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159 posts categorized "Arts and crafts"

20 October 2015

Happy Birthday Sir Christopher Wren!

Architect, mathematician and astronomer Sir Christopher Wren was born #onthisday in 1632.

We have a number of manuscripts by or relating to Christopher Wren in the Manuscripts Collection at the British Library. Probably the most beautiful are two drawings which relate to the Monument to the Great Fire of London which are housed in a volume of drawings once belonging to Sir Hans Sloane.  

There is a brilliant article by Matthew Walker about the design of the Monument and its attribution to Robert Hooke.  Among Hooke’s drawings, some of which were signed by Wren, are two advisory drawings by Wren himself. One depicts a statue of Augusta and the other depicts an urn, both for the termination of the Monument . 

Advisory drawing of a statue of Augusta for the termination of the Monument, 1675 Public Domain Creative Commons Licence

 Sir Christopher Wren, Advisory drawing of a statue of Augusta for the termination of the Monument, 1675. Sloane MS 5238 f. 69.

 

Advisory drawing of an urn for the termination of the Monument, 1675Public Domain Creative Commons Licence

Sir Christopher Wren, Advisory drawing of an urn for the termination of the Monument, 1675. Sloane MS 5238 f. 77.

 

As well as these two beautiful drawings we also own the manuscript report by Wren on the Monument,  the manuscript for Parentalia or Memoires of the Family of the Wrens, and the accounts and estimates for Marlborough House.

Alexandra Ault
Curator, Modern Historical Manuscripts and Archives 1601-1850

 

01 October 2015

All Lies

Today is the anniversary of Sir Edwin Landseer’s (1802-1873) death.  One individual who, perhaps, might perhaps not have mourned Landseer’s earthly departure was his one-time friend and colleague, the engraver Charles George Lewis (1808-1880). Landseer was good friends with Lewis’s father and having known him since he was a child, Lewis went on to engrave a large number of paintings by Landseer, many of which were owned by Queen Victoria (r.1837-1901). Their close working relationship, however, was soured by petty squabbles and disputes over the engravings – disputes that would ultimately lead to the courts of law.

Landseer1

Envelope from a letter to Charles George Lewis from Sir Edwin Landseer, Add MS 38608 Noc


The British Library holds a volume of letters and beautifully addressed envelopes from Landseer to Lewis, Add MS 38608, which not only document the working relationship between the two men, but hint at their long-running battle tainted with bitterness and threats of legal action.

One letter dated 7 June 1855 is a frustrated plea from Landseer to Lewis asking to gain access to an engraving that Lewis had made after his work:

‘I can only repeat my request to have the touched proof sent here. It appears quite feasible (and not unreasonable) . . . to add a little work to the engraving . . . I must have an opportunity of looking again at the work with the picture and that touched impression. . . Your lawyer wrote me a most improper letter to me last occasion . . .  I also requested you to show Mr Graves my touched proofs – he tells me he has not yet seen it . . . Send me the proof I ask you or take later . . . consequences of law.’

Across the top of the letter and along the bottom of the second page, Lewis has scrawled  ’Lies  . . . All Lies’. 

 Landseer2

Envelope from a letter to Charles George Lewis from Sir Edwin Landseer, Add MS 38608 Noc

Landseer was not the only one Lewis managed to upset. Lewis’ annotations on other letters in the volume hint at disagreements with patrons and dealers, notably with  the publisher and print seller Henry Graves (1806-1892) and the collector, MP, and chemist Jacob Bell (1810-1859). They should not have been surprised by Lewis’s awkward nature. They were all friends with Landseer and had observed his frustrations. By the end, both sides appeared to wish the other dead. On the verso of a letter from Landseer dated October 1855, Lewis has triumphantly written ‘. . . concerning the lawsuit brought against me by Graves, Bell  . . .  told me “he would crave me to shuffle off my mortal coil”. [But] He, Bell, was dead in a year after!!!!’

Landseer3

Charles George Lewis by Marshall Claxton, 1864, NPG 890, National Portrait Gallery, London CC NPG

 

Alexandra Ault
Curator Modern Archive and Manuscripts 1601-1850

 

 

27 August 2015

Robins: representations of benevolence or xenophobia?

Curator Alison Bailey gives an insight into the work behind the exhibition Animal Tales now open at the British Library.

