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Louisa Wright needlework sample book, 1888 0.8 Linear Feet — 1 item

Collection comprises a volume entitled "Needlework," containing 16 pages of illustrations for sewing and darning patterns and techniques, accompanied by 22 finished samples. The title page indicates the work was done by Louisa Wright during a "Second Year" at an unnamed institute or training facility. There are illustrations for hemming and seaming, stitching, sewing on a tape, gathering, setting-in, making a buttonhole, herring-boning, darning a thin place, tacking, making a gusset, making a calico patch, darning a hole, whipping, using a print patch, crosscut darning, Swiss darning and grafting, and stocking-web darning. The volume has a sewn cover in khaki cloth featuring two pink ribbon closures with bows, buttons, and thread button-loops. The title "Needlework" is emboidered in pink thread.
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Virginia Woolf's oak writing desk, between 1904-1907 2.5 Linear Feet — 67.4 x 126 x 87.7 cm; 26.5 x 49.5 x 34.5 inches

Writing desk at which one would stand, designed and owned by Virginia Woolf. The sloping top of the desk features a central panel in two pieces, with hinges at the top. The panel lifts to reveal a storage compartment underneath. Two drawers are located below the storage area, one on each side of the desk. There are metal pulls on each drawer. The left-hand drawer pull surrounds a flower medalion; the medalion on the right-hand drawer is missing. The drawers and desk top each feature a metal lock, but no keys are present. Quentin Bell painted the figure of Cleo holding a trumpet on the top of the desk. He painted the rest of the desk, except the back, in grays with black accents. There are random spatters of paint present on all surfaces.

Writing desk at which one would stand, designed and owned by Virginia Woolf. The sloping top of the desk features a central panel in two pieces, with hinges at the top. The panel lifts to reveal a storage compartment underneath.Two drawers are located below the storage area, one on each side of the desk. There are metal pulls on each drawer. The left-hand drawer pull surrounds a flower medalion; the medalion on the right-hand drawer is missing. The drawers and desk top each feature a metal lock, but no keys are present. Quentin Bell painted the figure of Cleo holding a trumpet on the top of the desk. He painted the rest of the desk, except the back, in grays with black accents. There are random spatters of paint present on all surfaces.

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Elizabeth Winspear metamorphosis book, 1799 0.1 Linear Feet

Collection comprises a full-color, four-page manuscript metamorphosis book, with verses and pen-and-watercolor illustrations by Elizabeth Winspear, who was possibly a resident of New England. Each page features two flaps that fold out in stages to reveal new illustrations. Characters include Adam and Eve, along with a lion, griffin, and eagle, and themes include the attainment of wealth, and impact of sickness and death. Includes a clamshell box.
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Helen Maria Williams letters, 1820 and undated 0.1 Linear Feet — 7 items

Helen Maria Williams was a British novelist, poet, and translator of French-language works. Collection comprises four letters written by Helen Maria Williams, two to her nephew, Athanase Laurent Charles Coquerel, one to Mrs. [Joel?]Barlow, and one to an unidentified recipient. One letter contains the date 1820; the other letters are undated. Topics in the letters include Coquerel's position, her income, the health and situation of friends and family members, an unnamed woman she wishes to avoid, along with the imprisonment of James Wol[l]stonecraft and Thomas Payne's [Paine's] efforts on his behalf. Three letters are accompanied by partial or full transcription.

Collection comprises four letters written by Helen Maria Williams, two to her nephew, Athanase Laurent Charles Coquerel, one to Mrs. [Joel?]Barlow, and one to an unidentified recipient. One letter contains the date 1820; the other letters are undated. Topics in the letters include Coquerel's position, her income, the health and situation of friends and family members, an unnamed woman she wishes to avoid, along with the imprisonment of James Wol[l]stonecraft and Thomas Payne's [Paine's] efforts on his behalf. Three letters are accompanied by partial or full transcription.

