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Includes a brief note on the color of the dress.

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.

Graphite sketch, somewhat incomplete, of tall brushy mountains, whose tops are obscured by clouds, towering over a coastal settlement. A few ships can be seen in the water. Unlabeled.

Inscribed: "R.P. Norris." A piece of paper has been pasted onto the inside cover, with a note in ink reading, "Robert Provo Norris/Killed in Action 1851/ (Kaffir War)." Many of the sketches are dated 1848, which suggests that most of the content dates to this year.

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.

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.

Album of drawings by Anna Margaret Carr and Sarah Grace Carr . Only three drawings appear to be signed: "Hougoumont, Sept. 21, 1816" (no. 2) and "Salden House, January 26, 1832" (no. 19) are initialed by Anna Margaret, while "Hampstead Heath, Jun. 9, 1815" (no. 57) is initialed "SGC". From this evidence it is difficult to determine which drawings were executed by which sister, especially since the 1816 drawing initialed "AMC" has a very similar style to those that appear to be by SGC. The differences in style among the drawings seem to be attributable more to the age and maturity of the artist than to individual aesthetics, since the earlier drawings are generally more exact, detailed, and stiff; the later drawings are vaguer and done with a blunter pencil.

The spine of the volume bears a paper label inscribed: "Sketches by C.R. Leslie, R.A., selected by G.D.L. [i.e. George Dunlop Leslie] '06."

Inscribed at front: "C.R. Leslie. No. 8 Buckingham Place, Fitzroy Sq., London, Jany. 1815." The album includes a mixture of texts and drawings.

Circular drawing of final image (reversed).

Four large sketches: three depict what look like lines (ropes), the top shrouded with fabric, the middle unknown, the bottom strung with doughnut-shaped floats. The top and bottom sketches represent parts of the rigging that appear in the right-most portion of the tool assembly (in the foreground of the image). Sketch of a barrel tied with cord in upper right corner.

Arranging to meet him. With a sketch by Nollekens on verso of a design for a monument.

With a detailed architectural sketch by Nollekens on the back for a proposed monument, giving measurements.

With sketches by Joseph Nollekens on the verso showing detailed designs with measurements of two monuments, one for a Mr. Bagge dated May 1st 1811.

Offering to send his coach if West wishes to accompany him to see the drawings in the collection of Mr. Hankey. Ingamells no. 200.