Marriage of Lord Compton, 1787

August 15, 2019 at 9:14 pm (history, people, research) (, )

Going all the way back to 1787, in Walker’s Hibernian Magazine (which has this fetching cover):

Walkers Hibernian

was this ANNOUNCEMENT for the marriage of Maria Smith, daughter of Joshua Smith of Earl Stoke Park (Wiltshire), with Lord Compton.

Wedding announce Maria Smith Lord Compton

It reads: “— [August] 18 By Special licence, Lord Compton, son of the Earl of Northampton, to Miss Smith, eldest daughter of Joshua Smith, Esq; of Earl Stoke Park, county Wilts.”

 

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Paper Conundrums

May 30, 2019 at 9:01 am (entertainment, history, research) (, , , , )

After reading about Karen Ievers’ Photo Album (once belonging to Lord George Hill) having some bound-in “manuscript” pages, I thought about all the paper bits I have seen.

It’s not usual for “paper” to be reused. As well as, of course, collected. Countless letters no longer exist, while their address panels were saved (often cut out). These are typically franked pieces, collected for their “signatures.” The *hard part* is when writing from the letter appears on the backside! Potentially “valuable” pieces of evidence, just gone.

Augusta Smith, Emma’s sister, was a talented artist. At least in her early years (ie, during the late 1810s), her portraits were often done on pieces of paper quite evidently cut out from programmes obtained at the Ancient Concerts. Augusta and Mamma attended the Antient Music concerts faithfully every week during the season.

(Full concert programmes have only been seen by me as bound sets, online on books.google)

Some of those pasted down squares show the portrait VERY CLOSE to the text of that evening’s performance – as if Augusta had taken her pencil from her reticle and sketched while she listened!

Others, although pasted down, you can see the heavily-imprinted text from the backside, as in the subscribers’ list below.

Here, the Goslings – mother, father and the two sisters (Elizabeth and Mary) – are found in the list of subscribers for 1823 (the above link):

goslings1823

The interesting thing about Augusta’s portraits is seeing the wealth of music offered in an evening. All the choruses, songs, glees, and concerti. These were the golden days of the Knyvetts, Miss Travis, and Miss Stephens, names which turn up in the Smiths’ diaries and correspondence with great regularity.

What I discovered recently (to my dismay) is that old letters could also be used for SILHOUETTE CUT OUTS. Turning one such cut out over, I could just detect handwrting. Old paper tends to be stiff, and obviously made a useful item to pillage when one ran out of silhouette paper. But like the franked letters above, and even the Antient Music programmes, a loss to posterity of the original.

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Spotlight on: Fanny Smith

April 21, 2019 at 1:15 pm (diaries, people, research, spotlight on) (, , )

I am reminded that Fanny Smith (after marriage in 1834, Fanny Seymour, or Mrs. Richard Seymour of Kinwarton), was among the earliest people I gathered information about. I gave a talk on her; and wrote about her early years (up to her marriage). That’s why it would be SO FASCINATING to find her own diaries!

One archive (Hertfordshire) has photographs of the Seymours; I’ve only ever seen one, very early (for photography), circa 1850s. It was taken out-of-doors (you can see a blanket kind of backdrop!), with Fanny and her three daughters – Augusta, the eldest of the family; Emma and Fanny the two youngest – and one of the sons, whom it took me the longest to identify, as Dick. I’ve never yet found the miniature Richard talks about commissioning, painted by Ross; but often figure it must have somewhat looked like this:

Ross_a Lady-closeup

I have a photograph of a “from a miniature” photograph, but whether it represents that portrait done by Ross or not, it doesn’t say. I would, however, be able to ID it as Fanny, should the actual miniature come to light!

My two Local Past articles on young Fanny Smith are available through my Academia account (another link is provided in the menu section – on the right side of the screen):

  • “Before She Became Fanny Seymour, Parson’s Wife”
  • “‘Fanny I am thankful to say continues going on very well'”

The first is about Fanny’s life up to her marriage; the second deals with the tragic days of Fanny’s confinement, following the loss of her first-born, a son named Michael John.

The articles can be read online; you will only need to log in (can do it through Facebook!) if you wish to download.

