Untold lives blog

The Institution for Promoting the Natural History of India was established by Governor-General Richard Wellesley at Barrackpore outside Calcutta in 1801.  The aim was to increase Western scientific knowledge of the fauna of India, which Wellesley viewed as being ‘altogether unknown to the naturalists of Europe, or [which] have been imperfectly and inaccurately described’.  The Institution was supervised initially by Dr Francis Buchanan (later Buchanan Hamilton), an East India Company surgeon and accomplished naturalist, and then by William Lloyd Gibbons, an assistant at the Calcutta Orphan School and member of the Bengal Asiatic Society.  Animals and birds were collected and sent to Barrackpore for scientific study, the process of which included making descriptive notes and commissioning drawings, often from Indian artists.  The Institution itself was short-lived, receiving little advocacy or financial support from the East India Company.  Barrackpore Menagerie survived as a public attraction until 1878, when the animals and birds were transferred to Alipore, to what later became Calcutta Zoo.

Moore & Horsfield catalogue entry for Falco tinninculus

Copies of many of the notes and drawings produced at Barrackpore are held at the British Library.  Some were deposited directly with the East India Company by Buchanan Hamilton, others sent to London by Gibbons, and still others ended up at East India House via intermediaries such as Nathanial Wallich and Dr John Fleming.  Drawings, notes, and physical specimens were housed as part of the India Museum, and many were worked on by Thomas Horsfield and Frederick Moore for their Catalogue of the birds in the Museum of the Honourable East India Company (London, 1854-58).

Mss Eur Mack Misc 167. 6. Notes on ‘Falco tinnunculus’ (Common Kestrel)

Mss Eur Mack Misc 167. 91. Notes on ‘Ardea purpurea' (Purple Heron)

Two volumes of scientific notes made at Barrackpore Menagerie are in India Office Records and Private Papers, the first of which (Mss Eur D541) deals exclusively with birds.  The notes were unbound, (or possibly dis-bound), which made it easier to consult the scientific writings alongside the drawings for identification purposes.  Unfortunately, this did historically make it easier for items to stray, so when the notes were eventually bound, nine of the descriptions – nos. 1-7 and 90-92 – were lacking.  Thankfully, the descriptions were numbered and with some research we have recently identified a small collection of bird descriptions relating to five birds of prey and two herons in the Colin Mackenzie Miscellaneous collection as being seven of the Buchanan Hamilton/Gibbons descriptions.

NHD2/191 Common Kestrel. ‘Falco tinnunculus’. Watercolour by Mahangu Lal, 1805-07.

Our Visual Arts Department holds the drawings, and they are exquisitely detailed.  They were drawn and painted by Indian artists such as Guru Dayal, Haludar, Mahangu Lal and Bishnu Prasad.  East India Company librarians and curators in the 19th century gave each of the natural history drawings in their care a running number in red ink.  The drawings that relate to birds of Barrackpore, as described in Mss Eur D541, are NHD2/186-284, otherwise known as the G & B (Gibbons & Buchanan) Collection.  Additional bird, mammal, and reptile drawings by Buchanan Hamilton are found in NHD3/311-536, the Buchanan Collection, and these relate to descriptions held in the second volume of notes from the Barrackpore Menagerie (Mss Eur D94).

NHD2/276 Purple Heron. ‘Ardea purpurea’. Watercolour by Guru Dayal, 1805-07.

The British Library’s newly opened exhibition Animals: Art, Science and Sound includes an important volume of watercolours of Gangetic fish, commissioned by Buchanan Hamilton and made by the artist Haludar.  These were published in An Account of the Fishes found in the river Ganges and its branches, etc. (Edinburgh, 1822), which remains a seminal work on Indian fish species.

