Untold lives blog

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-  Davis 221 taken from the British Library’s online image database of bookbindings.

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, published by Hannah Humphrey 6 January 1795 (NPG D12510)
© National Portrait Gallery, London 

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

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 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.

_{The Dome at Brighton today}

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.

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

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.

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.

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. 

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.

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.

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.

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.

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.

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 from Francis Blackburne, Memoirs of Thomas Hollis (1780) 

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”. 

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

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

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, 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.

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. 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

Lady Anne Blunt née King (1837-1917) was a keen artist, horsewoman and traveller. She recorded her experiences in a series of diaries and in her beautifully illustrated sketchbooks, which are held at the British Library (Add MS 53817-54061).

Watercolour by Anne Blunt Add MS 54048 

Anne was born on 22 September 1837 to William King, first Earl Lovelace and his wife Ada, the only daughter of Lord Byron and his wife Anne Millbanke. After the death of her mother when Anne was only 15 her father took her on many continental travels where she learnt four languages and began sketching the scenery she encountered. It was whilst travelling that she met her future husband Wilfred Blunt. They married in 1869 when Anne was 32 and had four children, only one of whom, Judith survived into adulthood. In 1872 Wilfred inherited a family estate in Sussex and the couple built their home Crabbet Park.

 
  Wilfred and Anne Blunt Add MS 54085

The couple travelled widely including across Europe and to parts of India. It was however, the Middle East that sparked their interest with Wilfred the politics and Anne the horses. The couple began a stud in 1878 breeding only with horses with excellent confirmation and lineage. Anne’s diaries reveal their travels across the desert visiting sheikhs and providing critiques of the horses they saw. Anne had a good eye for confirmation and the extract below shows one of many assessments she made:

Diary of Anne Blunt from 1881, Add MS 53911 f.11 

   
Watercolour by Anne Blunt Add MS 54048 

In 1882 they opened a second stud outside Cairo called Shaykh ‘Ubayd. Anne was by now fluent in Arabic and had a good insight into the people and their customs.  She was also compiling a book on the Arabian horse, and her notes were later used in her daughter Judith’s volume, The Authentic Arabian Horse (1945).

Photograph of Anne (AB) and Wilfred Blunt (WSB) on horseback Add MS 54085

Anne’s marriage however was not happy and in 1906 the couple were legally separated after Wilfred’s mistress Dorothy Carleton (later adopted as his niece) moved in to the family home. She went to live with her daughter Judith and son-in-law near Crabbet Park and spent the winters at Shaykh ‘Ubayd. In 1913 she moved out to live in Shaykh ‘Ubayd permanently and died in Cairo in 1917.

Photograph of Anne Blunt on horseback taken by Gertrude Bell Add MS 54085 

Anne’s passion for breeding the Arabian horses she loved has had a huge impact on the breed itself and the majority of Arabian horses today would have at least one Crabbet ancestor. For this passion she became known and respected as the ‘noble lady of the horses’ by many of her friends.

Watercolour by Anne Blunt Add MS 54055

Laura Walker
Lead Curator, Modern Archives and Manuscripts 1850-1950

Further reading:
Lady Anne Blunt. Journals and Correspondence 1878-1917, edited by Rosemary Archer and James Fleming (Alexander Heriot 1986)
Oxford Dicionary of National Biography - Rosemary Archer, Blunt [née King], Anne Isabella Noel, suo jure Baroness Wentworth (1837–1917), traveller and breeder of Arab horses
A.V.F. Winstone, Lady Anne Blunt. A Biography (Barzan 2003)

Inspired by the TV drama Indian Summers, I decided to investigate the social life in Simla under British rule. Was it dominated by eating, drinking, playing cards, gossiping and arguing, interspersed with some amateur dramatics?

 
From The Delhi Sketch Book 1 January 1855

Simla was a hill station in the Himalayan foothills popular with convalescents. It then developed into the summer capital of the British administration in India. There was a variety of clubs in Simla to help the Europeans pass their time pleasantly. The oldest was the United Services Club founded in 1844, with membership restricted to commissioned military officers, army or navy chaplains, members of the Indian Civil Service and judges.  Indians and women were not permitted to join, although guests were admitted.  The Club boasted a racquet court and rooms for playing billiards and cards, as well as a reading room and a library packed with books for members to enjoy.

In the late 1880s the New Club opened as a rival attraction.  It had well-built premises with spacious rooms and a fine dining room with an excellent dance floor. Popular smoking concerts were held, where members of the Viceregal Council enthusiastically joined in the choruses.  However the United Services Club was stung into action by the competition. Extensive improvements were made, and private pressure was brought to bear on government officials to support the older club. The New Club was forced into liquidation and the buildings became a hotel.

From The Delhi Sketch Book 1 January 1855 

Men could also belong to one of several Masonic lodges which held meetings in Simla. The oldest of these was the Himalayan Brotherhood founded in 1838.