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Help Wanted: Pocket Diaries of Fanny Smith (Mrs. Richard Seymour)

April 19, 2019 at 11:48 am (diaries, Help Wanted, history, research) (, , , )

I was looking last night at the last pages of the diaries of Emma Austen’s brother-in-law, Richard Seymour. Although he died years later, his last entry was made in 1873 — and the rest of the notebook remained BLANK (though no notation on the microfilm image of HOW MANY blank pages remained).

So he didn’t “finish” the book…

Richard did record much, especially in the aftermath of the death of Emma’s sister (his wife) Fanny Smith (Mrs. Richard Seymour) in 1871.

Richard began keeping diaries before the 1830s; his earliest on microfilm is 1832, but the volume states “4” on the cover, which tells me that three early volumes were missing by the time the journals were filmed.

Richard’s original diaries were available to authors Arthur Tindal Hart and Edward Carpenter, when compiling their 1950s book The Nineteenth Century Country Parson; I have so far been unable to locate the original notebooks, and the archive had not had a viable address since the 1970s or 1980s (though had never given me the name of the last-known owner).

Wanting to read about Fanny’s last illness and death (1871), I picked a page a bit down the list. Looking for April, I came up with dates in May.

Oh My GOSH!

RICHARD noted READING journals kept by Fanny about each of their children (which I hadn’t even thought about her doing). THEN he noted reading the similar journal her MOTHER kept during Fanny’s own youth!

I had known about family “baby books” – one written for Drummond Smith was casually mentioned in the biography of James Edward Austen Leigh (written by daughter Mary Augusta Austen Leigh).

I’ve only ever seen the “baby book” of Maria Smith – the youngest sister; the future Lady Seymour (married to Richard’s brother Sir John Hobart Culme Seymour). The journal’s owner calls it “Maria’s Progress,” because it deals with her progression through life, from babyhood to adulthood, in disconnected, but consistent, entries, over a good twenty-years.

I was pretty _sure_, therefore, that there must once have existed one for ALL nine of the Smith of Suttons siblings. This slots a third one into line.

But even MORE interestingthrillingexasperating:

Richard notes reading Fanny’s JOURNALS for 1833 and 1834; and either he then makes a mistake or means what he writes, a journal for 1844.

And soon a comment about a trip to Clovelly in 1820 (confirmed by Emma’s diary). He also comments on a sketch by Fanny (you might recall her artwork at the Bodleian Library, Oxford), worked at Clovelly during this trip. Richard soon is IN Clovelly, standing on the spot he presumes she stood in, fifty-one years before, to make the said sketch.

I cannot discount that young Fanny (she would have been sixteen going on seventeen) was keeping a diary just for the trip, and included the sketch in such a book. But I would rather believe that, like Mamma, Emma, brother Charles, sister-in-law Mary, Aunt Chute, and even Aunt Emma (and evidently, too, ‘Aunt’, their father’s sister, Judith Smith of Stratford), that Fanny kept journals, possibly in the pre-printed variety called THE DAILY JOURNAL; Or, The Gentleman’s and Tradesman’s Complete Annual Accompt-Book.

beg13

In short, it was a surprise that Fanny kept journals – and yet not a surprise (because so many OTHERS in the family did the same thing). Potentially, the volumes stretch from at least 1820 (if not earlier; Fanny was born in 1803, so the 1810s are probable); and go until (maybe) the year of her death.

Of course the kicker: What has happened to Fanny Smith’s / Fanny Seymour’s JOURNALS?

I live in dread of seeing Richard say that he or the children got rid of them. But surely, his heart was so full of longings for his deceased wife, that he would see the VALUE in passing them on to his children. Daughters seem to have gotten such invaluable ephemerals. There were only three Seymour daughters. Some sons didn’t marry; some didn’t have children.

Ross_a Lady-closeup

BURIED treasure, Fanny’s missing journals 200 years later, that is for sure. (I include that written by Mrs. Augusta Smith recounting Fanny’s babyhood and girlhood, as well as those “baby books” covering the many Seymour children.)

