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Includes a brief note on the color of the dress.

Includes detail and color notes for her stomach, thighs, patella, etc.

Nineteen small drawings depict various stages of female trapeze act.

Drawings depict female tightrope walkers in various stages of action.

Larger drawing depicts two tightrope walkers. Smaller drawing depicts a single tightrope walker with a leg lifted.

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.

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.

Inscribed "Drawings by Mary Parker Lady Leighton" on front pastedown. Leighton made the album during an extensive tour of the Rhineland, Switzerland, and northern Italy, in the company of her mother and brother. The journal and drawings of the tour by her brother, John Parker, are at the National Library, Aberystwyth. See: Parry, Edward, "The Revd John Parker: 'a warm partizan of Gothic art'", Transactions of the Ancient Monuments Society, vol. 64, (2020), pp. 90-114.

Bound by Shrewsbury bookseller R. Davies, the scrapbook features drawings primarily by Baldwyn and Stanley. These provide a clear sense of how Mary guided her children in art instruction, encouraging them to copy from illustrations. Though the original sources for the drawings are unclear, the family must have had in its possession at least one illustrated copy of Pilgrim's Progress, from which Baldwyn drew two scenes. Stanley seems to have been interested as well in social types, as evidenced by a series of drawings that portray, among others, a dandy, a sailor, and third-class passengers. Drawings from life include Baldwyn's portraits of the Cuthbert children, Frances's drawing of the cupola of St. George's, and an unattributed watercolor of ice skaters and men engaged in the winter sport of curling. Folded into the scrapbook is also a map of Scotland, with a detailed itinerary of Mary and her husband's August 1846 tour.

Inscribed "Mary Leighton / Scraps from her Children / Loton Park 1847–50" on front pastedown. Drawings by Baldwyn, Stanley, and Frances comprise much of the scrapbook, with only a few additions by Charlotte and Isabella. There is also a loose silhouette interleaved among the pages, captioned "Eton 1852," which portrays Baldwyn during his study there. Drawings by Baldwyn and Stanley focus on notable battles and include figures from contemporary campaigns—such as soldiers from the Anglo-Sikh Wars—as well as historical ones waged by Sir William Wallace and Jack Cade. Frances's drawings possess a more delicate sensibility, often depicting romanticized views of peasant life. Among them is her 1850 graphite and watercolor drawing of a flower-seller, inscribed with a passage from Carlo Pepoli's La pastorella dell'Alpi, which was set to music by Gioachino Rossini in 1835. In view of errors in the Italian, the passage was likely written from memory.

Scrapbook features prints clipped from various sources; several business cards from shops in London, Florence, and Chiavenna; and a small group of drawings by Mary and Baldwyn. The collection of prints is peculiar in its range of subjects: among portraits, picturesque scenes, and fine-art reproductions, there are several newspaper engravings that suggest especially lurid stories. The most notable include the beheading of a prisoner—an undated journal illustration, likely for a report on the First Opium War—and an image of two men fishing a body from a pond, published in The Morning Chronicle and The Observer in November 1823. The engraving illustrated an article reporting the sensational murder that year of William Weare, who was killed by a gambling acquaintance. The case gained notoriety for the gruesome circumstances surrounding his death.

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.

Labeled "Foreign Sketches 1828." The album is mostly comprised of drawings from Anna Margaret's travels in and around Pisa from January through April of 1828, but also includes a few from late 1827. The album ends with two drawings from Martigny, Switzerland in May 1828. Aside from these final two, the drawings are pasted into the album in no discernible order.

A continuation of the previous sketchbook, labeled on the spine "II Vol 1824". Carr's Grand Tour continues on 9 Sept 1824 at Tourtemagne (Turtmann, Switzerland). She crosses through Simplon Pass in early September and moves southeast towards Como, south to Genoa, and spends the last week of September traveling east along the Mediterranean, with sketches concentrated in La Spezia, Livorno, Pisa, and Florence.

Includes three views of same pose, as well as color and detail notes for the costume and hair.

The drawing presumably depicts Cleopatra.

The watercolor (6.5 x 7 cm) is affixed to the larger sheet, which includes descriptions of the color and texture of the costumes.

"Magenta" written on the middle to lower left corner.

Includes notes on the color of the costumes.

The watercolor (6 x 7 cm) is affixed to the larger sheet, which includes detailed description of the coloring of the figures and their costumes.

Folded sheet includes multiple drawings on both sides. Includes details of a pillar and vases or urns for the banquet to Antony, as well as a male headdress.

Includes detailed sketches of three headdresses and annotations for the female figure.

Includes notes on the color and design of the costume.

Includes detail and color notes on the helmet, tunic, cloak, hose, boots, moustache, etc.

Includes detail and color notes on the hair, hat, tunic, knickers, boots, etc.

Includes detail and color notes on hat, hair, collar, cloak, armor, belt, etc. The sheet contains a fold across the middle separating the right and left sections.

Includes detail and color notes on the dress, knickers, sword, etc.

Includes detail and color notes on the tunics, hose, boots, etc.

The small sheet includes a sketch of a gondola-like boat, with passengers, on a canal. A second sheet (18 x 22.5 cm), once presumably used to protect the first, contains the notation, "Charles 1st (H.B. Irving)."