The writing of exhibition labels can be both a terrible tyranny and an exhilarating exercise.  In the attempt to distil everything that might put an item into a specific context in about a hundred words there are always some questions unanswered, some matters unaddressed.  Moreover, there is no room for footnotes, and the cagey use of 'perhaps' or 'seems' has to be rationed – so inevitably the tone is more dogmatic and definite than might be the case with more space.  Luckily for me, the label writing for Animal Tales was shared between Matthew Shaw (Lead Curator) and Barbara Hawes and me (Co-Curators) and a blog provides me with a chance to give a taste of a few of the things I couldn’t cover in my label for History of the Red-Breast Family.

  Title page of History of the Red-Breast Family:
History of the Red-Breast Family: being an introduction to the Fabulous History written by S. Trimmer. London: Sold by Darton and Harvey, 1793. C.193.a.126.  Public Domain Creative Commons Licence

Sarah Trimmer (1741-1810) is an important figure in the history of children’s literature and education.  She taught her own twelve children at home, wrote several books, founded one of the first Sunday schools (in Brentford) and advised Queen Charlotte about Sunday schools.  In 1786 she published her most famous work, Fabulous Histories, which remained in print for many decades, and was also adapted for younger children, as in the copy above.  The subtitle of her original work gives an indication of her ostensible purpose 'designed for the instruction of children respecting their treatment of animals'.

In my label, I have given a fairly straightforward account of the storyline and the role of the robins within it: 'she interwove the related stories of a family of robins and a human family…the behaviour of the robins is presented as an exemplar to the reader while the attitudes of the Benson children and their friends to the robins provide lessons in the proper treatment of animals'.  I also included a couple of lines about Mrs Trimmer but even then my text had to be cut down, so there is no reference, for example, to Mrs Trimmer’s influential reviews of children’s books in her periodical The Guardian of Education (June 1802 – September 1806).  Equally there was no room to allude to critical discussion of Mrs Trimmer as an establishment figure, concerned to uphold the status quo.  Quoting from the text, I referred to the message of 'universal benevolence' that the book seeks to inculcate, but Moira Ferguson, in Animal Advocacy and Englishwomen 1780-1900, suggests that, far from presenting images of kindness and compassion, the behaviour of the robins can be identified with that of the British Redcoats in and after the American Revolutionary War and their attitudes to alien or foreign birds, such as the cuckoo and the mocking-bird, reflect xenophobia.

To turn to bibliography: the British Library is the only location given in ESTC (English Short Title Catalogue) for a copy sold by Darton and Harvey dated 1793.  A copy sold by Darton and Harvey and dated 1799, held by the National Library at Wales, is also recorded in ESTC and there is an entry (G468) in The Dartons (the standard listing of works issued by the firm of Darton) for a copy printed and sold by Darton and Harvey in 1801 which is in the Renier Collection at the National Art Library. 

Manuscript inscriptions on the paste-down of History of the Red-Breast Family

History of the Red-Breast Family: being an introduction to the Fabulous History written by S. TrimmerPublic Domain Creative Commons Licence


There is also the question of the manuscript inscriptions on the paste-down.  Is it too fanciful to identify one with Caroline Fry the Christian educationalist?  The 'Caroline' seems to match a later signature in her married name. Work on provenance is continuing – but any help would be warmly welcomed.

Alison Bailey
Lead Curator, Printed Heritage Collections 1901-2000

Further reading:
Laurence Darton, The Dartons: an annotated check-list of children’s books issued by two publishing houses 1787-1876. London: British Library, 2004. YC.2006.a.11349.
Moira Ferguson, Animal advocacy and Englishwomen, 1780-1900: patriots, nation, and empire. Ann Arbor: University of Michigan Press, 1998. YC.1999.b.6076
Matthew Grenby, “Introduction” to Sarah Trimmer, The Guardian of Education: a periodical work. Volume I: From May to December inclusive, 1802. Bristol: Thoemmes Press, 2002. YC.2003.a.17249.

 

Animal-tales2Visit Animal Tales – a free British Library exhibition open until Sunday 1 November 2015

 

 

 

 

 

  

30 July 2015

John Lovejoy, bookbinding tyrant

What changed bookbinder John Lovejoy, “a good looking, full-bodied, red-faced, dark haired man… with a great business” into “The Tyrant”?