Lesley Shapland
Cataloguer, India Office Records

Further reading:
India Office Records and Private Papers - Dr Francis Buchanan Hamilton papers, including Journals of his Deputation from Bengal to Ava [Burma], 1795-1798; Observations on Nepal, 1802; Natural history observations and drawings made at the Barrackpore Menagerie; Notes, descriptions and natural history illustrations in preparation for Fishes of the Ganges; Catalogue of Dried Plants presented to the East India Company Museum; Reports, statistics, drawings and vocabularies produced during the Survey of Bengal (1807-1814). These have various references, including Mss Eur C12-14; Mss Eur D70-98; Mss Eur E68-73; Mss Eur G10-25.
Mss Eur D541: Description of Birds and Animals in the Barrackpore Menagerie, Volume I
Mss Eur D94: Description of Birds and Animals in the Barrackpore Menagerie, Volume II
Mss Eur D487: Description by Dr F Hamilton (formerly Buchanan) of Birds, Quadrupeds and Tortoises
Mss Eur D562/21: Lists of Drawings Birds & Quadrupeds, 1817-1820
NHD2/186-284: The 'G & B' (Gibbons & Buchanan) Collection. Ninety-nine drawings in laid down in an album of birds from India and the East Indies, in a collection formed under the supervision of Francis Buchanan (afterwards Buchanan-Hamilton) and William Lloyd-Gibbons
NHD3/311-536: Two hundred and twenty-six drawings in watercolour and pencil depicting 169 birds (151 separate drawings and 18 duplicates), 38 mammals and 19 reptilia from India and the East Indies
Thomas Horsfield and Frederic Moore, A catalogue of the birds in the Museum of the Hon. East-India Company (London, 1854-58)
Mildred Archer, Natural History Drawings in the India Office Library (London, 1962)
Sally Walker ‘Zoological Gardens of India’, Chapter 8 in Zoo and aquarium history: ancient animal collections to zoological gardens by Vernon N Kisling, Jr. (ed) (Boca Raton, Florida : CRC Press, 2001)
Salim Ali ‘Bird Study in India: Its History and its Important’, India International Centre Quarterly, Vol 6., No. 2 (April 1927), pp.127-139

The story of the ‘Titanic Omar’ bookbinding can hardly be described as ‘untold’ but perhaps it is time to add another chapter.

Rubaiyat of Omar Khayyam bound by Stanley Bray of Sangorski & Sutcliffe following the patterns of the original binding, which was lost on the Titanic - doublure- British Library C188c27

To recap;
1909-1912 London bookbinders Sangorski and Sutcliffe bound a deluxe copy of the Rubáiyát of Omar Khayyám with over a thousand jewels.

1912 Purchased by American collector Gabriel White who sent the book home on the Titanic. Lost.

1912 July Sangorski drowned in the sea while bathing.

Press cuttings about Sangorski's death provided with the Bray bequest

1932-39 Sutcliffe’s nephew, binder Stanley Bray, recreated the binding.

Lower cover of second version - image provided with the Bray bequest

1941 Placed for safekeeping in a vault, which received a direct hit during the Blitz. Destroyed.

1985-1989 Bray bound the third (and final?) version during his retirement.

Stanley Bray working on the third Omar - image provided with the Bray bequest

2005 Bequeathed to the British Library by Mr and Mrs Bray.

Rubaiyat of Omar Khayyam bound by Stanley Bray of Sangorski & Sutcliffe following the patterns of the original binding, which was lost on the Titanic - lower doublure- British Library C188c27

The next part of the Omar’s story involves conservation and recording.  The book has been on show in the British Library galleries but needs to be rested periodically.  Can we use new processes including 3D imagery to ensure the binding is available virtually, while the item itself is assessed by Conservation?  You be the judge.  

This model was created by the British Library’s Imaging Services and Sketchfab.   Supervision was provided by the Library’s conservators.  Only the outside of the binding has been captured.  It is important to establish that the process can cope safely with the many protruding onlays and jewels before considering its application to the dazzling inner boards and printed content.

The next stage is an assessment of the book’s structure.  It is hoped that specialists will check and record its physical condition, notably the mounting of the jewels.

P. J. M. Marks
Printed Heritage Collections.

Further reading
Rob Shepherd. Lost on the Titanic (London:Shepherds Sangorski & Sutcliffe and Zaehnsdorf, 2001.)
BL Image Database of Bookbindings

A recently catalogued collection of India Office Private Papers is now available to researchers in the British Library’s Asian & African Studies reading room.  This comprises the papers of Ralph Esmond Selby Tanner, British Army and Burma Frontier Service; and his wife Penelope Tanner, writer, photographer and illustrator.

