Aubrey Beardsley's Reading Woman

by Stephen J. Gertz

AUBREY BEARDSLEY (1872-1898)
Chaix, Paris, 1897.
Cropped plate from Les Affiches Etrangères.
The original poster was published in 1894.

 

In 1894, Aubrey Beardsley created a poster to advertise T. Fisher Unwin's Children's Books.

"Printed in black and purple...in its most common form  it was used to advertise Topsys and Turvys by P.S. Newell, four works by Palmer Cox, the first 19 volumes in Unwin's Children's Library, The Land of Puck by Mary Mapes Dodge, and the magazine St. Nicholas. 

"According to Gallatin the poster was also produced in reduced size [as here, 1897].

"Copeland and Day also used Beardsley's drawing (printed in black and yellow) on a poster promoting The Yellow Book... They did so without Unwin's authorization, a step which led to an acrimonious correspondence between the two publishers and threats of legal action after the design was reproduced in an article about posters published in the March 1896 issue of The Overland Monthly, an American periodical" (Lasner).

Lasner 75. Gallitan 791.
__________

Image courtesy of Swann Galleries, with our thanks.

__________

__________

New Book About Louis Wain, the Cat Artist Who Went Insane

by Stephen J. Gertz

Cat lovers have something to purr about with the release of Louis Wain's Cats, a new book on  the celebrated cat artist who went 'round the bend but, before and afterward, created some of the most memorable and endearing anthropomorphic cat images ever produced; there are Louis Wain cats and  all the others, jealous not to have been drawn by him. 

Published to accompany an upcoming exhibition, Louis Wain and the Summer Cat Show, August 14 - September 4, 2011, at Chris Beetles Art Gallery in London, the book includes over 300 beautiful color images, many shown for the first time, brought to life with text by Chris Beetles, the leading authority on Louis Wain.

This book comprises a comprehensive survey of the life and work of one of the best known cat artists of the Victorian and Edwardian period, including a new biography, and catalogue raisonné of Louis Wain’s Lucky Futurist Mascots, his unique ceramic creations.

The book is a companion piece to Louis Wain The Man Who Drew Cats by Rodney Dale, published by Chris Beetles in 2006.

The first 1000 copies of this first edition will be signed and numbered by Chris Beetles.

__________

BEETLES, Chris. Louis Wain's Cats. London: Worth Press, 2011. Square quarto (260 x 260 mm). 255 pp. 411 plates, over 300 in color. Hardcover. £25.00 ($40.80) plus shipping. To order contact Chris Beetles Gallery.

__________

Of related interest:

Two Very Rare Books For Cat Lovers Only (A Naughty Story).

Unrecorded Arthur Rackham Drawing Found in Unrecorded Louis Wain Book.

__________

__________

Gaskin's Hans Christian Andersen and the Kelmscott Press

by Stephen J. Gertz

Extra illustrated title page.

"Mr. Gaskin's pictures ... of the tales are precisely what they should be, not because they belong to the manner of the Birmingham Art School and symbolize past all patience and affect the absence of aerial perspective shown in the very old wood cuts, but because, in spite of their mannerisms, they give life to the text and express it somehow or other in their long, lank Thumbelinas and Helgas and their young babes. They catch the attention and fix it upon the expression, arbitrary perhaps, yet adequate, of a persoality. Once seen, Mr. Gaskin's Thumbelina will always be the Thumbelina of the story..."

So said the New York Times book review in 1895 of a new edition of The Stories and Fairy Tales of Hans Christian Andersen. Arthur J. Gaskin's illustrations to this edition would serve as his calling card to William Morris and lead to assignments for the Kelmscott Press, the most celebrated private press of them all.

The Philosopher's Stone.

Arthur Joseph Gaskin (1862 – 1928) was an English illustrator, painter, teacher and designer of jewellery and enamelwork. Gaskin was a member of the Birmingham Group of Artist-Craftsmen, which sought to apply the principles of the Arts and Crafts movement across the decorative arts. Like many of the group, Gaskin studied at the Birmingham School of Art under Edward R. Taylor and later taught there.

What the Moon Saw.

Gaskin worked as a decorative artist from 1890, and within a few years attracted the  attention of William Morris.

The Marsh King's Daughter.

"...Where in England was Morris to find the artists who could satisfactorily illustrate the Kelmscott books? The answer, surprisingly, was Birmingham, where the arts-and-crafts movement flourished more vigorously than anywhere else in the provinces, mainly through the influence of the municipal School of Art. 

She Was Good For Nothing.

"Three youthful artists associated with the School - Artur J. Gaskin, Charles M. Gere, and Edmund New - were doing attractive book illustrating during the 1890s, and Morris was aware of them and their work. 'Gaskin, a young Birmingham artist, called in the afternoon [at Kelmscott House] with a number of very pretty drawings for an edition of Hans Andersen which Geo Allen is going to publish,' [Sydney] Cockerell noted in his diary...

The Old House.

"...Morris's attitude towards Gaskin and Gere was ambivalent: he was grateful for their loyalty to the arts-and-crafts ideals, yet his praise for their work was often cautious and qualified. In an interview in the Daily Chronicle (9 Oct. 1893), he was quoted as saying that 'there is a great quantity of excellent art, but the only thing that is new, strictly speaking, is the rise of the Birmingham school of book decorators...these young men of the Birmingham School of Art - Mr. Gaskin [et al] - have given a new start to the art of book decorating.'

The Wild Swans.

"In another interview...two years later, however, Morris remarked: 'I think they have, in Gaskin and New, two very good men, who have ideas and originality. For the most part, however, they follow too slavishly the opposition to conventionality...but you must remember that the Birmingham people have not yet found their feet. They will do good work yet, I am sure.' This was faint praise indeed...