The sketch includes a male genuflecting before another male (presumably Charles I), while in the background a female looks on.

The reverse side includes the notation "Hampton Court" in the upper left corner.

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.

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.

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.

Three rough sketches: two circular sketches with basic composition of the woodcut (incomplete); to the right, a barrel with handles. Beneath, a list of objects Leighton considered for tool assembly in the foreground: "flag [?] & floats, kegs, cod, trawl [?], fork, knife, anchor, sea claw." All but the first and last items are crossed out.

Cod: very fine, detailed full-page drawing of a cod.

Sketch of a knife and a three-pronged fork. Labeled "knife" and "fork."

Two pieces of paper taped together. On one page, the long, hooked pole used by the cod fishers to move the cod, here labeled "galt" or "gatt" [?]. Beneath, a bundle of cord labeled "light and binding cord." On the other sheet, an image of an anchor.

Includes notes on the colors of flora, a fortress, and soldiers.

Includes notes on the colors of a temple, a vase, tents, cloaks, helmets, the ground, and symbols.

Includes detail and color notes for the jester's costume, some steps, and a balcony.

Very light, rough circular drawing of the overall composition. Labeled "Cranberrying" in upper right corner.

Circular, slightly blurry image representing the composition of the final image (but in reverse).

A circular drawing of the final image (in reverse). Beneath, two smaller circular drawings. Matted with a rectangular window for the large drawing, and octagonal windows for the smaller ones.

Detailed sketch of a barn with a fish-shaped weather vane on the roof. The bottom right corner of the page is cut away.

Six large sketches, clockwise from upper left: cranberry scoop, sprig of cranberries, cranberry rake with a long handle, cranberry scoop, two-pronged pitchfork, sprig of cranberry flowers. The drawings of the cranberry plant and flowers are on separate pieces of paper that have been taped into windows in this sheet. The bottom right scoop, labeled "cranberry picker", has also been taped over the page.

Seven large sketches of cranberrying equipment, including a small hand-held scoop, a paddle of some sort, two rods, a cylindrical ring/bucket, etc.

Rough sketch of figures harvesting cranberries in a hilly landscape, with some piled boxes in the center. One figure at the top seems to be waving his hand up, while a large cluster of people occupy the upper right portion.

Eight sketches of figures in varying degrees of completion. At upper left corner, a standing figure with hands on his hips. The other figures are in various kneeling positions, except one who is only visible from torso upward.

Large pile of cranberrying baskets on the left side of the page, with smaller sketches of cranberrying baskets scattered around. Burn hole in the bottom right corner.

Six figures (plus one group of three figures in bottom right) in various poses. Includes 2 sketches of men carrying boxes of cranberries, figures kneeling to scoop up cranberries, etc.

Landscape with long curving hills and a forested background. Piles of cranberry boxes visible in the middle distance. Resembles (in reverse) the landscape in the left portion of the final print.

Sketch, 7.5 x 17 cm, appears on the top half of the page, and presumably depicts the cave of Belarius.

Includes detail notes on the costume as well as what may be lighting direction.

The verso contains color and detail notes on the costume and actress' hair, as well as a small drawing depicting cuff details, etc.

Includes color notes for Pisanio and Imogen's costumes.

Includes color notes and details for a male tunic and cloak, two types of shields, as well as a horse and chariot.

Includes color and detail notes on the costumes, as well as a back view of Posthumus Leonatus.

Includes color and detail notes on the costumes and hair.

Includes color and detail notes for costumes and a bedchamber set.

Depicts a female in male costume, presumably Imogen. Includes color notes for the costume and a staff.

Includes color and detail notes on the costumes.

The drawing (6 x 4 cm) is affixed to the larger sheet, which includes detail and color notes for the costume.

Includes the following text: "Don Juan d'Autriche -- Theatre Francais, 6 Fev' 1836." Delavigne's play debuted in 1835.

An unbound set of drawings, most of which are mounted on heavier paper stock. A small label on the original paper covers reads "My mother's and aunt Anna's drawings." Only two of the sketches are signed: Easby Abbey is signed "SGL" (Sarah Grace Lushington); "Westhumble" is labeled "Aunt Anna". Presumably, the drawings include a mix of work by Anna Margaret Carr and Sarah Grace Carr Lushington.

The drawing is an unfinished sketch on paper with a cut-off watermark that partially reads "--inal" and "--ne Mill."

Includes brief color notes for the dress.

Includes detail and color notes for hair, sleeves, chain, cap, tunic, boots, dresses, etc.

Includes detail and color notes for the hose, tunic, etc.

Reverse side of the sheet contains two faint beginnings of drawings.

Circular compositional study, labeled "Farming." In the upper right, a smaller circular study. At bottom is noted: "8 or 16 more [?] film".

A circular design for the overall plate. Almost identical to final image and rendered in detail, except the reaper's hands are left undrawn and the grain cradle is a rougher sketch.

Very rough sketch of wooded hills.

Depictions of three different tools, labeled, from left to right: harpoon fork for hay, flail, and mortising axe.

The top study appears to be a hoe of some kind, labeled "hand graver"(?). Beneath is a more elaborate picture of what looks like a hand-driven plow. Leighton has written in graphite, "too short", "11 teeth", and "marker."