Army identity card for Ralph Tanner Mss Eur F747/3/1

During the Second World War, Ralph Tanner was part of the Commando unit Layforce that saw desperate fighting in Crete in 1941, and served with the King's Own Yorkshire Light Infantry during the retreat from Burma in 1942.  His health seriously damaged by this, he spent long periods in hospital in India, before returning to England to recover.  While in England he met his wife Penelope Dell, and they were married in May 1944.  He returned to Burma a year later as part of the British Military Government, before transferring to civil employ as the Assistant Resident at Namhsan.  In May 1948, he travelled to Tanzania on Colonial Service, soon to be joined by Penelope.  They spent the next seventeen years living and working in Africa, before returning to the UK in 1965.  The collection contains Ralph’s letters to his parents describing his experiences in Crete and Burma 1941-43, and letters to his wife Penelope while settling into his new job in Burma in 1945-46.

Description of an air raid Mss Eur F747/1/9 f.25

The collection also has letters from Penelope to Ralph.  These date from before they were married up to just before Penelope left England to join him in Burma in late 1946.  These very personal letters document their developing relationship, family politics, their wedding, the health of themselves and their young son, and planning their future together.  When the series of letters began in late 1943, the Second World War was still raging, with regular air raids on London.  In one letter written in January 1944, she described a close call: ‘The second air raid we had was very noisy too, and most unlike me I went downstairs, and as I got to the bottom a piece of shrapnel came hurtling down the lift shaft, hit one of the supports and ricocheted against the wall about 3 inches above my head, and shot down into the basement’.

Design for table by Penelope Tanner Mss Eur F747/1/18 f.62

One fascinating aspect of Penelope’s letters is the light they shine on the amount of work required of her to organise moving herself and her baby son out to Burma to begin a new life with her husband.  From packing all their possessions, arranging shipping, dealing with travel agents, obtaining the correct travel documents, to even thinking about what furniture they would need in their new bungalow in Burma.  Being a skilled illustrator, Penelope sent Ralph sketches of furniture she thought they might need with precise measurements and instructions on having them made by Burmese craftsmen.

Oryx Antelope - photograph by Penelope Tanner Mss Eur F747/2/5

A very creative person, Penelope Tanner was a writer, photographer and illustrator.  The collection includes several unpublished manuscripts written by her.  They range from short stories, articles, a crime novel, a series of stories on cave dwellers in Kenya, and a memoir of her life in Burma with her husband and son.

John O’Brien
India Office Records

Further Reading:
Papers of Ralph Esmond Selby Tanner (1921-2017), Burma Frontier Service 1939-1946; and his wife Penelope Tanner (nee Dell) (1918-1985), collection reference Mss Eur F741, available to view in the Asian & African Studies Reading Room, and the catalogue is searchable on Explore Archives and Manuscripts.

Other Tanner papers held at the British Library:
• Mss Eur Photo Eur 411: Copies of letters from Ralph Esmond Selby Tanner, 1945-46.
• Mss Eur C522: Paper on `Religion and Economics: Kodaung Hill Tracts, Burma, 1945-8 and Sukumaland, Tanganyika 1951-5' by Dr Ralph Esmond Selby Tanner, 1990.
• C63/197 (formerly Mss Eur R195): Ralph Esmond Selby Tanner interviewed by David M. Blake, 7th August 1990.

Burma 1942: memories of a retreat: the diary of Ralph Tanner, KOYLI by R.E.S. Tanner and D.A. Tanner (Cheltenham: The History Press, 2019), BL reference YKL.2020.a.10619.

King Charles III’s coronation continues an extremely long-standing ceremonial tradition.  The scale of coronations does vary from reign to reign, yet core elements such as the monarch’s selection, anointment with holy oil, public acclamation and enthronement remain unchanged.  Records for English coronations stretch back over a thousand years, but as David’s instructions to crown Solomon as king reveal, the Judaeo-Christian origins of the ceremony actually stretch back much further in time:
“And let Zadok the priest and Nathan the prophet anoint him there King over Israel: and blow ye with the trumpet, and say, God save King Solomon.  Then ye shall come up after him, that he may come and sit upon my throne; for he shall be king in my stead” (I Kings 1: 34-5).

