde de Ar’ collere d’or’. The creations themselves provide a detailed list of the most powerful members of society in every reign. They are especially interesting in the Tudor period, when creations of title provided the background of powerbroking between the court and families rising in influence through patronage and economic success. For Henry VIII’s reign we find, among others, the ennoblement of Thomas Boleyn or ‘Bullen’ (father of Anne Boleyn); Thomas Cromwell; Arthur, illegitimate son of Edward IV, and William Parr (brother of Catherine Parr). For the reign of Edward VI we find, Edward Seymour, 1st Duke of Somerset (brother of Jane Seymour) and William Parr (now as Earl of Essex), and for Elizabeth, Robert Dudley and William Cecil.

Two final completed leaves contain a long note on Richard, Earl of Arundel, a list of ‘The nobilite of Englande accordinge to their Creaciones’ [a list of Elizabethan nobility]

Provenance: Sotheran’s, Catalogue of Ancient and Modern Books, 5 (1852), number 348, 12 shillings; Sir Charles George Young (1795–1869) ex dono T. R. Weeton; John Paul Rylands FSA, 1874; Harry Rylands [1847-1922]; J. Lambarde, 1928; Cecil Humphery Smith; Institute of Heraldic and Genealogical Research, Canterbury.

An attractive leaf, probably from a Book of Hours or Breviary (the verso has the end of Psalm 96 and the antiphon ‘Dignare me laudare te, Virgo sacrata. Da mihi virtutem contra hostes tuos’). The portion of Psalm 98 present reads:

‘Cantate Domino canticum novum, quia mirabilia fecit.
Salvavit sibi dextera ejus, et brachium sanctum ejus.
Notum fecit Dominus salutare suum; in conspectu gentium revelavit justitiam suam.
Recordatus est misericordiæ suæ, et veritatis suæ domui Israël’.

(’O sing unto the Lord a new song; for he hath done marvellous things: his right hand, and his holy arm, hath gotten him the victory.
The Lord hath made known his salvation: his righteousness hath he openly shewed in the sight of the heathen.
He hath remembered his mercy and his truth toward the house of Israel..’. KJV)

An early seventeenth-century heraldic pedigree of the Offley family of Madeley (Staffordshire) with the arms of their prominent dynasty of London guildsmen, which include Henry Offley (d. 1613) who had married Mary, the daughter of Sir John White Lord Mayor of London; and Thomas Offley (1501-1582), a successful wool and cloth merchant — Lord Mayor of London in 1556. Also in the lineage is Stephen Jenyns (1453-1523) another important London Lord Mayor with Wolverhampton origins whose arms are accompanied by an elaborate cartouche noting his mayoralty. An early docket on the verso (legible with ultra-violet light) reads: ‘The Pedigree of Stephen Jenings’.

The youngest member of the Offley family shown is John (b. 1586). He was educated at Middle Temple and married in 1605. He was knighted in April 1615, served as sheriff of Staffordshire in 1616-17 and was a magistrate for the county by 1621. 1625-6 he was MP for Stafford. Another contemporary version of the pedigree is described in the Staffordshire Visitation of 1614:

‘Quarterly — 1. Argent, on a cross fleurettée azure a lion passant-guardant or [OFFLEY]; 2. Azure, a chevron between two eagles displayed in chief and a lion passant in base or [NECHELLS]; 3. Argent, a chevron gules between three plummets sable [JENNINGS]; 4. Azure, a tiger passant or [LANE]. CREST— A demi-lion rampant-guardant or, holding an olive branch vert, fructed gold’ (’Heraldic Visitations of Staffordshire in 1614 and 1663-64’, in History of Staffordshire, 1884).

