Enjoy puzzles?  Try researching women hand bookbinders in the early 1900s!  ‘Lady binders’ was a hot topic in newspapers, but they tended to work for a restricted period, their careers cut short by various events including marriage (which usually involved a change of surname) and the social and economic upheavals of the First World War.

In careers articles and exhibition reviews, women binders are often referred to as ‘Miss’ plus surname.  Miss M. Marshall, the binder of Library’s newly acquired copy of William Morris's Poems (1908) has proved difficult to research, but we can reveal her identity.

Gold tooled green goatskin binding by M. Marshall on William Morris, Poems, 1908 (shelf mark to be assigned).

In an electoral register for London’s Holborn 1907-1908, a Maud Marshall is shown as joint occupier of a shop at 6 Denmark Street with Edith Gedye, who was a bookbinder.  Maud’s residential address is given as 18 Blomfield Street, Paddington. Through this address, Maud Marshall the bookbinder can be linked to her siblings Mary Crawford Marshall and Angus McPherson Marshall who were living there at the time of the 1911 census.  Mary was born in Yokohama, Japan.  In 1911, bookbinder Maud Marshall was living in Claygate, Surrey, and her place of birth was Japan.

Emily Maud Marshall was born on 12 January 1869 in Yokohama, the daughter of merchant William Marshall and his wife Clementina Strachan née McLean.  Her father died suddenly at Yokohama on 4 September 1873 and the family returned to England.  Clementina died in 1900.

Based in London during the first decade of the 20th century, Maud Marshall worked as a bookbinder in collaboration with Edith Gedye.  Their binding styles were influenced by William Morris and T. J. Cobden-Sanderson's Arts and Crafts movement (as were many contemporary hand binders) but it is not known who taught them.  The pair exhibited their bindings at Arts & Crafts Exhibition Society shows in 1903 and 1906.  From 1904 to 1907, the book seller Bain helped them sell their work.  Newspaper articles indicate that they submitted their bindings to many amateur and professional competitions, and they regularly received first prizes, certificates and honorable mentions.

Arts and Crafts Exhibition Society - catalogue of the seventh exhibition, the New Gallery, 121 Regent St. 1903. Images from Internet Archive. Digitised book from the collections of the Archive of Art and Design, Victoria and Albert Museum, uploaded by V&A staff.

Maud Marshall contributed a piece on bookbinding to The Fingerpost. A guide to the professions and occupations of educated women first published in 1906.  She wrote: ‘Of the many careers opened of late years to women, bookbinding is perhaps the one most attractive in point of interest, combining as it does physical, mental and artistic effort.  Whether it is a lucrative career must depend entirely upon the individual’.

A career in artistic bookbinding could certainly be an uphill struggle for women, as emphasised in this article from The Queen.

The Queen 28 May 1910 p.42 British Newspaper Archive

Gedye and Marshall offered lessons in bookbinding.  This not only provided an increased income stream for the business but also gave experience to those not otherwise able to learn the craft (notably women who were not usually eligible for apprenticeships).  They also devised a way of obtaining patronage from country house owners by offering to bind together family correspondence and supplying albums to be used for visitors’ books.

Country Life 19 December 1903 lxiv British Newspaper Archive

In 1910 the pair begun to work independently, with Edith moving to Bristol.  Maud continued to rent business premises in London, but in the 1921 census she is listed in Ware, Hertfordshire, ‘not occupied for a living’.  She died in Aldingbourne, Sussex, on 25 March 1940.

Lower turn-in with signature of M. Marshall.

P J M Marks, Curator, Bookbindings
Margaret Makepeace, Lead Curator East India Company Records

Further reading:
Marianne Tidcombe, Women Bookbinders 1880-1920, 1996
The Fingerpost: A Guide to the Professions and Occupations of Educated Women, with Information as to Necessary Training (London: Central Employment Bureau for Women and Students, 1906.)
See also British Library C.188.a.412. In an early twentieth century English brown goat skin binding tooled in gold and onlaid. Signed: M & G 1905 [i.e. Miss Marshall and Edith J. Gedye]
British Newspaper Archive

 

As a volunteer house guide and researcher at the National Trust property Calke Abbey, I’ve been researching the origins of a historically significant state bed, perhaps the most renowned and prominent object at Calke Abbey.