The coronation on 6 May 2023 includes a rendition of ‘Zadok the Priest’ alluding to this biblical tradition.  Charles III’s enthronement appears to take its lead from early medieval religious iconography.  The Liber Vitae created around 1031CE centres upon King Cnut and Queen Emma presenting a cross to the altar of New Minster at Winchester.  Angels descend from heaven touching the Monarch’s crown.  There is an image of Christ enthroned located immediately above the cross.

King Cnut and Queen Emma presenting a cross to the altar of the New Minster, Winchester British Library, Stowe MS 944 f. 6r. 

The earliest surviving English Royal Seal from Edward the Confessor’s reign 1042-1066 depicts the King crowned and enthroned, holding an orb and sceptre.  Excluding the Commonwealth era between 1649 and 1660, every monarch has been depicted in this manner on their Great Seal.

Earliest surviving English Royal Seal from Edward the Confessor’s reign 1042-1066 - British Library, Lord Frederick Campbell Charter XXI 5.

This theme continues within the illuminated manuscript and other artistic traditions into modernity.  The following detail from Matthew Paris’s Historia Anglorum Chronica Majora created around the 1250s illustrates Henry III seated upon his throne holding a sceptre and a model of Westminster Abbey.

Portrait of Henry III from Historia Anglorum Chronica Majora - British Library, Royal MS 14 C VII, f. 9r (detail)

Centuries later, during the 1670s, Michael Wright’s portrait of Charles II displays the monarch similarly posed, wearing the St Edward’s crown and dressed in parliamentary robes.

Portrait of Charles II  courtesy of The Royal Collections Trust, RCIN 404951.

Philately also embraces such iconographical references.  This die proof made by the security-printing firm Perkins Bacon and Company Limited, London for the State of Victoria in Australia’s 1856 stamps carries an image of Queen Victoria enthroned on King Edward’s Chair.  Created by Edward I, it is now known as the Coronation Chair having been used in most coronations since that time.

State of Victoria 1d postage stamp 1856 - British Library Philatelic Collections: Supplementary Collection, Victoria

Edmund Dulac’s design for the 1s 3d stamp for the UK Coronation Issue of 1953 likewise includes a modern iteration of Elizabeth II enthroned.

1s 3d stamp for the UK 1953 Coronation Issue - British Library Philatelic Collections: UPU Collection, Great Britain.

Cecil Beaton’s iconic 1953 photographic Coronation Portrait of Elizabeth II reveals fascinating insights regarding the planning of such symbolic imagery.  It depicts her enthronement at Westminster Abbey, but actually it was taken inside Buckingham Palace.  Beaton’s archives at the Victoria & Albert Museum include photographs illustrating preparations for the portrait which was adopted by Jersey on its 6 February 2002 £3 postage stamp commemorating of Elizabeth II’s Golden Jubilee.

Jersey £3 postage stamp commemorating Elizabeth II’s Golden Jubilee 6 February 2002 -British Library Philatelic Collections: The Holman Collection

Richard Scott Morel
Curator, Philatelic Collections

Further reading:
Roy Strong. Coronation: A History of Kingship and the British Monarchy. Harper Collins. 2005, p. 9.
Susanna Brown. Queen Elizabeth II: Portraits by Cecil Beaton. V & A, 2011.
The New Minster Liber Vitae 

Paul Ferris was born in 1766 at Fort St George. Madras, the son of Paul Ferris and Agnes Daniel.  He trained as a printer under James Augustus Hicky at his printing office in Calcutta and was one of Hicky’s assistants along with Archibald Thompson in the establishment of Hicky’s Bengal Gazette, India’s first English language newspaper, printed from 1780-1782.

18th-century printing works from A Picaud, La Veille de la Revolution, (Paris 1886).General Reference Collection 9225.l.12 BL flickr

In 1792 Ferris and Thompson founded their own newspaper, the Calcutta Morning Post, and were later joined by Morley Greenway as a co-owner.  In June 1818 they acquired the Calcutta Gazette, which had been in circulation since 1784 as the Government’s official news circular.  Shortly after this acquisition, the Calcutta Gazette ceased publication, with its last edition being printed on 29 September 1818.

Ferris also went on to establish his own printing press, Ferris & Co, and a bookselling business in Calcutta. By 1802 Ferris & Co were acting as the Calcutta agents for the Mission Press in Serampore.

