Search

This representation illustrates the fashion of British colonial modes of transport by the early 1850s. Chinese figures carry a palanquin, while a horse-drawn carriage also charges by. Happy Valley was the site of a British racecourse and a Protestant Cemetery (see watercolor "11").

The Hong Kong Cemetery (also known as the Protestant Cemetery and the Colonial Cemetery) was opposite the oldest racecourse in Hong Kong in Happy Valley, and in the middle of a line of cemeteries that included the Roman Catholic cemetery (founded 1848) and later Islamic cemetery (1870). In 1853 (a year after this view), the captain and crew of the HMS Cleopatra erected a monument to Scottish trader and explorer Robert Burns, grandson of the poet, who was killed by pirates of the Tunku River (for which the Cleopatra was dispatched to avenge, see watercolors '25' and '27').

Since the Song Dynasty, ocean-going junks of this size made trips to Southeast Asia and the Indian Ocean.

The image shows a black, blue, and red bird perched on a branch with several leaves and groups of dark purple berries. The Latin name for the plant is given as Ficus benjamina (see Ficus benjamina).

The image shows a bird on a small plant with flowers of many colors. Bottom of page: caption reads, "NB: The Flowers ar eentirely composed of its Feathers."

The image shows a duck in water, next to a tuft of grass. No Latin name is given.

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.

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"

Label is inscribed, in pen and black ink: "Anchusa lanata a new sort."

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.

Watercolor view of brushy, grassy, hills and purplish mountains in distance. A few buildings appear at the right.

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.

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.