Richard mentioned a few snippets from journals that he had read:

  • 1833 – Fanny’s grief over the death of her youngest brother, Drummond Smith (in Sicily, in November 1832; the family learned of his death a month later)
  • 1834 – Fanny’s engagement and marriage (at Mapledurham) to the Rev. Richard Seymour, just appointed to the living of Kinwarton in Warwickshire. NO DOUBT she mentioned the house fire the day before the wedding in October 1834! Her sister Emma did; it was Mary Gosling – i.e., their sister-in-law Lady Smith – who alerted everyone to the danger of the smoke she smelled in the night — and the butler who helped save the day.
  • 1844 – _IF_ Richard was reading Fanny’s diary for 1844 (and it wasn’t a mistake of his pen OR my vision while transcribing his thickly-written numbers), he would have been reliving the events around the birth of their son, Charles Joshua Seymour, who was born in June 1844 – but died in March of 1846.
  • 1820 – with mention of a trip to Clovelly, Fanny also wrote about taking tea with Mamma at Clovelly Court, and going sketching with her sisters Emma and Augusta. Mentions of the friend Belinda Colebrooke can also be guaranteed.

If any of these “hints” sound familiar – and _you_ have seen one (or more) of these diaries, please drop me a line!

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London Silk: Garthwaite & Rothstein

March 17, 2019 at 11:38 am (books, fashion, history, portraits and paintings, research) (, , , , )

I am just starting to read Zara Anishanslin’s Portrait of a Woman in Silk. This is the fascinating “entwined” story of a silk designer, a Spitalfields silk weaver, a Philadelphia woman, and the artist hired to paint her portrait.

Woman in Silk

Anishanslin makes mention of the contributions by Natalie Rothstein to the information we have about the eighteenth-century English designer of this silk’s pattern – Anna Maria Garthwaite. Rothstein is a very familiar name, for she gave us A Lady of Fashion: Barbara Johnson’s Album of Styles and Fashion.

Barbara Johnson

[click the photo below for more on the book A Lady of Fashion; and see also my post “Fashion News, Regency Style“]

It is with sadness that I read of Natalie Rothstein’s death in 2010. Her obituary, in The Guardian, makes for interesting reading – and mentions the title of her main work on Garthwaite: Silk Designs of the Eighteenth Century in the Collection of the Victoria and Albert Museum (1990). Rothstein was quite prolific, publishing much about the collection she knew best (i.e., the V & A). This lengthy obituary features an equally lengthy bibliography.

johnson3

It was finding online information (and images!) of Garthwaite’s designs that made me want to share with you. Especially, this beautifully presented Waistcoat (1747) from the Met Museum; details and overview images. A lengthy blog post on the Courtauld Institute of Art‘s website is well worth a read. All this history of the Spitalfields weaving industry might also inspire you to visit Dennis Severs’ House at 18 Folgate Street. I think I blogged about it long before my own visit, so entranced was I by the “story” of and behind the “museum”. (But I wasn’t prepared for the locked front door that had to be knocked on and answered!)

The thrill is also over the Victoria and Albert sharing images of Garthwaite’s designs. Although I didn’t look at them all, 44 pages came up [some _are_ tagged ‘unknown’ artist; most are Garthwaite’s designs] when I searched for ‘Garthwaite’!

There’s even a Pinterest page dedicated to her designs and Garthwaite has her own Wikipedia page.

Some of the less intricate designs of flowering tendrils remind me of the Botanicals painted by the women in the Smith family (two generations, including the future Emma Austen, my diarist) [see the page Artwork Done By], which I have long thought would make for beautiful fabrics. As a “companion” piece, if the Botanicals at the Royal Horticultural Society interest you, you might dip into “Further Thoughts on Four Sisters” to acquaint yourself with the four sisters of Earl Stoke Park – Emma’s mother and three aunts, who, with Miss Margaret Meen, their teacher in the technique, is represented in the RHS collection.

***

Additional reading:

A Dress of Spitalfields Silk” – lengthy essay and some splendid photographs of an actual garment

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British Postmarks (tutorial)

March 5, 2019 at 10:21 am (history, news, research) (, , , )

An interesting, because it’s so useful, “tutorial” (short: 33 slides) of early 19th century British Postmarks – and how to understand all you see when looking at a piece of “UK postal history”.

Mary Russell Mitford

It forms part of the Digital Mary Russell Mitford project — one of their project include digitizing and transcribing her letters!

As you can see from the “example” photo, the images help explain what exactly you are looking at. I couldn’t resist this image – with its identification of “delivery” and “mileage” stamps, the letter’s “franking,” its “seal,” and (especially) the “finger” of the person making the image!