An antiquary’s heraldic manuscript of the arms of the archbishops of Canterbury from Lanfranc (d. 1089) to Charles Manner-Sutton (installed 1805) copied from a manuscript made for John Whitgift (archbishop 1583-1604) still in the library of Lambeth Palace (MS 555). Much of the heraldry relating to the archbishops of Canterbury is displayed in the church of St Mary-at-Lambeth in London, near to Lambeth Palace the London seat of the archbishops. The manuscript records the arms, together with some etymological explanations of names, and opens with the arms of the See of Canterbury. Included are the arms of Thomas Becket, Stephen Langton, Simon Sudbury, Thomas Cranmer, Reginald Pole, Matthew Parker, John Whitgift, Richard Bancroft and William Laud. It was in the collections of Sir Charles George Young (1795–1869), officer of arms who served in the heraldic office of Garter King of Arms, the senior member of the College of Arms in England, from 1842 until his death in 1869.

Nuit pleine, while characteristic of De Bournazel’s astonishing unique books, also signals new directions. A profound black occupies many of the spaces between the teeming figures inhabiting each page, and on close examination they emerge from this darkness through negative spaces. The pages mirror several of her recent panel paintings where figures are revealed from blackness in the same way. Nuit pleine seems to explore a more contemporary scene than many of her books and among the the hybrid figures we surely find protesters among the crowds with placards, flags and even a cellphone. Angular structures in the puzzle-like backgrounds suggest an urban rather than rural scene, and yet timeless figures of mermaids, jesters and death itself anchor the book in a cyclical timeless continuum.

Diane de Bournazel (b. 1956) creates books as ‘poems without words’ in her unique pen, ink and gouache style, filling each page with mazes of vegetation, mysterious borders, structures and figures, opening windows within pages allowing us to see behind and beyond them, suggesting a series of alternative worlds and narratives. Drawing on the universals of the cosmos, the natural world, of childhood and human relationships each of her books invite careful ‘reading’ and multiple interpretations. Collectors have found the books to speak for themselves, and the artist writes of her work simply as:

‘Poésie sans paroles.
Il s’agit bien de ça.
Mettre en images le monde et l’arrière monde,
Comme un poète mais sans mot dire’.

De Bournazel has recently been the subject of an essay by French medievalist and cultural historian, Michel Pastoureau, entitled ‘Fenêtres sur le rêve’ (2024) written to introduce the artist’s first major Paris exhibition. Following a deep consideration of the artist’s visual world he concludes: ‘The reading of Diane de Bournazel’s work takes a deliberately plural path, as in a fairy tale or a dream. It is obviously this way that she wants to lead us. And herein lies the magic of her art, an art that is both bewitching and bewitched, absolutely original, impossible to photograph and still less describe or explain. Her creations appeal not only to our imagination but to all our senses at once. You have to look at them, listen to them, feel them, breathe them and, ultimately, savour them’.

Fatrasie is a twenty-first century visual interpretation of a rare and highly distinctive medieval poetic form of satirical nonsense verse. In the Fatrasie form, early French rhymers subjugated meaning to the rhythm of repeated sounds and syllables and yet were able to hide piquant criticisms of prevailing power structures within their verses. It is a particularly apt title among Diane de Bournazel’s unique artist’s books, which frequently conceal their narratives and meanings within the artist’s dense iconography.

Diane de Bournazel (b. 1956) creates books as ‘poems without words’ in her unique pen, ink and gouache style, filling each page with mazes of vegetation, mysterious borders, structures and figures, opening windows within pages allowing us to see behind and beyond them, suggesting a series of alternative worlds and narratives. Drawing on the universals of the cosmos, the natural world, of childhood and human relationships each of her books invite careful ‘reading’ and multiple interpretations. Collectors have found the books to speak for themselves, and the artist writes of her work simply as:

‘Poésie sans paroles.
Il s’agit bien de ça.
Mettre en images le monde et l’arrière monde,
Comme un poète mais sans mot dire’.