The State Bed, with colourful Chinese silk hangings at Calke Abbey, Derbyshire. Image 48533. NTPL Commissioned (NTPL). ©National Trust Images/Mark Fiennes. Image courtesy of National Trust.

The bed features near-perfect embroidered silk hangings.  The vivid blue outer curtains, embroidered with silk, gold thread, and accents of peacock feathers, depict birds, dragons, butterflies, and trees, standing in striking contrast to the soft ivory silk interior adorned with enchanting designs of human figures, blossoming foliage, and wildlife.

The bed remained uninstalled when the estate was gifted to the National Trust in 1985.

My current research is re-evaluating the origins of the state bed.  I am examining physical characteristics of China trade silks, regional embroidery traditions, archival records, and locations where Chinese silks were traded and workshops where the silks were embroidered.  Part of a working theory explores possible connections to the East India Company (EIC) as part of the bed’s history.  I began my research by selecting a handful of EIC ships believed to be from the period of the state bed.

During the process, I came across an unexpected treasure: a journal from a 1709-1712 voyage of the ship Rochester, captained by Francis Stanes.  This journal, filled with beautiful handwriting and detailed drawings, chronicles the captain’s journey from England to China and back.

Journal of the ship Rochester - IOR/L/MAR/B/137B

Captain Stanes’s journal includes sketches of coastlines and wildlife, alongside meticulous notes on weather, his knowledge of navigation, and records of those who died aboard.

Captain Francis Stanes's drawing of the coast of China - IOR/L/MAR/B/137B 

 

Skull and crossbones marking the death of Chief Mate Robert Sheppard on board the Rochester March 1709/10 - IOR/L/MAR/B/137B 

 

Drawing of a fish -  IOR/L/MAR/B/137B 

 

Harbour of Chusan - IOR/L/MAR/B/137B

During my research, Margaret Makepeace, Lead Curator for EIC Records at the British Library, provided me with valuable information.  A letter from the Company directors to Fort St George dated 13 January 1713/14, stated that Captain Francis Stanes would not be employed again because of his mismanagement of the Rochester voyage.

Letter from the Company directors to Fort St George stating that Captain Francis Stanes would not be employed again because of his mismanagement of the Rochester's voyage - IOR/E/3/98 p.140.

Reports had surfaced that goods had been secretly loaded onto the Rochester, with claims that saltpetre had been purchased in Batavia for sale in China—a trade forbidden under penalty of death.

Minutes of the Court of Directors 13 February 1712/13 concerning saltpetre allegedly purchased at Batavia - IOR/B/52 p.311

Third Officer Robert Gardiner offered to provide evidence of fraud.

Third officer Robert Gardiner's offer to provide evidence of fraud in Minutes of the Court of Directors 25 March 1713 - IOR/B/52 p.348

The supercargoes had not kept proper business records (IOR/B/52 p.202).  Although an inquiry was held, the Court Minutes don’t provide a specific verdict; however, the directors barred Captain Stanes from future employment, citing mismanagement of the voyage.  Arbitrators ultimately determined payments owed to the supercargoes, captain, and officers, who appear to have had substantial allowances for private trade.

Eighteen years later, in July 1731, Jeremiah Glass, a sailor who had been on the Rochester, wrote to the East India Company offering to provide evidence of embezzlement involving Captain Francis Stanes and the chief supercargo Charles Douglas.

Letter to the East India Company from Jeremiah Glass and others - Mss Eur C618

Jeremiah Glass was at Spithead on a Royal Navy ship.  In August the EIC asked George Huish, its agent at Portsmouth, to talk to Glass.  Huish reported back that the evidence was just hearsay. The EIC told Huish to re-examine him, but the matter seems to have been dropped when Glass’s ship sailed.

EIC Secretary Christopher Mole at East India House to George Huish at Portsmouth, 5 August 1721 - IOR/E/1/203 p.81

 

Noah D. Nelson
Volunteer House Guide & Researcher (Calke Abbey, National Trust)

Further Reading:

Silberstein, Rachel. A Fashionable Century: Textile Artistry and Commerce in the Late Qing. University of Washington Press, 2020.

Calke Abbey State Bed 

Memento Mori brought to life in a painting

 

The British Library holds several early photograph albums compiled by the Dillwyn Llewelyn and Story-Maskelyne families (Photo 1246).  The broader collection includes eight albums containing photographs, two sketchbooks, watercolour drawings, seven journals, letters and a four-part memoir.  This collection showcases Thereza Dillwyn Llewelyn (later Story-Maskelyne) as one of the first female photographers during a period of discovery and experimentation in early photography.