Clicking on the photo above will take you to the second version (a bit longer than the first version) of THE POSTMARKS OF MITFORD’S LETTERS (by Greg Bondar, University of Pittsburgh at Greensburg).

[Once you are on their site: click the [IN] icon (lower right-hand corner), which will allow you to access the full screen mode]

You will learn to recognize:

  • a MILEAGE stamp
  • a DUTY stamp
  • a DELIVERY stamp
  • CHARGE mark(s)
  • RECEIVING HOUSE stamp (for instance, the Two Penny post)

Some explanations, too, of rimmed and double-rimmed stamps; colors of ink; and – for 1812 – a list of postal charges (based on distance and “weight” [number of pieces of paper]).

Because the site is dedicated to Mary Russell Mitford, near the end of the slides are images of seals she used; paper types used (based on impressions in the paper). For those interested in the output of Mitford, the homepage of Digital Mitford is your place to start.

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Portraits: Jane Austen & Gilbert White

February 23, 2019 at 4:49 pm (history, jane austen, people, portraits and paintings, research) (, , , )

An old (May 2017) article on Smithsonian.com by Brigit Katz assesses the “Six Portraits” that were on display during the 200th anniversary year (1817-2017) commemorating Jane Austen’s death. It asks the question, Was Austen demure, sardonic or glamorous? (based on no one portrait looking like any other in the group) while acknowledging that actually the “Six Portraits Deepen the Mystery of Jane Austen.”

NPG 3630; Jane Austen by Cassandra Austen

Without going into the good / bad points of individual portraits,* I will outline the portraits that were displayed:

(*I briefly commented on “the wedding ring” image ten years ago; it continues in heavy usage. I did touch on several portraits, though, in 2013)

  • The pencil and watercolor sketch of Jane by her sister Cassandra Austen (circa 1810) [National Portrait Gallery]
  • the hollow cut silhouette by an unknown artist from circa 1810- 15 [National Portrait Gallery], “L’aimable Jane
  • watercolor of Austen in blue dress, bonnet [rear view], also by Cassandra Austen, circa 1804
  • the 1869 James Andrews watercolor portrait [had been up for auction in 2013] and the frontispiece of her nephew’s biography, A Memoir of Jane Austen, published in 1870, based on the Andrews watercolor
  • portrait said to represent Jane Austen, in album belonging to James Stanier Clarke, librarian to the Prince Regent
  • the ‘Byrne’ portrait

No clue as to why the ‘Byrne’ but not the ‘Rice’ portrait.

The lack of portraits – though not the lack of ‘contenders’ – depicting Jane Austen echoes the story of Gilbert White of Selborne, another late-18th century Hampshire resident.

A riveting 1987 article by J.E. Chatfield actually “summarises verbal descriptions of the Selborne naturalist, the Reverend Gilbert White (1720-1793) by his contemporaries and discusses the background to each of the illustrations which have been suggested as possible likenesses of White.” After citing a group of portraits comes the notice (similar to what Jane Austen enthusiasts might typically read): “The only proven authentic likenesses of Gilbert White are two small pen and ink sketches drawn inside his copy of Alexander Pope’s translation of Homer’s Iliad now in the British Library.”

It was the growing fame of his book The Natural History of Selborne that (naturally) made “further information on [White’s] life and personality” of interest to its readers.

Under Descriptions of White: “There are relatively few recollections of him from members of his own family, in spite of the vast numbers of nephews and nieces which Gilbert White refers to in his journals.” Also mentioned, that at the time of centenary editions of the National History of Selborne (originally published in 1789) “there was no suggestion or knowledge of any portraits or sketch of White.”

Sound familiar?

It was after the sale of The Wakes (White’s home) in 1844 to Prof. Bell, “who was working on his edition of The Natural History & Antiquities of Selborne,” that a White nephew passed on recollections. The “Reverend Francis White who remembered his uncle Gilbert well, although he was only twelve years of age when White died…., provided the information on White’s physical appearance – only 5 feet 3 inches in stature, of a spare form and remarkably upright carriage.”

Nineteenth-century editions of Selborne have included “Recollections of White by older villagers.” If only such a census had been made shortly after Austen’s lifetime! It was this kind of off-hand recollection that James Edward Austen Leigh (Jane Austen’s nephew and my diarist Emma’s husband) that Edward hoped to collate from those nieces and nephews still alive. His sources, however, proved a bit problematic. And some were quite uncooperative.

