manuscripts

Criteria:
  • Keywords = manuscripts
  • Painted and calligraphic arms. by (HERALDRY). (HERALDRY). ~ Painted and calligraphic arms. [Britain, c. 1800-1950].
    An attractive miscellaneous collection of painted arms, some perhaps dating from soon after 1800, some from the later nineteenth century and some from the twentieth.… (more)

    An attractive miscellaneous collection of painted arms, some perhaps dating from soon after 1800, some from the later nineteenth century and some from the twentieth. They provide an interesting overview of the arts of the heraldic miniature painter and calligrapher. Two good examples come direct from the College of Arms (both dated 1907), one of the larger pieces (315 × 255 mm) bears the arms of Thomas James Summers and is signed on the back ‘Painted by J. Eedes. 63 Great Titchfield St. Oxford St and a fine painting on vellum is marked in contemporary manuscript on the back ‘Painted by Peters & Sons Coachmakers London November 11 1858’. Some, including a couple bearing royal arms have evidently been cut from the original grants of arms.

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  • [Illuminated manuscript. by [MALLET, Sophie]. [MALLET, Sophie]. ~ [Illuminated manuscript. France, 1875].
    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… (more)

    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.

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  • Vingt poèmes de Charles Baudelaire illustrés par Neville Lytton. by (BAUDELAIRE). BULWER-LYTTON, Neville. (BAUDELAIRE). BULWER-LYTTON, Neville. ~ Vingt poèmes de Charles Baudelaire illustrés par Neville Lytton. [France], 1934.
    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… (more)

    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).

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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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  • (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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  • A single leaf from a printed Book of Hours, by [BOOK OF HOURS. [BOOK OF HOURS. ~ A single leaf from a printed Book of Hours, Paris, c. 1500-10].
    An attractive illuminated leaf in gothic type. The text is a portion of the Office of the Dead from a Book of Hours and opens… (more)

    An attractive illuminated leaf in gothic type. The text is a portion of the Office of the Dead from a Book of Hours and opens with the prayer or chant: ‘Ne recorderis peccata mea domine. Dum veneris iudicare saeculum per ignem’ (Remember not my sins, oh Lord. When thou shall come to judge the world by fire).
    Ex libris James Dearden. Folio Society Collector’s Corner. Catalogue 7 (1962), item 135, illustrated (£3.10).

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  • A single leaf from a decorated manuscript. by [BOOK OF HOURS. [BOOK OF HOURS. ~ A single leaf from a decorated manuscript. Northern France, c. 1500].
    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… (more)

    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.

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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 leaf from a decorated manuscript. by [BOOK OF HOURS. [BOOK OF HOURS. ~ A leaf from a decorated manuscript. France, c. 1475].
    The verso includes the first part of Psalm 42, ‘Quem admodum desiderat cervus ad fontes aquarum’ (Like as the hart desireth the water). Ex libris… (more)

    The verso includes the first part of Psalm 42, ‘Quem admodum desiderat cervus ad fontes aquarum’ (Like as the hart desireth the water). Ex libris James Dearden. Folio Society Collector’s Corner, catalogue 11 (1962) item 190 (£4).

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  • A single leaf from a decorated manuscript. by [BOOK OF HOURS. [BOOK OF HOURS. ~ A single leaf from a decorated manuscript. France, mid-fifteenth century].
    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… (more)

    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)

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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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  • [Notes for a speech on the slave trade]. by (SLAVERY). [BARANTE, Amable-Guillaume-Prosper BRUGIÈRE, Baron de.] (SLAVERY). [BARANTE, Amable-Guillaume-Prosper BRUGIÈRE, Baron de.] ~ [Notes for a speech on the slave trade]. [France, c. 1826].
    Slavery in France was abolished during the Revolution, but was reintroduced by Napoleon in 1804 and not finally abolished until 1838. In April 1826 Charles… (more)

    Slavery in France was abolished during the Revolution, but was reintroduced by Napoleon in 1804 and not finally abolished until 1838. In April 1826 Charles X had signed a treaty formally recognising the independence of Saint-Domingue (Haiti) and it seems likely that these notes were written for a speech given shortly after that date. Barante notes that some viewed the treaty as an act of submission, but he states that the king and the negotiators who signed the treaty had ‘une horreur sincère pour cet infame trafic’ and that the loss of the colony was no threat to France. In the light of the treaty, Barante believes that this was a favourable moment to advance the cause of abolition. Towards the end he refers to the famous saying of Robespierre: ‘Périssent les colonies plutôt qu’un principe’ (though he simply writes ‘périsse les colonies...’ here) but he goes on ‘ces paroles sont atroces — le premier de tous les principes est l’horreur du crime... Cependant ce principe auquel on faisait des sacrifices humains était un principe et de cruauté’. For Barante therefore the fight against the injustice and cruelty of the slave trade is of the highest importance, and these eight pages clearly reveal his humanity and support for the cause of abolition.
    Prosper de Barante (1782-1866), a prominent liberal voice in nineteenth-century France was variously a diplomat, politician, statesman, historian and writer. From 1807-9 he was a ‘sous préfet’ in the department of Ardèche, and from 1813-15 prefect of Loire-Inférieure at Nantes. He made several diplomatic visits to Spain and Poland and was a close friend of liberal thinker Benjamin Constant. He was also a member of the Coppet group in the circle of Madame de Staël.