In 1815 Ferris printed a new edition of John Miller’s The Tutor in English and Bengalee, first published in 1797.  It was published with an addendum stating that it had been ‘carefully revised and corrected by a professional pundit’.  The ‘professional pundit’ was Ganga Kishore Bhattacharji, a publisher of Bengali works who was just starting to work with Ferris. In 1816 Ferris & Co became the first printers to produce an illustrated book in Bengali, a narrative poem Annada Mangal written by Bharatchandra Ray in 1752-1753 and published by Ganga Kishore Bhattacharji.

Ganga Kishore would go on to publish numerous Bengali works with Ferris & Co including Ingreji byakaran (An English grammar), Daybhaeg (Hindu inheritance law) and Bidyasundar (a courtly romance), which was also the first Bengali book to be accompanied by woodcut illustrations.

Danish settlement of Serampore  viewed from the opposite bank of the River Hooghly - pen and ink drawing by Frederic Peter Layard (1842) British Library WD4359 British Library Online Gallery 

Paul Ferris died in Serampore on 29 June 1821 at the age of 55.  He had married Ann Esther Mullins in 1800 (she died in 1845 in Bombay), and the couple had seven children together.  He also had three children prior to his marriage, a son Paul and two daughters Frances and Ann.

Paul Ferris’s obituary is somewhat intriguing as it suggests that, despite the success of his various enterprises, he may have been struggling financially prior to his death: ‘Mr. P. Ferris - in his age 55 years - formerly Editor of Calcutta weekly newspaper, The Morning Post and owner of Calcutta Biblioteck-circulating Library and during the last years reduced to the necessity of keeping a sort of school at this place for Boys and Girls’.

The references in the obituary to the two other initiatives, the Calcutta Bibliotek circulating library and a school, are interesting as no other records of them appear to exist. There was however a Calcutta Library Society with its own lending library, which was established in 1818.  It is perhaps possible that this may be the ‘Bibliotek’ referred to in the obituary, but Ferris’s name does not appear in records as one of its founders.

Karen Stapley,
Curator, India Office Records

Further Reading:
Paul Ferris, Memorial at Fort William Burial Ground
‘Glimpses of Serampore (1810-1820)’, published in Bengal Past and Present, Vol. 46 1933 Jul-Dec. British Library Shelfmark: Ac.8603
Hicky’s Bengal Gazette: PENN.NT330 NPL
Calcutta Morning Post: Asia, Pacific & Africa SM 32

Richard Greenbury was an artist and decorator of furniture in early 17th century London.  In the 1620s, he received two important painting commissions from the East India Company.  Both documented incidents of treachery and suffering.

The first commission showed an odious moment of horror on the Indonesian island of Ambon.  In this faraway place, the East India Company was exporting spices alongside a larger, more established Dutch trading station.  In 1623, the Dutch tortured to death ten Englishmen at Ambon, claiming that they were going to invade the Dutch fort.  News of this event sparked a diplomatic incident in Europe.  In London, the East India Company published a pamphlet telling its side of the story, titled A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna.

Frontispiece of the East India Company’s pamphlet, A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna.  The illustration on the left might have been the basis for Richard Greenbury’s painting. (British Library, T39923)

Richard Greenbury’s painting of the event, titled 'The Atrocities at Amboyna', was so graphic that the Company had to ask him to repaint part of it.  Crowds flocked to the painter’s studio to see it before it was finished.  One woman, purportedly a widow of one of the massacred Englishmen, fainted when she saw it.  It stirred such outrage that London’s Dutch citizens had to appeal to the Privy Council of King Charles I for protection from the furious public.  In February 1625 the completed painting went on display inside the East India Company’s headquarters, but only two weeks later, it was removed by order of the king and never seen again.  It was most likely destroyed by order of the Privy Council.  Reluctant to pay for a vanished painting, the East India Company eventually gave Greenbury less than half the amount of money he expected to receive.