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Lady Wilde letter, 1852 November 19 0.1 Linear Feet — 2 items

Collection comprises a letter from Lady Wilde discussing the loss of her mother, followed by her marriage, and announcing the birth of her eldest son, William Charles Kingsbury Wilde. She also comments on marriage, "a woman's duty ends with marriage. She becomes a vegetable, a house leek, a mop--I feel that I am 'potted' for the rest of my days...." Includes an enclosure with a note written in another hand identifying Wilde along with the letter's recipient, whose last name may be Grant.
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Rebecca West note, 16 August 1931 0.1 Linear Feet — 1 item — 12.5 x 16.5

Rebecca West was a British writer and critic. The Rebecca West note consists of a single autograph manuscript note to an unknown correspondent reading, "With Miss Rebecca West's compliments." On letterhead stationery: 15, Orchard Court. Portman Square.W.1., Welbeck 3606.

The collection consists of a single autograph manuscript note to an unknown recipient which reads, "With Miss Rebecca West's compliments." On letterhead stationery: 15, Orchard Court. Portman Square.W.1., Welbeck 3606.

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Mary B. Tuckey poems, 1845-1846 0.4 Linear Feet — 1 item

Collection comprises a volume containing nine handwritten poems prepared by Mary B. Tuckey and others for the 1845 anti-slavery fair held in Boston, Massachusetts, but brought together in a presentation volume. The volume features hand-painted covers and two illustrations, and was presented to Maria Weston Chapman, editor of the Boston Liberty Bell, by Mary Mannix, secretary of the female anti-slavery society in Cork, Ireland, in 1846. The volume was enclosed in a case with a leather spine, with initials "M.M. to M.W.C" and dated "Cork, 1846." One of the poems commemorates Frederick Douglass' visit to Cork.
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Sybil Thorndike letter to Elizabeth Robins, 1922 September 21 0.1 Linear Feet — 1 item

Dame Sybil Thorndike was a distinguished British actress best known for her work on stage. In this letter to the actress and playwright Elizabeth Robins, Thorndike thanks her for the gift of some heather from Yorkshire. She also sends her regards and thanks to "Lady Bell" for her support. The letter is addressed to Robins at Rounton Grange, the North Yorkshire estate which was the family home of the writer Florence Bell ("Lady Bell"). Bell and Robins were close friends and collaborators. Thorndike refers to a play; at the time of this letter, she was in rehearsals for the 1922-23 London production of Shelley's The Cenci at the New Theater, directed by her husband, Lewis Casson. This letter connecting three key female figures of the London stage is evidence of the strong support network these women formed in a male-dominated arena.

The collection consists of a single autograph typescript letter from Sybil Thorndike to Elizabeth Robins at Rounton Grange, Northallerton in North Yorkshire. In the letter, Thorndike thanks Robins for sending her a piece of heather from Rounton Grange. Thorndike writes, "I am sure it is going to bring us luck, and I love having something from Rounton on my dressing table. How lovely to think of you up there among the peacocks and the glorious moors! I really think the play is going to be a success." The letter is signed "yours affectionately, Sybil" with a manuscript postscript asking Robins to give her love to Lady Bell, and to thank Lady Bell for her support. The letter is composed on Thorndike's own letterhead stationery, "Miss Sybil Thorndike" at the address of the New Theater, London and listing her husband, Lewis Casson, as Director. The play in production Thorndike refers to is Shelley's The Cenci, in which she played the lead, Beatrice. With stamped, postmarked envelope.

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Student Nonviolent Coordinating Committee photographs, 1960s 0.1 Linear Feet — 5 items

Collection comprises 5 black-and-white gelatin silver developing-out paper photographs taken by SNCC representatives from the Atlanta, Georgia, regional office. One photograph is uncredited, the others were photographed by Joffré T. Clarke, Bob Fletcher, and Tom Wakayama. They are undated, but probably were taken during the 1960s. Subjects in the images are all African-American, and include an elderly woman picking cotton, a young boy drawing with crayons, a little girl in a group watching others, a man slaughtering hogs, and a group building a house.
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Rose Pastor Stokes letter to Benjamin Butler Davenport, 1914 August 6 0.1 Linear Feet — 2 items

Collection comprises a letter Stokes wrote to dramatist Benjamin Butler Davenport regarding her plan to attend his play "The Silent Assertion" with her husband. Includes enclosure.
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Madame de Staël letter to LeRoy, Bayard & McEvers, 1814 October 12 0.1 Linear Feet — 1 item