An area of flat land known as Annandale became the ‘public play-ground at Simla’.  Picnics, fairs and dances were held there, as well as horse races, gymkhanas, and dog shows.  Sports included polo, cricket, football, archery, rifle-shooting, golf, and croquet.  In 1911 there was a Simla Winter Amusement Club offering badminton, a skating rink, and toboganning.

Amateur dramatics were very popular.  In the late 1830s Emily Eden watched performances in a ‘small and hot, and somewhat dirty’ theatre in Simla.  She wrote of a falling-out amongst the gentlemen actors: ‘One man took a fit of low sprits, and another who acted women’s parts well, would not cut off his moustachios, and another went off to shoot bears near the snowy range’.

A major event of the Simla season was the annual Fine Arts Exhibition.  In the 1860s there was said to be ‘a galaxy of amateur talent in water-colour painting then at Simla’. Money prizes were offered and pictures were sent in from all over India.

The Simla United Services Club closed in 1947 and its collection of books was dispersed. A large number went to the House of Commons and the Empire Society, and the fiction was taken by the Punjab Club. There were thousands of non-fiction books on a wide variety of topics, some perhaps predictable, others less so.  Alongside works on history, government, politics, war, military and naval strategy were books about hypnotism, crime, psychology, psychotherapy, feminism, witchcraft, and spiritualism. The homesick reader of A lonely summer in Kashmir could seek solace in one of a number of works on life back in Britain, such as The Glory of Scotland, Irish bogs, The England I love best, or A dull day in London.

Margaret Makepeace
India Office Records

Further reading:
Edward J. Buck, Simla Past and Present (Calcutta, 1904)
India Office Private Papers: MSS Eur D 957 List of books in the reading room and library of the United Services Club Simla, 1947
India Office Private Papers: MSS Eur D 1236/4 Simla Winter Amusement Club  1911-1912

Bear’s grease, bonnets, bellows, biscuits and Bibles - a merchant in Simla in the 1850s

Edward Lloyd was born on 16 February 1815. He was a publisher and newspaper proprietor, and the founder of two large paper mills.  Here we give you a glimpse into his remarkable career.

Lloyd was a pioneer of cheap popular literature.  His ‘Penny Bloods’ were a great success with working class readers.  From 1835 he published titles such as Lives of the Most Notorious Highwaymen, Footpads etc, and History of the Pirates of All Nations.  He and writer Thomas Peckett Prest then produced imitations of the works of Charles Dickens, for example The Life and Adventures of Oliver Twiss the Workhouse Boy, and Memoirs of Nickelas Nicklebery.  These stories sold many thousands of copies each week.

 
From The Gambler’s Wife; or, Murder will Out

Lloyd issued works of history, horror, and romance.  Stories were published in instalments, and all featured plenty of drama and bloodthirsty action.  It was Lloyd who introduced vampires to a mass readership with Varney the Vampyre; or, the Feast of blood.

From Varney the Vampyre 

Lloyd’s Weekly Newpaper was founded in 1843. Lloyd put a good deal of effort into promotion and it was claimed in the 1890s: ‘The pictorial advertisements of Messrs. Lloyd’s journals  - themselves works of art – are prominent at all stations and throughout the country, and there is no village in England so obscure as to be unaware of the existence of Lloyd’s News’.  Circulation grew to a huge 930,000 copies weekly. Stories deemed to be of particular importance were illustrated by artists kept on the staff.  There was a successful ‘Lost Relative’ column: people wrote in from every part of the world and a shortened version of the letters was published for free.

By 1861 Lloyd was using so much paper that he started his own paper mill on the River Lea at Bow in East London. As it was becoming difficult to obtain sufficient supplies of rags, esparto grass was brought in as a raw material from Algeria and Spain.  Soon Lloyd’s mill was expanding to make paper for rival newspapers.

In 1877 Lloyd’s firm purchased the Daily Chronicle. Much of this newspaper was devoted to events in London, but it also gathered news from the rest of the UK, and from abroad via daily cables. Circulation was increased from 8,000 to 140,000 in the space of eight years, and to meet demand a second mill was opened at Sittingbourne in Kent which produced a wide variety of paper types.  By 1895, Lloyd’s were employing over 700 people at the mills and 500 at the newspaper offices and home and export departments.

 
From Miranda, or the Heiress of the Grange 

It has been claimed that having established himself in ‘higher’ publishing circles Lloyd then tried to supress the ‘Penny Bloods’, sending out agents to buy up and destroy the stocks at coffee shops and circulating libraries.  Whether or not this is true, many 'Bloods' have survived and a good number can be found at the British Library, some in digitised format.

Edward Lloyd died on 8 April 1890 having amassed a fortune from his various business ventures. The value of his estate at death was £563,000.

Margaret Makepeace
India Office Records

Further reading:
Edward Lloyd Ltd, A glimpse into paper making and journalism (1895)
John Medcraft, A bibliography of the penny bloods of Edward Lloyd (1945)

Further reading:
Edward Lloyd Ltd, A glimpse into paper making and journalism (1895)
John Medcraft, A bibliography of the penny bloods of Edward Lloyd (1945)
Varney – an early vampire story
Edward Lloyd