Portrait of Naq’d Ali Beg by Richard Greenbury (British Library, Foster 23)

The Company then gave Greenbury another commission.  This time, it wanted a pair of portraits of Naq’d Ali Beg, a trade ambassador from the court of Shah Abbas of Persia.  Unfortunately, this exotic young man’s stay in London was fraught with scandals, and he was ordered by King Charles I to return to the court of Shah Abbas.  Unable to bear the embassy’s failure, Naq’d Ali Beg committed suicide during the journey back to Persia in 1627.  Even though the East India Company contributed to the Persian ambassador’s disgrace, Greenbury’s portrait was displayed inside its headquarters in London.  Today, that same painting is part of the British Library’s permanent collections.

The disastrous subject matter of Greenbury’s paintings highlights the instability and sloppy diplomacy that the East India Company somehow survived in the 17th century.  One hundred years later, a new, relatively stable United East India Company emerged.  By the late 18th century it was a systemic part of Britain’s economy and a prolific corporate patron of British art.

CC-BY
Jennifer Howes
Art Historian specialising in South Asia

Creative Commons Attribution licence

Further reading:
East India Company. A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna. London: Nathaniel Newberry, 1624.
Howes, Jennifer. 'Chaos to Confidence'. Chapter one in Howes, J. The Art of a Corporation: The East India Company as Patron and Collector, 1600-1860. New Delhi: Routledge, April 2023. 

The working lives of Victorian women in England were apt to be hidden, rarely referenced in contemporary publications.  This term could be doubly applied to gifted artist Winifred Arthur (b. 1864 in Lancashire) whose work was literally hidden.  Winifred created ingenious paintings on the fore-edges of books.  The edges were then coated with gilt, thus concealing the image until the pages were fanned out.

Rimmer’s Rambles around Eton and Harrow (shelf mark C.188.a.525.) bound by Fazakerley of Liverpool with a fore-edge picture of Windsor Castle by Winifred Arthur. Image copyright Cooper Hay with thanks.

The Library has recently acquired a copy of Rimmer’s Rambles around Eton and Harrow (shelf mark C.188.a.525.) bound by Fazakerley of Liverpool with a fore-edge picture of Windsor Castle by Winifred Arthur.  Fore-edges are difficult to photograph and Winifred’s signature can be challenging to distinguish.  She signed using her initials W A, visible above on the lower left corner, somewhat resembling a five legged spider.  Specialist Jeff Weber believes it is likely Winifred signed all her fore-edges, other practitioners did not always do this.

Winifred Arthur's initials on the fore-edge

Hiding such decoration was not a new procedure.  'Royal’ examples were made in the 18th century by bookbinder John Brindley for Queen Caroline, Consort of George II.  They were unique and were often included to personalise a book or to enhance presentation copies. Winifred’s edge paintings also had regal recipients, in her case the Princess of Wales, the Duchess of Teck and even Queen Victoria herself.

Newspaper report of Winifred Arthur’s fore-edge painting on John Lovell’s ‘Literary Papers’  - Liverpool Mercury 11 June 1894 British Newspaper Archive

At the age of 16, Winifred was described as ‘Art scholar’ in the 1881 census.  She may have received instruction at the Liverpool school of art and design, which was not far from the family home in West Derby and admitted women students from 1832.  By the 1891 census, Winifred was listed as ‘Artist in watercolours’, implying that she worked on her own behalf.  There is no record of her adult sisters’ employment but her brothers were clerks or assistants.

Winifred was fortunate in that she could conduct business via commissions through the bookshop (and publisher) Howell's of Liverpool (which was founded by her grandfather Edward Howell).  Winifred’s father John Sanderson Arthur managed the shop, as did her brother Edward subsequently.  Without such connections, she would have found it difficult (as a woman) to sell her work.

Winifred’s art appeared in newspapers from time to time.  The Western Mail reported upon the 1898 exhibition of the ‘ladies’ (defined as amateurs) of the South Wales Art Society; 'There are, while perhaps nothing very remarkable, few really bad specimens this year'.  The first contributor named was Winifred Arthur.  The review was mostly positive, though the tone appears tooth-grindingly patronising to the modern ear.  One study was ‘charming’ and ‘admirable’ and another titled ‘Sweet Hawthorn’ was a 'sweet little bit of colour'.  A final sentence concluded that two of her landscapes 'were not so good'.

