Search

Watercolor image of the Zander End river/mountains. A similar image to another in Norris's watercolors. This version appears to be slightly more complete, with a more finished look to details. The watercolor is done with careful attention to detail. Unlabeled.

Watercolor sketch of a Xhosa/"Kaffir" man standing to address other assembled tribespeople. The standing man wears a leopard cloak draped over one shoulder, an arm- and waist-band of thin woven or metal material, and has a necklace. His body is largely uncovered, while the gathered men are mostly wrapped up in beige capes. They look attentively at him as he speaks, pointing his finger towards some object in the distance at right. They are gathered in a dusty stretch of lowland. Colors are labeled on reverse in pen and ink and graphite title reads, "Fancy [?] sketch of Kaffirs." Unsigned/undated.

Watercolor scene of grassy hills dotted with brush and trees. Low stone buildings, presumably part of Fort Cox, are seen on a hilltop in the background. Unlabeled.

The image shows a large pink villa in the distance, with statues adorning the roof. Two men stand in the middle ground, and two trees frame the foreground.

The image shows several insects--a wasp-like bug, a moth, and a beetle--gathered around two small plants with red and blue flowers. No names are given. Bottom of page: an unattributed passage, beginning: "The unambiguous footsteps of the God."

The image shows several stalks of wheat, with a blue beetle on one of the leaves. No Latin name is given.

Label is inscribed, in pen and black ink: "Weeping cherry. all saints cherry."

Label is inscribed, in pen and black ink: "Volkameria inermis. wild jasmine."

Label is inscribed, in pen and black ink: "Vinca roseab."

Attributed to George Leslie but bearing strong resemblances to the work of Mary Leslie, this manuscript appears to be a mockup for an unpublished edition of Chaucer's poem, "The Flower and the Leaf." The poem is copied out by hand in a small, cursive hand, and each page has illustrated panels depicting scenes from the poem, with decorative borders. The intricate details and carefully drawn figures in medieval costume evoke the Victorian fascination and interpretation of medieval aesthetics. Naturalistic embellishments in the page borders, including drawings of flowers, birds, insects, and reeds at water's edge, are done in a careful and moderately skillful hand.

This small sketchbook contains 72 mounted illustrations, which include pen and ink drawings, graphite sketches, watercolors, and cut-paper works.

The album is inscribed at front: "Eleven drawings & two cuttings, 1865." In fact, the album comprises 16 drawings and two cut-paper works, to which have been inserted three additional sheets containing five more drawings. About half of the drawings are finished in watercolor. Most of the drawings depict young ladies in various fashions; some depict children. The two cut-paper works depict a wading bird and a semi-abstract collection of flowers. At the end is tipped in a printed page of "Isabella, or The pot of basil, a story from Bocaccio."

Depicts a man in uniform (John Darme?), a sheep, and three dogs, dancing around a broom stick with flags. At bottom is a note in black ink: "short authorised version" and "see p. 127." The drawing is 1 of 3 samples enclosed with a signed typescript of Trudi, Angela and John Darme with illustrations and colored title page.

Drawing is of Harmouth harbor and depicts Edward's lonely white cottage on one side of the harbor and the populated port on the other. Below the drawing, in black felt-tip pen is written: "Any stranger coming for the first time to the small port of Harmouth who might wonder who lived in the small white cottage which stood alone on the far side of the harbour had only to ask and they would be told, 'Edward lives there with his grandfather.' All the town knew Edward and his grandfather, though only in a distant sort of way; for people could not quite understand why anyone should choose to live in such a lonely place when they could be cosily crowded together with everyone else in the town." Signed on the bottom right in black ink.

Turgut Reis (also known as Dragut Rais) was a privateer and head of the Barbary Corsairs who led the victorious campaign against Tripoli in 1551 for Suleyman the Magnificent. He also led the Siege of Malta, the culmination of struggles in the Mediterranean beginning with Ottoman control of Tunisia (Keyvanian 49). In 1565, Suleyman ordered the Siege of Malta. After leading the capture of Fort St. Elmo, Turgut Reis was struck by shot from cannon fire from Fort St. Angelo that fell near the Turkish battery. He was mortally wounded, creating a tremendous set-back for Turkish forces.

This drawing, a frontispiece study for an unpublished publication or collection, combines visual elements from select locations of Porcher's travel, repeating motifs from his own work. Depicted are scenes from Australia (Aboriginal Australians or Torres Strait Islanders, upper left corner), Burma (stupa, center), India (elephant and howdah, lower right corner), Hong Kong (Chinese junk, center), the Middle East (scene from Tunisia or Libya, lower left). The albatross, while possibly a reference to Coleridge's Rime of the Ancient Mariner, could also be a quotation of Porcher's watercolor "The Wandering Albatross of the Indian Ocean, July 1842," (National Library of Australia). An erased signature "H.S. Melville" at bottom right matches existing signatures by Harden S. Melville.

Watercolor sketch of a young woman in blue dress, from behind. Inscribed at bottom: "Taken from the club steps Valetta, July 1859." Inscribed at top: "B.G. as seen from the club steps, Valetta, en route to [illegible]."