Madame de Staël (1766-1817) was a French literary figure whose writings were highly influential in late 18th and early 19th century Europe. She was a political polemicist whose famous confrontation with Napoléon Bonaparte led to her exile from Paris until the Bourbon Restoration. This letter was written in 1814 towards the end of her life. She writes from Paris to the prominent New York mercantile firm LeRoy, Bayard & McEvers concerning a financial transaction in the amount of $20,000. She states that she has transferred the sum to McEvers in London, and wishes to confirm that they will, in turn, transfer it to her account with another firm. At the time she wrote this letter, Madame de Staël owned a large tract of land in upstate New York. Her father originally purchased the land in the event that the family wanted to escape France's instability and settle in America. Although she and her children never moved to the United States, de Staël both increased her land holdings and invested in developing her property. LeRoy, Bayard & McEvers represented Europeans purchasing property in New York State, so it's highly likely that the $20,000 was used to either increase or develop Madame de Staël's American land holdings. This letter is evidence of a degree of financial and business independence that was highly unusual for a woman at the time.

Collection consists of a single one page autograph manuscript letter from Madame de Staël to the firm LeRoy, Bayard & McEvers in New York City regarding a financial transaction of $20,000. The letter is dated 1814 October 12; a note on the back states that it was received in New York 1815 March 10. In the letter, de Staël writes that she is sending their partner in London, Mr. McEvers, a note for $20,000. She asks if they have received her letter of July 25 in which she asked them to transfer the $20,000 to her account with the firm Doxat & Divett, and reiterates this request in the event that they have not received it. The letter is signed Necker de Staël Holstein. At the time, Madame de Staël owned an estimated 30,000 acres of land in what is now upstate New York, (Sakolski) and it's likely that this transaction was related to her American property holdings. Madame de Staël's father purchased land in America for his daughter and her children with the thought of leaving unstable France and settling in America. Although she never lived there, de Staël increased her American land holdings and reportedly invested $20,000 in developing the property. -- Sakolski, The Great American Land Bubble (1932)

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Agnes Smedley letters, 1930s-1947 0.1 Linear Feet — 3 items

Agnes Smedley was a journalist, writer, and left-wing activist remembered for her activity on behalf of the Communist cause in China during the 1930s. It is believed that she engaged in extensive espionage activities while she lived in Shanghai from 1929-1941. The Agnes Smedley letters consist of three letters by Smedley, the first of which was written while she lived in Shanghai, and the second two while she lived at the Yaddo artists' colony during the 1940s. The first letter is a request for a social engagement, and the second two letters discuss the particulars of her political observations and writings while she lived and worked in China.

The collection consists of three letters written by Agnes Smedley; the first to a Miss Gates, and the second two addressed to Corporal James A. Frankel. The single-page autograph manuscript letter to Miss Gates is written on letterhead stationery with Smedley's Shanghai address identifying her as the "Correspondent of the Frankfurter Zeitung in China." She asks Miss Gates to have "tiffin or tea" with her and wonders "Do you ever have extra time to see strange people?" The second manuscript letter, two leaves with text on all four sides, is dated December 27th, 1944. It primarily concerns Emily Hahn's book "China To Me." Smedley writes, “Miss Hahn spent 9 years sleeping around in Shanghai ... When the Japs took Hong Kong she wrote that she would just have died had she gone to a concentration camp like other Americans. So she went to the Japs and said, 'I’m a bad girl.' So the Japs left her free and she fooled around with them in Hong Kong, drinking and carousing, while the bastards were killing our men... But we Americans find this 'hot stuff' and put it up as a best seller... Miss Hahn is a propagandist for the Chinese reaction. She’s never seen a Chinese Communist, yet she’s agitating against them in N.Y... She led a purely personal life in two Chinese port cities but now poses as an authority on political and military matters of China." The third letter, autograph typescript dated March 23d 1947, was originally enclosed in Frankel’s copy of Smedley's book Battle Hymn of China, and addresses Frankel's questions about the Xi'an Incident of 1936 and the capture of Chiang Kai-shek. Smedley directs Frankel to her article on the topic published in The Nation magazine, as well as "her book."

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Edith Sitwell poems, circa 1940-1950 0.1 Linear Feet — 1 item

Dame Edith Sitwell was a British poet and critic whose work helped usher in the modernist era of British poetry. This autograph manuscript contains the text of two of her poems: "Lullaby" and "Serenade: From Any Man to Any Woman." Both poems were inspired by the early years of World War II and were published in her 1942 collection "Street Songs."