According to the 1911 census, Winifred lived with her widowed father in Toxteth Park.  He died in 1917.  The 1921 census shows Winifred living in Edge Lane, Liverpool ,with Sara Evelyn Seckerson, her widowed younger sister, and her teenage nephew Richard Arthur Seckerson.  Winifred died on 6 July 1934 at Braddon on the Isle of Man.

P J M Marks
Curator, bookbindings. Printed Historical Collections

Further reading;
Jeff Weber, Annotated Dictionary of Fore-Edge Painting Artists & Binders, 2010.
Marianne Tidcombe, Women bookbinders, 1880-1920, 1996
Dataset of selected fore edge paintings on British Library books.

What a difference a day makes!  On the morning of 10 July 1865, Charles Tuckett (1796-1876) was manager of the British Museum bindery, a post he had held for 40 years.  That evening a fire, which lasted from approximately 21.00 to 22.15, ended his employment there.  According to Andrew Prescott, ‘The 1865 Bindery fire was arguably the greatest single disaster to the collections since the establishment of the Museum in 1753’.

Bookbinding by Charles Tuckett -  British Library C.21.e.3.  Tuckett’s ‘signature’ as a bookbinder

The bindings workshop was necessarily stocked with supplies of paper and other flammable materials.  Charcoal braziers supplied the heat required for processes including the tooling of leather.  A brazier in the ‘finishing’ room (the location for gold tooling and other ornamentation) was probably the source of the blaze.  Finishing involved heating engraved metal tools, one in the binder’s hand and three lying flat.

A finisher at work from The Penny Magazine September 1842 supplement RB.23.a.30032. The apparatus shown here was more modern than those in use in the Museum but it is clear what a precarious operation ‘finishing’ could be.

The museum’s fireman was absent on leave; the hosepipe burst; the fire brigade arrived after half an hour but only one of the two fire engines worked.  The manuscripts under treatment were either burned or drenched.  There were some positives: the wind drove the flames to the northeast which prevented further spread, and staff members Fricker and Farrant managed to close an iron workshop door to isolate the fire and protect the Library stacks. Eyewitness Frederick Madden of the Department of Manuscripts noted; 'such a want of organization (after all the fair printed rules and instructions)… I never beheld in my life'.

Accidental fire was a recognised hazard for Master Bookbinders.  Tuckett had taken out insurance with the Sun Fire Office for his family business located near the Museum in Little Russell Street.  The British Museum Trustees had ordered precautionary measures.  In 1861 one of the flues in the workshop caught alight and Tuckett was instructed to have the flues swept regularly.  The following year, the Trustees ruled that the binders should use lamps not candles.  Only four days before the fire, the London Evening Standard reported Trustee Earl Stanhope’s statement that means of fire prevention were ‘under consideration’.

Early reports stated that the fire was promptly extinguished without any material damage done, but that proved to be wildly optimistic.  The loss included seven unique manuscripts and 282 printed books.

Report of the bindery fire in the Pall Mall Gazette 11 July 1865 British Newspaper Archive

Half of the six rooms in the bindery were ruined.  By 1 January 1866, however, the repaired bindery reopened.  A fireproof building for ‘finishing’ was built nearby.

Around fifteen manuscripts and 258 printed books had been salvaged and required treatment.  Tuckett was experienced in tending to such material, having learned from specialist Henry Gough, but he was dismissed by the Museum trustees.  His son was appointed his successor.  Charles Tuckett Junior (1822-75) had worked as apprentice to his father, and had written about historic bindings and also devised new bookbinding techniques and patented them.  His brother John (1828-1908?) trained as a lithographer but assumed control of the family workshop in Little Russell Street until 1880.

Letterhead of invoice issued by Charles Tuckett, Bookbinder to the Queen and Prince Albert and to the British Museum - Royal Collections Trust RA PPTO/PP/QV/PP2/23/7860

Charles Tuckett senior appeared in the 1871 census as a widower and ‘Retired Bookbinder’ living with his unmarried daughter in Croydon.  It was a far cry from his entry in the 1861 listings for Bloomsbury, as a bookbinder employing 52 men, 19 women and a boy.

P. J. M. Marks
Curator, Bookbindings; Printed Historical Sources

Further reading;
Philip Harris, A History of the British Museum Library, 1753-1973 (London, 1998).
Andrew Prescott 'Their Present Miserable State of Cremation': the Restoration of the Cotton Library.