In the 1770s London bookbinders tended to work longer than other craftsmen. One binder, John Lovejoy, (1749-1818) took it upon himself to resolve this discrepancy, and quickly gained considerable support among his colleagues by arguing for the reduction of the working day by an hour.   According to Lovejoy, his memory would be forever blessed for this achievement!

A binding by John Lovejoy

A binding by John Lovejoy-  Davis 221 taken from the British Library’s online image database of bookbindings. Public Domain Creative Commons Licence

Lovejoy was originally a journeyman (a trained bookbinder who did not own his own workshop, as opposed to a master bookbinder).  He his fellows met weekly to discuss trade issues, eventually forming themselves into regulated groups (an early manifestation of trade unionism). The issue of ‘the hour’ could not be addressed immediately; a strike fund was established in case binders were laid off.    By 1786, everything was ready but Lovejoy was no longer in step. Indeed he soon became characterised as “The Tyrant”.

What had happened was that Lovejoy had become an employer himself (In Plough Court, Fetter Lane). In an abrupt volte face he urged the masters to resist the hour and promptly discharged his own journeymen when they applied for it.   This was not all: the ‘Prosecuting Masters’ made an example of some of the workers by having them arrested for conspiracy.  At the trial, the famous defence lawyers Thomas Erskine and William Garrow (with the aid of some journeymen) damaged Lovejoy’s credibility by using his former opinions against him. Nevertheless, five strikers were imprisoned in Newgate for 2 years. The ‘hour’ was won despite this.

Thomas Erskine  -'Bar eloquence' by James Gillray,

Thomas Erskine  -'Bar eloquence' by James Gillray, published by Hannah Humphrey 6 January 1795 (NPG D12510)
© National Portrait Gallery, London  National Portrait Gallery Creative Commons Licence

 

Having proved himself as a sound establishment figure by his part in 1786 prosecution, Lovejoy was granted an honour, the livery of the Stationers’ Company.  His business grew.  Booksellers and Freemasons patronised his workshop (Lovejoy was a mason at the Lodge of Antiquity from 1792-1812).  He was one of the few who could supply bindings with suitable motifs (Lovejoy jealously guarded his masonic tools and never lent them to anyone). 

Despite his mistakes of the past, Lovejoy did not learn his lesson.  In 1794 he unsuccessfully led opposition to a further hour’s reduction.  The journeymen achieved this without a strike. For his pains – as entries in the British Library’s Jaffray Collection show - he died in penury universally hated, while the masonic tools upon which he had set so much store were given to his foreman George Rowley in payment of debts.

PJM Marks
Printed Historical Sources

Further Reading:
Ellic Howe and John Childe, The Society of London Bookbinders, 1780-1951 (London, 1952)
The Jaffray Collection at the British Library

 

26 June 2015

ABBA’s Waterloo at the Prince Regent’s Stables

1974 saw ABBA win the Eurovision Song Contest for Sweden with their song ‘Waterloo’, one of the best remembered entries from the show’s long history which quickly catapulted the group to international fame. But how many of us watching the live broadcast over four decades ago realised that Agnetha, Björn, Benny and Anni-Frid were performing in a space once graced by royal stallions?

ABBA winning the Eurovision Song Contest in 1974

ABBA winning the Eurovision Song Contest in 1974 courtesy of YouTube

 

In Eurovision land, the winning country hosts the following year’s competition. Having won two years in a row, diminutive Luxembourg was in a fix and so Britain stepped in. Rather than hosting the show in London, the BBC chose one of the largest concert halls on the south coast, The Dome in Brighton.

Brighton Dome

The Dome at Brighton today Public Domain Creative Commons Licence

 

This yellow brick edifice with minarets and an impressive 24 metre cast iron dome was constructed in 1804-8 for George, Prince of Wales (soon to become Prince Regent, and later King George IV). The building’s ‘Indian-Saracenic’ design, created by William Porden (ca. 1755-1822), pre-dates that of the neighbouring Royal Pavilion as we know it today, which at the time comprised only a smaller neo-classical structure. The purpose of Porden’s monumental creation was as stabling for the prince’s horses, with an adjacent hall – now the city’s Corn Exchange – acting as a riding school. The stage where ABBA sang was built inside the circular stables where up to 60 royal horses were once housed and groomed. The balconies from which Europe’s television broadcasters provided their live commentary held accommodation for stable-boys.