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  • La Déclaration de droits. by [BARANTE, Amable-Guillaume-Prosper BRUGIÈRE, Baron de.] [BARANTE, Amable-Guillaume-Prosper BRUGIÈRE, Baron de.] ~ La Déclaration de droits. [France, c. 1850].
    It deals with the various attempts to frame legislation on human rights from the English Bill of Rights of 1688, the Rights of Man in… (more)

    It deals with the various attempts to frame legislation on human rights from the English Bill of Rights of 1688, the Rights of Man in the American Revolution, the French Revolution, to his own time. He examines each and discusses the difficulties of framing a Declaration of the Rights of Man. This manuscript was evidently the basis of his essay ‘Déclarations des droits de l’homme et du citoyen’ published in Études littéraires et historiques (1858).

    Prosper de Barante (1782-1866) a prominent liberal voice in nineteenth-century France was variously a diplomat, politician, statesman, historian and writer. From 1807-9 he was a ‘sous préfet’ in the department of Ardèche, and from 1813-15 prefect of Loire-Inférieure at Nantes. He made several diplomatic visits to Spain and Poland and was a close friend of liberal thinker Benjamin Constant. He was also a member of the Coppet group in the circle of Madame de Staël.

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  • The Seven Deadly Sins... illustrated in Mediaeval Manner by Phillys [sic] Vere Campbell. by BOWEN, Marjorie. BOWEN, Marjorie. ~ The Seven Deadly Sins... illustrated in Mediaeval Manner by Phillys [sic] Vere Campbell. 1950.
    A rather extraordinary faithful manuscript copy of Marjory Bowen’s set of seven strange satirical tales originally published in the Pall Mall Magazine, December 1913-June 1914,… (more)

    A rather extraordinary faithful manuscript copy of Marjory Bowen’s set of seven strange satirical tales originally published in the Pall Mall Magazine, December 1913-June 1914, complete with copies of the original illustrations by Bowen’s sister Phyllis Vere Campbell. The identity of the very accomplished copyist is provided only by the monogram on the title-page ‘FMSB’.

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  • Account book. by [ONLEY, Thomas]. [ONLEY, Thomas]. ~ Account book. [London: W. Clowes] 1839-52.
    A regimental account book preserved in the owner’s army ‘hussif’ — a coarse canvas roll with pockets for essential personal items (such as papers, pencils… (more)

    A regimental account book preserved in the owner’s army ‘hussif’ — a coarse canvas roll with pockets for essential personal items (such as papers, pencils or needlework materials).

    It belonged to one Thomas Olney of Northamptionshire serving with the 1st Batallion Rifle Brigade (soldier 1718) successively at Corfu and the Cape of Good Hope and lastly garrisoned at Walmer (Kent). Issued to all serving soldiers, the officia account book records enlistment, next of kin (in this case a mother), distinguishing features, kit issue and payments, which are written into printed columns prefaced by rules and regulations for engagement and conduct. Enlisted for a bounty of £3 17 shilling and sixpence Olney (of the village of Weedon) was issued with a knapsack, towels, shirts, stockings, a holdall, cutlery, shaving kit, a forage cap and strap, webbing, a shell jacket and a clothes brush. After service abroad he seems to have been furloughed in 1851, and the last record here is from Walmer in 1852. Though fairly lightly completed the book evidently travelled everywhere with its owner, folded into its canvas roll case, the lower parchment cover sometime removed by him. An evocative item.

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  • [An Album of 50 Watercolours depicting Women’s Fashion. by (FASHION). (FASHION). ~ [An Album of 50 Watercolours depicting Women’s Fashion. Paris, 1867-8].
    A wonderful collection of contemporary fashion designs for the year 1867-8. The title-page, (marked ‘5ème volume) is an emblem of the ever-changing nature of fashion… (more)

    A wonderful collection of contemporary fashion designs for the year 1867-8. The title-page, (marked ‘5ème volume) is an emblem of the ever-changing nature of fashion ― two richly-dressed women stand between marker posts for the years 1867 and 1868, one in deep winter attire with bonnet, scarf, cape and muff, the other in the light spring garments of the following year. Between them an elegant dandy stands with a velocipede (suggesting modernity, movement and rapidity) and above is a cartouche enclosing a naked woman below the legend: ‘Comment l’habiller-t-on?’ (‘how will they dress?’). The final leaf is similarly emblematic, with a splendidly-attired young woman in green stepping from 1868 to 1869 over a running stream.
    Anonymous and evidently once part of a sequence, these brilliant watercolours depict Parisian fashions at their most colourful and sumptuous. Those showing off fabrics with new chemical or aniline dyes of green, mauve and blue are often heightened with gum arabic, adding a lustrous sheen, evocative of rich and heavy silks then much in vogue. Skirts are full and often multi-layered, with arrangements for lifting the outermost layer for walking. Special attention is paid to the backs of these outfits, with a good number seen from the side or behind, showing the elaborate ruffles and bows (which would develop into fully-blown bustles in the following decade). There are stripes, plaids, pleats, ruffles, embroidery, lace and beadwork. Hairstyles are also carefully depicted, with long and thick tresses in a variety of braids and tresses, as well as luxuriantly loose styles.
    The anonymous artist was a highly accomplished fashion artist, brilliantly equipped to render details and textures of fabrics, dress and deportment, of the type employed by designers and couturiers to show off to prospective customers their latest creations. This is a remarkable record of a golden age of Parisian dressmaking at the height of nineteenth-century haute couture when designers such as Charles Worth were claiming the city as the focus of the fashionable world.