The five leaf holograph manuscript with text on the front side of each numbered page consists of two poems both titled at the top and signed "Edith" at the bottom. Both poems, "Lullaby," and "Serenade: Any Man to Any Woman" appeared in her 1942 collection "Street Songs." In this manuscript, "Serenade" is titled "Any Man to Any Woman." Both were inspired by the early years of World War II and are ironically titled. "Lullaby," sung by a baboon, describes a chaotic, primeval world destroyed by wartime chaos and despair in which, "All is equal - blindness, sight/There is no depth, there is no height." "Serenade" spoken by a dying soldier, regards his love through the lens of death and destruction. He identifies his love with a cannon and invites her to "die with me and be my love" in a reversal of the famous Marlowe line.

Both poems are referenced in the Edith Sitwell papers at the Ransom Humanities Center. Viewed March 9, 2017

Source: Misko, Ellen, "A Study of Dame Edith Sitwell's Later Poems: 1940-1945" (1972). Dissertations. Paper 1211. Viewed March 9, 2017

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Lydia Howard Sigourney letter, undated 0.1 Linear Feet — 1 item

Collection comprises a handwritten letter Lydia Howard Sigourney drafted as Secretary for the Hartford Ladies' Association for supplicating justice and mercy towards [sic?] the Indians, to request assistance with the circulation of a petition among the women of Hartford. The letter also discusses the political process behind the petition and its circulation. Includes a faint handwritten addendum, written in another person's hand, noting a decision not to send the letter. The item is undated, but possibly dates to the 1830s.
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Margaret Sanger letter to Vachel Lindsay, 1925 February 13 0.1 Linear Feet — 2 items

The Margaret Sanger letter to Vachel Linsday regards a request from the contraception activist to the poet asking him to write a statement of support to be read at an upcoming birth control conference. Linsday responds by writing a note at the bottom of Sanger's letter replying that he wishes to father "twelve sons seven feet high" with the famously long-haired Seven Sutherland Sisters. The accompanying pamphlet contains the program for the upcoming conference.

The collection consists of a single-page typescript autograph letter from Margaret Sanger to the poet Vachel Lindsay with an autograph manuscript note at the bottom and an accompanying single-sheet folded pamphlet. The pamphlet contains the program for the Sixth International Neo-Malthusian and Birth Control Conference held in New York March 25-31, 1925; the letter is composed on matching letterhead and addressed to Lindsay care of the Macmillan Company in New York. In the letter, Sanger asks Lindsay if he would be willing to compose a message of support to be read at the conference. Lindsay sent the letter back to Sanger with a playful manuscript note by way of reply at the bottom signed Nicholas Vachel Lindsay. His response states that he wants "twelve sons, seven feet high," and that the best way to get them would be "to marry the Seven Sutherland Sisters, as long-haired women have long-legged sons." He concludes by asking Sanger if she knows where the Sisters happen to be at the time. The Seven Sutherland Sisters were famously long-haired and traveled with Barnum and Bailey as a family singing act. In a 1926 letter to the poet Sara Teasdale, Lindsay's wife Elizabeth refers to this as "his famous response" to the Neo-Malthusian Conference.

Source: The Annotated Letters of Nicholas Vachel Linsday to Sara Trevor Teasdale http://www.vachellindsay.org/LetterstoSara/vl_letters_210_241.pdf; viewed March 9, 2017

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George Sand letter to Juliette Lamber, 1867 August 18 0.1 Linear Feet — 3 items

Collection contains a letter from George Sand to Juliette Lamber, written 18 August 1867 at Sand's Nohant estate. The letter discusses possible plans to meet. Also, Sand acknowledges that she has been depressed by the death of her dear friend François Rollinat, and hopes their meeting can help her find courage to live. In a postscript, she adds that she has read Lamber's THE MANDARIN, and that Lamber has the elements of a serious talent. Includes an enclosure for the letter, as well as an English transcription.