Brighton Pavilion

74/558*.h.12 John Nash, 'Her Majesty's Palace at Brighton' (London, 1838)  Public Domain Creative Commons Licence

 

Queen Victoria disliked the royal estate at Brighton, and in the 1850s the buildings were all sold to the town corporation. The circular stables were first concerted into a concert hall 1867-73, and the space has been remodelled several times since. Its most recent refurbishment was in 1998-2001, when a certain Björn Ulvaeus of ABBA stepped up to become one of its 50 famous patrons. He hasn’t yet offered to give an updated performance of ‘Waterloo’ at the Dome, but here’s hoping!

Adrian Edwards
Head of Printed Heritage Collections

Further reading:
Brighton and Hove, by Nicholas Antram and Richard Morrice. (Pevsner Architecture Guides.) [New Haven and London: Yale University Press, 2008].
The New Encyclopædia of Brighton, by Rose Collis. [Brighton: B&H City Council, 2010].
The Complete Eurovision Song Contest Companion, by Paul Gambaccini, Tim Rice, Jonathan Rice and Tony Brown. [London: Pavilion Books, 1998].
Illustrations of Her Majesty's Palace at Brighton, formerly the Pavilion, executed by the command of King George the Fourth under superintendence of John Nash Esq Architect (London, 1838).

A free display “Waterloo: War and Diplomacy” runs until 6 September 2015 in the British Library’s Treasures Gallery.

22 June 2015

The celebration of Waterloo in 1817

To celebrate the second anniversary of the Battle of Waterloo, Strand Bridge was opened by the Prince of Wales (later George IV) and the Duke of Wellington on 18 June 1817. The bridge soon became known as Waterloo Bridge. This hand-coloured etching and aquatint was published by Rudolph Ackermann on 21 June 1817 and is part of King George III’s Topographical Collection.

Waterloo Bridge on 18 June 1817

Maps K.Top.22.40.b. HIS ROYAL HIGHNESS THE PRINCE REGENT and DUKE OF WELLINGTON &c. &c. &c. First visit to Waterloo Bridge, on the 18th of June, 1817 (Taken from Somerset House). Published June 21st 1817 by R. Ackermann, 101 Strand. Etching and aquatint with hand colouring.  Public Domain Creative Commons Licence

 

The vantage point depicted is unusual as it conflates a view across the bridge with another along the River Thames to Westminster Abbey and beyond. This perspectival trick allows the viewer to take in two aspects of the event. The Prince travelled along the River Thames in the royal barge surrounded by a flotilla of boats, before landing at Waterloo Bridge. The royal barge can be seen to the left in the foreground with the other boats moving along the Thames from Whitehall to the right. The Prince was met by the Duke of York and the Duke of Wellington and was escorted across the bridge surrounded by soldiers, before returning to Whitehall by water. The perspective employed in this print allows the viewer to experience the narrative of the event and follow the route which the Prince took from Whitehall by boat and across the bridge on horseback.

The print also enables to viewer to link the celebrations to the Battle of Waterloo itself. Smoke billowing from below the bridge evokes cannon fire while the marching soldiers call to mind the battlefield, reminding the spectator of the military success being commemorated. The celebration, and indeed the print itself, continue the tradition of the use of the River Thames as a site of drama and the setting for grand military and royal performances.

Another view from King George III’s Topographical Collection shows Ackermann’s shop at 101 Strand, from where this print would have been sold.

Ackermann's Repository of Arts 1809

Maps K.Top.27.16.1. ACKERMANN'S REPOSITORY OF ARTS, 101 STRAND. Drawn by Augustus Pugin and Thomas Rowlandson. Published by Rudolph Ackerman, January 1809. Etching and aquatint with hand-colouring.Public Domain Creative Commons Licence

 

Ackermann’s shop was only a few metres away from Somerset House and the site of the new bridge. A map published on 1 July 1817 by William Darton shows new Waterloo Bridge.

Plan of the cities of London & Westminster, & borough of Southwark;

Maps 198.b.72. An entire new plan of the cities oif London & Westminster, & borough of Southwark; the West India Docks, Regents Park, New Bridges &c &c with the whole of the new improvements of the present time. Published 1 July 1817 by William Darton.Public Domain Creative Commons Licence

 

It is possible to see just how close 101 Strand was to the bridge. It is between the letters ‘S’ and ‘R’ of ‘STRAND’ on the map, marked as (a). The vantage point from which the view is taken at Somerset House is marked as (b). The new Waterloo Bridge is marked as (c) and Whitehall as (d).