An interesting comment, from circa 1880, that could so easily be applied to Jane Austen: “‘White was thought very little of till he was dead and gone, and then he was thought a great deal of.'”

I invite you to read the Chatsfield article, look at the Austen portraits as well as Gilbert White’s, and reflect on the highly valid points made.

 

 

 

 

 

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George Scharf’s National Portrait Gallery (1859)

February 10, 2019 at 8:33 am (history, london's landscape, places, research) (, , )

The drawings of No. 29 Great George Street, Westminster that I remembered seeing when writing about “Jane Austen’s London, 1815” illustrated this article by Catherine Karusseit, “Victorian Respectability and Gendered Domestic Space.”

In looking for them again, I find the originals at the British Museum. Karusseit clearly denotes two drawings as being interiors of No. 29. What caught my eye was this inviting window seat:

No 29 window seat

“29 Great George Street,” December 1869

You will be able to enlarge the BM drawings just enough to decipher the descriptions (one CLEARLY reads  “the meeting room of the Society of Antiquaries at Somerset House”). I am especially loving the staircase view, which is clearly identified ID’ed as original National Portrait Gallery, at 29 Great George Street. These are drawings by George Scharf. On the staircase drawing, he has noted WHEN (day and what hours) he sketched.

These Scharf images are an *absolute THRILL* to see, especially the staircase view, which I hadn’t seen before.

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Jane Austen’s London, 1815

February 7, 2019 at 2:51 pm (history, jane austen, london's landscape, research) (, , , )

During the Christmas holiday, author Charlotte Frost gave me a two-page spread from Art Quarterly that announced a FABULOUS purchase from Sotheby’s by the Museum of London. It is “an epic 20 feet wide panorama of London, painted around 1815 by the French artist Pierre Prévost (1764-1823).”

The Museum is thrilled with their purchase, partly because it shows the Houses of Parliament pre-1834 (the year the buildings burned down; to be replaced by the Houses of Parliament we see today). Partly, also, because only one other Prévost panorama is known to exist – it’s of Constantinople, and is now housed in the Louvre.

So, the Westminster Panorama is HUGE, RARE, and a piece of HISTORY! An exciting part of the story is how the UK ART FUND came together with the Museum to help fund (with the aid of some individual donors) the bid.

  • The Guardian‘s story on the purchase, “Museum snaps up panorama of lost London landscape”
  • Wikipedia has put up a photograph and background information
  • Sotheby’s catalogue of the Prévost Panorama of London

“The illusion of depth, height and distance is testament to Prévost’s ability to work on such a large scale, and this complete, circular image, joined at Westminster Abbey, is one of the finest drawings of its type to have survived.” Mary Gosling (also known as Lady Smith, once she married, in 1826) and Emma Smith (also known as Emma Austen, after her marriage in 1828; and Emma Austen Leigh after 1835) – my Two Teens in the Time of Austen – have written about viewing various “Panoramas”. So it is a thrill to see what has survived from that period. This is a watercolor, a preliminary study for the canvas that would have hung in a panoramic theater (in this case, in Paris) for viewers like Mary and Emma to experience in the round.

What caught Charlotte Frost’s eye, though, was the proximity of Great George Street – where Emma’s grandfather, Joshua Smith MP for Devizes, lived. This section of the panorama:

Westminster by Prevost

Of the street running across the picture, the left-hand side shows the opening addresses along Great George Street. Charlotte’s *hope,* for me, was that one was Smith’s address. But he was at No. 29 Great George Street – which would be a few doors further down (and therefore hidden from view).

george street

No. 29 Great George Street, in the map above, is marked XIX.

However, No. 29 obviously must NOT have differed significantly from those townhouses beside it! So to see an approximation of its exterior is a decided thrill. Some photographs exist of the interior (see Collage; also BRITISH HISTORY ONLINE). I remember coming across some drawings of No. 29 interiors, done during the years the National Portrait Gallery (NPG) existed at this address (NPG’s first ‘home’). The National Portrait Gallery opened in January 1859. I do now wonder if Emma Austen Leigh would have visited…. One of these days I’ll go through her late and later diaries, and (hopefully) find out.