De Bournazel has recently been the subject of an essay by French medievalist and cultural historian, Michel Pastoureau, entitled ‘Fenêtres sur le rêve’ (2024) written to introduce the artist’s first major Paris exhibition. Following a deep consideration of the artist’s visual world he concludes: ‘The reading of Diane de Bournazel’s work takes a deliberately plural path, as in a fairy tale or a dream. It is obviously this way that she wants to lead us. And herein lies the magic of her art, an art that is both bewitching and bewitched, absolutely original, impossible to photograph and still less describe or explain. Her creations appeal not only to our imagination but to all our senses at once. You have to look at them, listen to them, feel them, breathe them and, ultimately, savour them’.

A unique album written and illustrated by the artist and illustrator W. Graham Robertson for Marion (‘Binkie’), daughter of artist Arthur Melville who had died in 1904. It is one of several (another is in the Ray collection in the Morgan Library, New York) devoted to the young girl who became Robertson’s muse in the years following Melville’s tragic death. It comprises ‘Six Songs of the Day’ and ‘Six Songs of the Dusk’, the typed poems accompanied by his illustrations, usually depicting himself ‘Ba’ and the infant Binkie, and bear titles such as ‘Glad Day’, ‘Sea Pinks’, ‘Sand Castles’, ‘The Nowhere Place’ and ‘The Lady Dream Come True’. The larger watercolours are on Robertson’s Rutland Gate stationery.

A superbly executed manuscript miscellany of short works by the eccentric antiquary and bibliophile Laurent de Crozet (1809-1872). The volume was edited posthumously by his son Amédée de Crozet (1847-1896) and is in the hand of a master scribe, Alphonse Pelletier of Marseille. The choice of contrasting quires of coloured papers aptly reflects some of the author’s curious bibliophilic practices. A prolific author of pamphlets and articles, it was said that he preferred to have each work printed in small editions by different printers, sometimes even ordering different gatherings from different printers. His aim was to make collecting his works as challenging as possible, so that only he and one other ever achieved a complete collection. Notably modest, de Crozet also published anonymously and adopted pseudonyms (such as the ‘Chevalier Apicius à Vindemiis’), a characteristic alluded to in the the author’s portrait (’Auctoris vera effigies’ which mentions a limitation of 50 copies) depicting a man sitting on an immense barrel, his pockets stuffed with pipes and bottles and his head in a book, so that his face is entirely obscured). De Crozet was a major collector of earlier French books (Perrier, Bibliophiles et les collectionneurs provencaux, 1897).

The contents comprise: Volume I: Du Coeur de l’homme selon la Philosophie ancienne; Reflexions; Notes de voyage (Hôtels, Registres des Etrangers; Enseignes; Voyageurs en Suisse, L’Amateur); Sur Cicéron; Lucrèce Borgia; Les Fiancés par Manzoni; Messe en Fa de Chérubin; Cicéron et Lord Byron; De la Décentralisation littéraire; Pensées; Histoire de l’Angleterre par Hume; Considérations sure les premiers siècle de notre histoire; Sur la foi. Volume II: De la Recherche des plaisirs’ De la Connaissance de Dieu; De l’Esclavage en Turquie; Memoires d’un Président de Conférences; Réponse de Mr. Casimir Bousquet; Notes sur Haitze’ Rapport; Notes bibliographiqes.

A delightful, accomplished and idsiosyncratic illuminated manuscript in neo-gothic style by a French woman, one Sophie Mallet, probably as a wedding gift for a female friend or relation: Jeanne or ‘JMN’. The texts include familiar words of advice for a young wife, scriptural and otherwise, while a section titled ‘Vie du monde’ includes personal and original advice addressed to ‘ma Jeanne’. Among the texts are: ‘Qui trouvera une femme forte?...’ (Proverbs 31 [incorrectly given as Ecclesiasticus here], ‘Who can find a virtuous woman? for her price is far above rubies’); ‘Bienheureux les pauvres d’esprit...’ (Matthew 5, Blessed are the poor in spirit, for theirs is the kingdom of heaven); ‘Faites comme les petits enfants qui de l’une des mains se tiennent à leur père’ (St Francis of Assisi, ‘Suffer Little Children to Come Unto Me’), and there are excerpts from the Imitation of Christ and from St Bernard.