Ackermann’s print of Waterloo Bridge was published just three days after its opening, showing his ability to  respond quickly to popular subject-matter and events. It was only available with hand-colouring and sold for four shillings. In reality, it is likely that Ackermann had ordered printmakers to begin working on the copper printing plate before the event, as etching, aquatinting, printing and hand-colouring was a lengthy process. Similarly, Ackermann didn’t advertise the print in his Repository of Arts until 1 July (Vol IV, 1 July 1817, No XIX) showing that it wasn’t available until after this date, despite the plate being lettered in June. This accounts for the time it took to print the image and then add hand-colouring.

Alexandra Ault
Cataloguer of Coloured Views, King's Topographical Collection

A free display “Waterloo: War and Diplomacy” runs until 6 September 2015 in the British Library’s Treasures Gallery.

 

28 May 2015

The unfortunate Matthewman; how a bookbinder failed against all the odds

If a lowly bookbinder in Georgian London acquired a wealthy patron who needed hundreds of books bound, his business was surely set up for life.  How then did John Matthewman who worked for the prosperous Dissenter and Republican Thomas Hollis find himself bankrupt?

Bookbinders were ill regarded by many in their trade guild, the Stationers’ Company, due to their low earning ability.  They often had to practise related additional trades, for example book or stationery selling, to make ends meet.  One way to ensure a workshop flourished was to gain a steady stream of work. 

Hollis (1720-74) promoted his beliefs by having books favourable to his views suitably bound and dispatched to friends and institutions throughout the world.  Initially, he employed Richard Montagu (c1756-8) and John Shove (from about c1756).  Both binderies were located near Hollis’s workplace in Lincoln’s Inn.  In 1759, the volume of work was such that Hollis turned to Montagu’s former apprentice, Matthewman and his business partner John Bailey, who also traded nearby.

  Thomas Hollis
Thomas Hollis from Francis Blackburne, Memoirs of Thomas Hollis (1780)  Public Domain Creative Commons Licence

 

Hollis was a demanding taskmaster.  He instructed the binders on technical and aesthetic issues and advised which of his specially- cut emblematic decorative tools (designed by Cipriani) should be applied.   After a fire in January 1764 destroyed the library of Harvard College in the USA, Hollis began shipping thousands of specially chosen books to the institution. W. H. Bond speaks of Matthewman and Shove producing bindings “in wholesale quantities”. 

 

  The Life of John Milton  (1761) with Masterman binding
John Toland, The Life of John Milton  (London, 1761) with Masterman binding - British Library Database of Bookbindings Davis 163    Public Domain Creative Commons Licence

The Harvard fire may have benefitted Matthewman indirectly but later in the year fire was to play an equally destructive part in his own professional life.  In June 1764 “ a great fire broke out at the house of messers Matthewman and Bailey booksellers and bookbinders in Great Wild Street which consumed that and many other dwelling houses in the said street…”  An elderly lady, a maidservant and a child perished.  Matthewman’s apprentice narrowly survived via a daring escape over the roof.  The next day, Hollis related “cheering Matthewman” in his diary but lamented the destruction of his own books awaiting binding and the loss of his special bindings tools. Later, Bailey paid Hollis insurance as compensation and Hollis had the engraver Thomas Pingo cut new emblematic tools which Matthewman put into use. 

In March 1766 the workshop was afflicted by another misfortune.  The exact details are a mystery but John Shove reported that the unreliable Bailey had led the partnership into severe financial difficulties.  Bankruptcy was announced in the newspapers.  A solution must have been found because bookbinding continued but it was temporary.  The same year saw another reverse.  Prynne’s book on parliamentary history was bound without a section which happened to reflect an anti-catholic sentiment.  The pages could not be found. Hollis blamed Matthewman and accused him of being a papist.  The binder is described as being somewhat disconcerted by the misadventure, but “not enough”, according to Hollis, who hinted that the earlier fire may have been set to destroy the more liberal of Hollis’s books!  Matthewman’s religious and political beliefs are not recorded but such behaviour would not have been in his own interest.  Hollis’s diary implied that Matthewman would have been reimbursed by sympathisers but in reality his business never recovered.