Collection contains a letter from George Sand to Juliette Lamber, written 18 August 1867 at Sand's Nohant estate. The letter discusses possible plans to meet. Also, Sand acknowledges that she has been depressed by the death of her dear friend François Rollinat, and hopes their meeting can help her find courage to live. In a postscript, she adds that she has read Lamber's THE MANDARIN, and that Lamber has the elements of a serious talent. Includes an enclosure for the letter, as well as an English transcription.

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Lydia Bailey account statement, April 2, 1823 1 item — 1 Folder

Lydia Bailey was a prominent 19th century Philadelphia printer. The Lydia Bailey account statement itemizes a printing job commissioned by John Steele of the Port of Philadelphia. The job consisted of labels for imported liquor, wine and tea for use on the cargo of commercial ships.

Manuscript document signed by Lydia Bailey, listing 65 itemized expenditures dated March 8-29, 1823, totaling $141.50 for "Printing certificates of spirits, wines & teas imported in the first quarter of 1823." It begins "Genl. John Steele, Collector of the Port of Philadelphia/To Lydia R. Bailey," and concludes with a certifying statement, and a receipt for payment in full signed by Bailey. Each entry specifies the quantity of certificates printed and the name of the ship for which each lot is destined. There is also a single entry for "1000 copies blanks for inspectors."

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Christina Rossetti letter, 1881 December 17 0.1 Linear Feet — 1 item

Collection consists of a single letter from the Pre-Raphealite poet Christina Rossetti to an unnamed recipient in the publishing industry. She grants him permission to use poems from three of her published collections in an upcoming "Fine Art Book for Christmas 1882." Rossetti states that there should be no variation of the text from the source material, and that she chose those three collections because she personally holds their copyright.

Collection consists of an autograph manuscript letter signed Christina G. Rossetti, granting the unnamed recipient, presumably a publisher, permission to reprint some of her poems. The letter is written on a single folded sheet of paper with text on two pages. She lists her address as: 30 Torrington Square - London - W.C. Rossetti refers to the correspondent's "assurance that no variation whatsoever" will appear in "your Fine Art book for Xmas 1882." Rossetti names three of her books he may use as source material: "Poems," "Pageant," and "Sing Song." She writes, "I name these, because not every piece to be found elsewhere is in every instance of my own copyright."

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Marilla M. Ricker scrapbook, 1866-1911 0.5 Linear Feet — 1 item

Marilla Ricker was an influential suffragist and pioneering woman lawyer. Her scrapbook consists chiefly of newspaper clippings by and about Ricker, chronicling her long activist career and public life advocating for suffrage and equal rights for women. It also includes correspondence and ephemera.

Collection comprises a scrapbook (66 leaves, 27 x 35 cm.) bound in maroon cloth with oak leaf and acorn decoration on front cover. The first leaf is inscribed "Marilla M. Ricker, March 1, 1896, 30 Codman Place, Roxbury, Mass." It consists chiefly of U.S newspaper clippings by and about Ricker. Some clippings have mss. annotations indicating the titles and dates of the newspapers. Topics include Ricker's political writings, philanthropic activities, and extensive activism on behalf of women's suffrage. Suffrage activities detailed in the newspaper stories include Ricker's legal activities, attempts to vote, run for public office, and apply for a diplomatic post. Also pasted in are six notes addressed to Ricker from correspondents including the Arts and Crafts Movement leader Elbert Hubbard, Illinois Senator John A. Logan, and the African-American author, orator, and abolitionist Frederick Douglass. Clipped autographs from faith leader Sarah J. Farmer, suffrage leader Elizabeth Cady Stanton and Ohio Senator John Sherman are also pasted in. Black and white portraits and illustrations of Ricker are interspersed throughout. The scrapbook also contains an 1881 certification admitting Ricker to the bar of the District of Columbia, an 1899 brief from a case Ricker tried before the Supreme Court of New Hampshire, printed ephemera including the seal of the American Secular Union and Freethought Federation, and 25 U.S. postage stamps.

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Marianne North letter to Dr. Jessop, undated 0.1 Linear Feet — 1 item

Collection comprises an autograph letter from Marianne North to Dr. Jessop, dated May 22, requesting that Jessop provide details about the possible sale of manuscripts of her ancestor, Roger North.

Collection comprises an autograph letter from Marianne North to Dr. Jessop, dated May 22, requesting that Jessop provide details about the possible sale of manuscripts of her ancestor, Roger North.