Collections : [Yale University -Yale Center for British Art]

Includes a brief note on the color of the dress.

Depicts a busy street in Cape Town, with numerous buggies and trolleys, and showing a large building with a sign reading "J.D. Cartwright and Co." Has ink stamp of "Sallo Epstein & Co." on the reverse.

Files of men and women walk behind the bridal couple, and a monk looks on at right. Likely one of a series of photos taken at Mariannhill Monastery.

Depicts a broad paved waterfront promenade in Durban. Several people are walking up and down the promenade or lounging on the lawns. Has ink stamp of "Sallo Epstein & Co." on the reverse.

Listing of five names and addresses.

Black ink letterpress printed on green paper. "Eva Whyte" is handwritten on the card in graphite which may have been added at a later date.

Preliminary colored drawing of a design for a Bioscope Palace advertisement. It states that the Bioscope Palace is the "home of FINE ENTERTAINMENT for ALL the FAMILY."

Drawn in color, advertisement design for Bioscope Theater. "Coming! Don't Miss It! Limited Engagement Hurry!"

Magazine clipping. Includes an image of Smith in his workshop and an image of his boat wood carvings and an assembled set of Fair Fun for All.

An African woman is seen from behind in this apparently incomplete sketch. She bears three baskets on her head and carries a fourth basket in her hand. She wears some kind of band-like top, with a wrapped long skirt. Her feet are bare and she wears bracelets on her wrists. A palm tree is sketched loosely at left. Unlabeled.

Watercolor sketch of a dusty lowland in foreground with brushy hill rising to a slightly rocky peak in the background. A dirt path appears to wind up towards the peak. The title is not completely legible, but indicates that this image is of a location in the Tabendodo Mountains (a name which seems to have become obsolete).

Watercolor sketch showing an encampment of Xhosa/"Kaffir" warriors in foreground, with the British Fort White seen in the middle-distance in a grassy valley floor. The warriors, who appear to be naked, hold rifles and are clustered in small groups here and there on a flat dusty area. There are no British troops seen in this image, done presumably sometime after the attack. Labeled in graphite on reverse. Unsigned.

Rutherston encloses a check, and discusses seeing the show.

Rutherston encloses a check and discusses possible times to come judge his portion of the show. He further asks that he might no longer be included on the list of prize givers, as he feels he should devote any money to his own students.

Korda expresses his gratitude for the offer to open the Students' Group exhibition but, as he will be away "for the purpose of making shots in a picture," he cannot accept.

Includes title leaf (now loose): "98 plants done by the Honble. Booth Grey." The first two preliminary leaves (now loose) are of cream laid paper; the remaining leaves of pink laid paper.

Label is inscribed, in pen and black ink: "Allium magicum, Homer's garlick"

Label is inscribed, in pen and black ink: "Alysoum deltoideum. Northern alysson"

Inscribed at front: "Baldwin Leighton, Loton Park, Shrewsbury, Augst. 1846"; but whether this is Mary's husband or son is uncertain. Though the younger Leighton took the spelling "Baldwyn" in contrast to his father's "Baldwin," in his youth he seems to have alternated between the two. The scrapbook again reveals the children's practice of copying from book and journal illustrations to develop their skills. Included among the drawings are Baldwyn's awkward copy of the engraving "General Tom Thumb Got up as Frederick the Great," published in an 1845 issue of The Illustrated London News; Frances's adept reproduction of David Wilkie's The Enthusiast, drawn from The Wilkie Gallery (London, 1848–50); and Isabella's drawing after a print of George Stubbs's Mambrino (1794).

Contains numerous caricatures in pen-and-ink and watercolor; many of these satirize contemporary women's fashion. Mary's comic drawings are interspersed with landscapes, copies after Old Masters, and prints clipped from various sources. Among these are twenty-three lithographs from Keller and Füssli's Collection des costumes de la Suisse (Zurich, n.d.); seven illustrations from an unidentified volume of natural history; satirical prints; an article on the construction of the Thames Tunnel, dated 1 July 1828; and bust portraits of contemporary figures. These include the Archbishop of Canterbury Reverend Charles Manners-Sutton (1755–1828), Irish lawyer Daniel O'Donnell (1775–1845), and journalist William Cobbett (1763–1835), suggesting that Mary may have followed developments leading to the Catholic Emancipation Act of 1829. The final images in the scrapbook—pages taken from what appears to be a children's book that cast Catholicism in pejorative terms—underscores Mary's attention to matters both political and ecclesiastical.

Inscribed at front: "Mary Parker, 1829." Album reveals Mary's ongoing interest in comic scenes, picturesque views, and fine art. It includes drawings from key tourist sites, such as Northern Italy's Lago Maggiore and Switzerland's Lake Lucerne, as well as a series of copies after works in the British Museum. These drawings occasionally identify the collection from which the artworks come; many are from the bequests of Reverend Clayton Mordaunt Cracherode (1730–1799) and Richard Payne Knight (1751-1824). Her copies include drawings after artworks by such figures as Ludolf Backhuysen, Jan van der Meer, Carlo Maratti, and Giuseppe Cesari d'Arpino, among others. In addition to drawings and copies in her own hand, she includes two etchings of ecclesiastical ornament and a graphite drawing by her brother, John Parker. Though the scrapbook focuses on her life before marriage, it also features a watercolor sketch of Halston Chapel in Shropshire by her daughter, Frances.

Comprises portrait photographs of individual members of the Carr family. The inside front cover of the album is inscribed: "The Children of T.W. Carr, Rector of Barming." Mounts of the photographs have been labeled in a single (much later?) hand. The majority of photographs appear to be albumen prints.

Labeled "Foreign Sketches 1827" on the spine. This album seems to record the start of Anna Margaret Carr's 1827-8 voyage to the Continent, beginning near Paris (the first labeled sketch is in Montreuil, France, on 7 September 1827) and tracing her voyage southeast into Italy and eventually to Pisa, where the sketchbook ends in November 1827 (though she remained there through early 1828).

Labeled on the spine "Vol. 1 1824". Comprises sketches from Anna Margaret Carr's Grand Tour, in France and Switzerland. The sketches begin on 22 August 1824 near Montreuil. Carr traveled for five weeks from Paris to Florence (first going north-east through Reims via Soissons, then south through Geneva via Dijon and Poligny, and finally along the northern shore of Lake Geneva through Lausanne). The first volume ends on 8 September 1824 at Saint Maurice.