Thereza Llewelyn and dickies, 1854. salted paper print from collodion negative. Photographer: John Dillwyn Llewelyn. © British Library, Photo 1246/1(11).

Thereza was the eldest child of John Dillwyn Llewelyn (1810-82), photographer and botanist, and Emma Thomasina Talbot (d. 1881), born on 3 May 1834 into a wealthy Welsh family with a strong interest in various scientific fields, including photography.

‘My earliest recollections connected with it carry me back to somewhere about 1841…, when as a child - I sat for my portrait taken by my Father … no one living at Penllergare could help being interested in what was of absorbing interest to my Father & Mother and I must have heard many conversations on the subject when letters to my Mother from her Cousin Henry Fox Talbot arrived.’ [Add MS 89120/10]

It was uncommon for women to practice photography during this period.  Thereza would assist her father with his photographic experiments, but her photographic albums and journals show that she was a photographer in her own right.  On her 22nd birthday (3 May 1856), she received a journal and a camera. ‘I saw Papa make 2 stereoscopes, with the new stereoscopic camera that he gave me for my birthday present - I intend to work hard with it, so as to get some pictures worthy of it.' [Add MS 89120/4]

Her journals describe her various photographic activities and highlight the prints in her photo albums.  The albums frequently contain the work of more than one individual, as nearly every family member and their friends were involved in photography.

‘September 6th - After lunch Emma dressed up as a gipsy, and Willy made a capital hut, and represented a wild looking gipsy man looking out, whilst Emma seated on a basket turned topsy-turvy told Caroline’s fortune.  Papa photographed the scene which was very picturesque & pretty, & I made a photo stereoscope thereof.’ [Add MS 89120/5]

Gipsies, 1856. salted paper print from stereoscopic collodion negative. Photographer: Thereza Story-Maskelyne. © British Library, Photo 1246/1(32).

Thereza had other scientific interests, including astronomy and botany, for which she used photography to record her findings.

Delesseria sanguinea or Sea Beech [Botanical Specimen], c. 1854. Negative paper contact Photographer: Thereza Story-Maskelyne. © British Library, Photo 1246/2(27).

Her father built an Equatorial Observatory for her in the early 1850s.  The Observatory made it possible for them to take photos of the moon.  In her memoirs, she mentions that her father ‘made a photo of the moon, and as moon light requires much slow exposure it was my business to keep the Telescope moving steadily as there [was]no clockwork action.’  She states, ‘That was one of the first [photographs] ever made of the moon’. [Add MS 89120/9]

Moon c. 1857. salted paper print. Photographer: John Dillwyn Llewelyn and Thereza Story-Maskelyne. © British Library, Photo 1246/1(49).

Her last entry in her journals was in August 1857, and next year, on 29 June 1858, she married (Mervyn Herbert) Nevil Story Maskelyne, a mineralogist and an associate of both her father and Fox Talbot.  Her interests may have taken a back seat to marriage and family.  Still, photography remained part of her life, as she took photographs of her family and travels.

[Portrait of Nevil Story-Maskelyne with Mary and William Arnold-Forster, 1890]. Albumen print. Photographer: Thereza Story-Maskelyne. © British Library, Photo 1246/7(12).

This collection is a beautiful insight into one of the earliest female photographers.

Susan M. Harris
Cataloguer of Photographs

Further Reading:
Dillwyn Llewelyn/Story-Maskelyne photographic collection, Photo 1246
The Papers of Thereza Story-Maskelyne (1834-1926), Add MS 89120
Noel Cahanan, The Photographer of Penllergare: a life of John Dillwyn Llewelyn 1810-1882 (2013)
Richard Morris, Penllergare A Victorian Paradise (1999)
V. Morton, Oxford Rebels: the life and friends of Nevil Story Maskelyne, 1823–1911 (1987)

The cataloguing and research of this collection (Photo 1246) is part of the British Library’s Unlocking Hidden Collections initiative, with the aim to open collections and make them more accessible to researchers and the public. Readers wishing to consult this collection should write to [email protected] and arrange an appointment in the British Library’s Print Room (Asia and Africa Reading Room).