The Panorama of London, a book giving an overview of the city, circa 1830, mentions the Colosseum, Regent’s Park, “one of the most extensive exhibitions in the metropolis.” Although, obviously not the same artwork as the Westminster panorama, the description of the viewing of the Colosseum panorama is worth reproducing in full:

“The building is almost circular, with a large dome, and the front towards the park is ornamented by a noble Doric portico, with a large door in the centre. On entering the edifice by this door, a staircase on the right leads to a circular saloon hung with coloured drapery. This room, which is the largest of the kind in London, occupies the whole internal space, or the basement of the building, with the exception of the staircase leading to the summit, which rises like a large column from the centre. The circular saloon is intended for the exhibition of paintings and other productions of the fine arts. The wall of the [page 306] building, above this room, represents a panoramic View of London, as seen from the galleries of St. Paul’s cathedral. The view of the picture is obtained from three galleries, approached by the staircase before mentioned – the first corresponds, in relation to the view, with the first gallery at the summit of the dome of St. Pauls; the second is like that of the upper gallery on the same edifice; and the third, from its great elevation, commands a view of the remote distance which describes the horizon in the painting. Above the last-mentioned gallery is placed the identical copper ball which for so many years occupied the summit of St. Paul’s; and above it is a fac-simile of the cross by which it was surmounted. A small flight of stairs leads from this spot to the open gallery which surrounds the top of the Colosseum, commanding a view of the Regent’s-park and subjacent country.

An amazing part comes next, in describing how may visitors ascend:

The communication with the galleries is by staircases of curious construction, built on the outer side of the central column already mentioned. This column is hollow, and within it a small circular chamber is to be caused to ascend when freighted with company, by means of machinery, with an imperceptible motion, to the first gallery. The doors of the chamber will then open, and by this novel means of being elevated, visitors may avoid the fatigue of ascending by the stairs, and then walk out into the gallery to enjoy the picture. In extent or acuracy, the panorama is one of the surprising achievements of art in this or any other country. The picture covers upwards of 40,000 square feet, or nearly an acre of canvas; the dome of the building, on which the sky is painted, is thirty feet more in diameter than the cupola of St. Paul’s; and the circumference of the horizon, from the point of view, is nearly 130 miles. The grand and distinguishing merit of this panorama is the unusual interest of picturesque effect with the most scrupulous accuracy; and, in illustration of the latter excellence, so plain are the principal streets in the view, that thousands of visitors will be able to identify their own dwellings.

To read more about the Colosseum (including entrance prices), as well as the Diorama; Burford’s Panorama, Leicester-square; the Cosmorama, Regent-street; and other entertainments, see the book The Panorama of London, amd Visitor’s Pocket Companion, by Thomas Allen (1830).

It is no wonder then, that the Museum of London “snapped up” such a treasture as this panorama of Westminter. These entertainments simply no longer exist.

An Aside:

An interesting thought occurred to me, IF the Byrne portrait could be proved as being Jane Austen the author, then JA would have walked these very streets. For one of the last items I read was that the artist was housed with a studio overlooking Westminster Abbey.

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Costumes de la Suisse

January 31, 2019 at 8:52 am (entertainment, fashion, history, research, travel) (, , , )

I actually have copies of the Costumes de la Suisse – minute “vignettes,” cut out and pasted into a scrapbook. In trying to find a date for them, I found a fabulous website that presents digital copies of many albums and books of visual art. I invite you to explore! These are rare books from the collection of Mr. S.P. Lohia. You can sample pages, or browse through an entire book.

As to the dating for the Costumes de la Suisse, I’ve seen “c1810-1820”, as well as c1830. In short, I’m still not sure.

costumes of unterwalden

The above represents the “costumes” (or Trachten, in German) for Unterwalden, in Switzerland. There are no words of explanation, nor have I any idea whether my scrapbooker traveled in Switzerland, or obtained the images in England.

The images are quite small (Unterwalden is about two inches tall), but because they are hand-colored, the images are still quite vivid and spectacularly colorful.

And there are those beautiful Dirndl and Ledenhosen outfits!

suisse individual

Although Lohia owns a bound book (images of the binding are included), it’s possible these little vignettes began life as individual ‘cards’ in a slipcase, as in this version, currently for sale at a used book site. This image certainly gives a clue as to why these costumes were attractive to some young woman with a pair of scissors and a pot of glue. Her handiwork and dexterity are my reward.

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