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  • [The Game of ‘Bis-bis’ or ‘48’]. by (GAME). (GAME). ~ [The Game of ‘Bis-bis’ or ‘48’]. [?Basque region, Saint Sébastien, c. 1865].
    Manuscript and watercolour maquettes for an apparently unpublished game, including a portion of a folding game mat (on linen), a sheet of counters (uncut, on… (more)

    Manuscript and watercolour maquettes for an apparently unpublished game, including a portion of a folding game mat (on linen), a sheet of counters (uncut, on parchment), numerous drawings and sketches as trials for the game positions (on paper and tracing paper, some coloured) and several sheets of manuscript instructions in French and Spanish. The game seems to have been a type of lotto, with parchment counters (corresponding to game positions) which were to be placed in a spherical wooden ‘bank’ for shuffling, before being drawn by the players.
    The game’s origin in a French household at Saint Sébastien is indicated by the use of numerous scraps of waste paper from the French Consul’s office there ― perhaps it was made by a member of his own family or staff. The sketches are highly accomplished and carefully rendered, often with several preliminary sketches before reduction in gouache to the size of the parchment game counters.

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  • [Embroidered sampler. by FULTON, Anna. FULTON, Anna. ~ [Embroidered sampler. British Isles. [ 1827].
    Alphabet (upper and lower case), several decorative lines and two verses: ‘Is there ambition in my heart / search gracious God and see...’ [Isaac Watts]… (more)

    Alphabet (upper and lower case), several decorative lines and two verses: ‘Is there ambition in my heart / search gracious God and see...’ [Isaac Watts] and ‘Teach me to live / that I may dread/ the grave as little / as my bed // Teach me to die ‘ that so I may / with joy behold /the judgement day’ [by Thomas Ken, later reused by Thomas Hardy in Jude the Obscure]. Needlework samplers remain one of the most widespread manifestations of the teaching and learning of basic literacy among girls and young women and, as here, reflect a strongly moralistic background.

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  • Physiologie de l’étudiant … Vignettes de MM. Trimolet et Maurisset. by HUART, Louis. HUART, Louis. ~ Physiologie de l’étudiant … Vignettes de MM. Trimolet et Maurisset. Paris: Aubert et Cie … Lavigne … � [1841].
    A satire on contemporary student life, addressing the traditional pursuits of the young denizens of the rue Saint Jacques — drinking, smoking, gaming, dancing and… (more)

    A satire on contemporary student life, addressing the traditional pursuits of the young denizens of the rue Saint Jacques — drinking, smoking, gaming, dancing and womanizing.

    This is one of the many such little Physiologies illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

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  • Commonplace book. by HILLIARD, Lettice Elizabeth (née HALLETT). HILLIARD, Lettice Elizabeth (née HALLETT). ~ Commonplace book. England, early 19th century.
    Lettice Hallett (1787–1859) was the eldest daughter of the Radical reformer William Hallett of Denford Park, near Kintbury, in Berkshire. She married solicitor Nash Crosier… (more)

    Lettice Hallett (1787–1859) was the eldest daughter of the Radical reformer William Hallett of Denford Park, near Kintbury, in Berkshire. She married solicitor Nash Crosier Hilliard (1789–1844), of Grey’s Inn, in 1819. The three-page section of writing here, dated 20 November 1825, records ‘A list of the several person of the respective Families of Nash Crosier Hilliard and of Lettice Elizabeth Hilliard living at this Period’: Hilliards, Halletts, Nelsons, and Fowles. The first section, for which the book has been turned on its side, in oblong format, contains poetry: a 24-line poem ‘On Science’ (‘E’er yet the Morn of Science rose on Earth …’) by ‘W. D.’; ‘Lines found deeply engraved on the Bark of a large Tree in the Neighbourhood of Mentz [i.e. Mainz] in Germany’; ‘Music’ by William Strode (1598–1645; ‘When whispering strains do softly steal …’); ‘To a Friend in Distress’ (‘Shrink not to meet with adverse fate or part, / When black the scene, then bravely arm your heart …’); ‘The Morning before the Ball’, ‘The Morning after the Ball’, and extracts from ‘The Traveller’ and ‘The Deserted Village’ by Goldsmith.

    The other end of the book (for which the book has been flipped over to write) is taken up by a history of England, seemingly paraphrased, and expanded, by Lettice from Trusler’s Compendium of Useful Knowledge (1784 and later editions), from the Ancient Britons up to William the Conqueror and his sons.

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