The real pleasure of the manuscript lies in its illumination, expertly done with unusual and quirky details. The borders include numerous recognisable birds, insects and flowers rendered in impressive detail. Colours are applied very skilfully as are metallic highlights, including burnished and liquid gold, often on raised or otherwise textured grounds. Best of all is the colophon or tailpiece, which includes an entwined pair of longtailed dragons looking more like dinosaurs than medieval beasts.

A spectacular and unique interpretation of Baudelaire by Neville Lytton including twenty original watercolours with illuminated borders. Each of Lytton’s images is in the visionary tradition ―most have an otherworldly quality, and some border on Surrealism.The twenty poems comprise: Le Calumet de la Paix - Bohémiens en voyage - La Géante - Le Cygne - La Beauté - L’Idéal - La Vie antérieure - Sisina - Un Voyage à Cythère - XVIII - A une Passante - L’Albatros - L’Ennemi - Bien loin d’ici - Une gravure fantastique - L’Amour et le Crâne - La Cloche fêlée - Le Voyage - Le Balcon - Les Bijoux.
Most of the poems are given in two calligraphic versions, one probably written with a steel nib, the other with an oblique nib, perhaps a quill-pen. Three poems appear in only one version: La Cloche fêlée in steel nib version only and Le Balcon and Les Bijoux only in quill pen.
Neville Bulwer-Lytton (1879-1951) was grandson of the novelists Edward Bulwer-Lytton and Rosina Doyle Wheeler and his siblings included the suffragette Constance Lytton and Emily Lutyens. He was a man of many parts: a military officer, cricketer, Olympic athlete and artist ― educated at Eton and the École des Beaux-Arts. He was also an accomplished morris dancer and played an ivory flute.
Among several notable portraits, he painted George Bernard Shaw in papal robes (in imitation of Velazquez) and a series of fashionable women in sumptuous velvets and silks, but he is best known for the series of First World War frescoes for the Victory Hall at Balcombe, Sussex. Throughout his career he also painted watercolour miniatures, intensely detailed with a distinctive coloration ― a style entirely suitable for these Baudelaire illustrations. His first wife was Judith Blunt, daughter of Wilfrid Scawen Blunt (divorced in 1923), and he was an important member of circles of artists and connoisseurs around the turn of the 20th century. He was friendly with Sydney Cockerell, spent weekend with the Churchills, and Eddie Marsh claimed that it was meeting Lytton that inspired his love of collecting. In 1924 Lytton married Rosa Alexandrine (Sandra) Fortel of St Rambert-en-Bugey, near Lyon and settled in France, asborbing himself deeply in French artistic culture. He wrote: ‘‘I love France because I am an artist, and in this glorious country artists are considered to be sacred --- to them gratitude is shown for the renouncing of material wealth and worldly values and the adoption of a life of struggle which as a rule is only understood by a small number of contemporaries’ (‘Reasons why I love France’ in Life in Occupied France, 1942).

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 its supersized hair-carrying birds dwarfing diminutive dancers this is an inadvertently unsettling piece of Victorian naïve art.

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.�

This attractive fragment includes the opening of the prayer to the Virgin ‘O intemerata’ (O Immaculate), commonly included (with the ‘Oscecro te’) in a medieval Book of Hours. Folio Society, Collectors Corner (n.d, ?1960) £2.

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

An attractive single leaf from a Book of Hours including, as an antiphon, the opening verses of Psalm 95, ‘Cantate Domino cantico novum; cantate Domino omnis terra’ (O sing unto the Lord a new song). Ex libris James Dearden. Folio Society Collector’s Corner, catalogue 9 (1962), item 173 (£3)