On 21 June 1769, Matthewman absconded to avoid being imprisoned for debt.  Hollis never referred to Matthewman again in his diary. 

PJM Marks
Printed Historical Sources

Further reading:
W. H. Bond, (William Henry), Thomas Hollis of Lincoln's Inn : a Whig and his books Cambridge : Cambridge University Press, 1990.

British Newspaper Archive -
Thursday 07 June 1764, Bath Chronicle and Weekly Gazette, Somerset, England
Saturday 15 March 1766, Oxford Journal, Oxfordshire, England

Francis Blackburne, Memoirs of Thomas Hollis, Esq. London 1780

 

19 May 2015

Famous friends

Do the names Michael Renshaw, Robert Ferns Waller, Ethel Ford, and Barbara Coombs mean anything to you?  If not, then you might be surprised to learn that the likes of Cecil Beaton, Clarissa and Anthony Eden, Ann Fleming (wife of Ian), T.S. Eliot, Henry James, and Ivon Hitchens were their friends and regular correspondents.  Four recently catalogued collections amongst the Library’s western manuscripts suggest that, at least in the early and mid-20th century, famous people did not mix only with other famous people.  So who were these less than household names, and how did they come to have such celebrated friends? 

  Michael Renshaw, by the pool al Leeds Castle
Michael Renshaw, by the pool al Leeds Castle, late 1960s/early 1970s. Published with the permission of the Trustees of the Leeds Castle Foundation and Anthony Russell.

Renshaw was, for want of a better phrase, a society figure.  He did have a day job, advertising director of The Sunday Times, but he spent most of his time mixing with high society and going to, and hosting, fabulous parties.  His correspondence is a ‘who’s who’ of the arts, fashion, politics, and the aristocracy.  The letters he received from his famous friends are a rich source of information about their writers.  They also give fascinating insights into life during, and just after, World War II in England and north-west Europe, the Cyprus crisis, and British politics and society in the turbulent 1970s.

Photo of Robert Waller, mid-1950s
Robert Waller, mid-1950s. Published with the permission of Anne Baillie.

Waller was a BBC radio producer, poet, and an early leader of the environmental movement.  He was the private secretary to the literary reviewer and critic Desmond MacCarthy, a role which introduced Waller to a wide literary circle.  Within this circle was T.S. Eliot, who, over 20 years, wrote to Waller with advice on literary and personal matters.

Barbara Coombs, photographed by Ivon Hitchens, circa 1950.
Barbara Coombs, photographed by Ivon Hitchens, circa 1950. Published with the permission of Jonathan Clark Fine Art.

Coombs’s entré into artistic circles came about by the accident of birth.  Her eldest brother was Frank Coombs, painter, and manager of the Storran Gallery with Eardley Knollys.  Although Frank died in World War II it can be assumed that his connection with the art world was the source of Barbara's long friendship with Hitchens, with whom she corresponded for 30 years.  Coombs sat for Hitchens; photographs of his portraits are in her papers, along with photographs, by Hitchens, of Coombs and Mollie, Hitchens’s wife.

Ford met Henry James by way of a different type of coincidence.  In 1907, she and her husband, Francis, who had played cricket for England, bought a Georgian farmhouse in Wittersham, six miles from Rye, where James was living.  The Fords and James became acquainted through a mutual friend, an architect who advised both parties on renovations and alterations to their homes.  This chance encounter led to an eight year correspondence in which James writes of family and friends (particularly the du Mauriers), health matters, and daily life. 

The letters in these four collections are invaluable sources for those researching their writers, but given their unlikely recipients they go to show that sometimes the best, and most useful, information is not to be found in the most obvious places.

Michael St John-McAlister
Western Manuscripts Cataloguing Manager

Further reading:
Rosalind Bleach, ed., Henry James's Waistcoat: Letters to Mrs Ford 1907-1915 (Settrington: Stone Trough Books, 2007).
British Library Add MS 71231, 89045, 89051, 89056, and 89068.
Philip Conford, ed., The Poet of Ecology: A Selection of Writings in Memory of Robert Waller (1913-2005) (Chichester: Norroy Press, 2008).
Michael St John-McAlister, 'Michael Renshaw: A Society Figure in War and Peace', Electronic British Library Journal

 

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