The Sleep of Holger Danske.

"Gaskin's relationship with Morris was, if anything, even more turbulent than Gere's. Subsequently known as a designer of jewelry, Gaskin was scheduled to illustrate a Kelmscott Press edition of The Roots of the Mountains that never materialized; Morris also arranged for him to design the pictures for The Well at the World's End and The Shepheard's Calendar (1896).

Illustration by Gaskin to The Shepheard's Calender (1896).

"The twelves designs for the latter book are impressive - Gordon Ray has called them 'perhaps the most successful of Kelmscott Press illustrations,' a judgment in which Colin Franklin concurs" (Peterson, The Kelmscott Press, pp. 157-8).

Big Claus and Little Claus.

The Rose Elf.

"Mr. George Allen issues  also a really excellent edition of Andersen's Fairy Tales. The translation is by Dr. H.O. Sommer, and there are 100 drawings by Mr. Arthur J. Gaskin, under whose direction the 'Book of Pictured Carols' was produced. It will be a pleasure to many to renew acquaintance with Big Claus and Little Claus, and all the other friends of our childhood, in this excellent edition" (Literary World, December 1, 1893).

__________

[GASKIN, Arthur J., illus.]. ANDERSEN, Hans Christian. Stories and Fairy Tales by Hans Christian Andersen. Translated by H. Oskar Sommer. With 100 Pictures by Arthur J. Gaskin. London: George Allen, 1893.

One of 300 Large Paper Copies printed on hand-made paper. Two quarto volumes (9 3/4 x 7 5/16 in; 248 x 186 mm). [2], xi, [1, blank], 398, [2]; [2, blank], xii, 426, [2, blank] pp. Initials. One hundred black and white illustrations, many full page, including frontispieces and extra illustrated title pages.
__________

Images courtesy of David Brass Rare Books, with our thanks.

__________

__________

Britain's Original Celebrity Chef: Alexis Soyer

By Nancy Mattoon

Portrait of Alexis Soyer in 1849,
By His Wife, Elizabeth Emma Jones.
(All images Courtesy of The British Library.)

With the arteries of the television airwaves virtually clogged with shows like Hell's Kitchen, Top Chef, Iron Chef, and Ace of Cakes, we tend to think of celebrity chefs as a relatively recent phenomenon. But earlier in the twentieth century Julia Child, James Beard, and Alice Waters were all at the top of their game, each establishing a culinary empire through restaurants, television appearances, and cookbooks.

Soyer's Name And Likeness Appeared On The Labels
Of His Many Kitchen Necessities.

In fact, to find the man generally accepted as the first celebrity chef, we must go all the way back to 18th century France, where Antonin Careme became internationally renowned as "The King of Chefs, and the Chef of Kings," after commanding the kitchens of Napoleon, the Romanovs, the Rothschilds, Rossini and King George IV. And a new online exhibit of cookbooks created by the British library highlights a 19th century chef who was at once a shameless self-promoter; an advertising genius; an advocate for the poor, the working class, and the infantryman; a masterful culinary innovator and inventor; and one of the most famous men in Victorian England: Alexis Soyer. He was the first English celebrity chef.

Soyer's Shilling Cookery for the People,
Published in 1855.

There's more than a little irony in the British Library being the organization putting Alexis Soyer back in the spotlight. Soyer was a transplanted Frenchman, who could read and write in his native tongue, but mastered only spoken English. The seven books he "wrote" in English were all dictated to an amanuensis, at first his English wife, and later a series of secretaries. This may be why several of Soyer's cookbooks were presented as chummy "letters" penned to an imaginary friend, allowing for much less formal language than was normally required of a Victorian writer. But however lacking in literary style, Soyer's books were both influential and popular, especially those aimed at home cooks with modest incomes.

Alexis Soyer was born in suburban Paris in 1810, and probably would have remained there had it not been for the French Revolution of 1830. As Soyer told the story, which may or may not have been true, he was well on his way to a stellar culinary career as sous chef in the French Foreign Office, when his kitchen was literally invaded by an angry mob. Two of his fellow chefs were summarily executed before his eyes, and Soyer would have been next, had he not broken into song, offering a rousing rendition of "La Marseillaise." The singing chef had once had aspirations to the stage, and was said to possess a deeply melodious and pleasing bass voice. Whether due to his talent or his song selection, Soyer claimed he was not only spared by the mob, he was carried off on their shoulders to cheers and applause.

Title Page And Frontispiece From An 1858 Edition
Of Soyer's Most Popular Cookbook.

Despite looming stardom in the music halls of Paris, Soyer left his homeland for the calmer shores of England posthaste. By 1831 he has established himself as chef to the Duke of Cambridge, and posts with other members of the nobility were to follow. In 1837 he was given his big break, as chef for the newly established Reform Club of London. Soyer designed the ultra-modern, state-of-the-art kitchen for this private meeting place of the more liberal Members of Parliament. It included innovations that today's cooks take for granted, such as gas-powered stoves, temperature-adjustable ovens, and refrigerators cooled by ice water. So valued was Soyer's talent that he was paid the then-exorbitant yearly salary of 1,000 pounds sterling, and he was enlisted to cook breakfast for 2,000 dignitaries at Queen Victoria's coronation.

A Typical Full Page Ad For One Of Soyer's Products,
Included In His Cookbooks' At No Extra Charge.

But cooking and publishing cookbooks were only part of Soyer's culinary trade. He also marketed a huge range of products, all carrying his name, likeness, and endorsement; including sauces, relishes, cooking gadgets, and tabletop stoves. Like many Victorian volumes, Soyer's recipe books included full page advertisements, encouraging readers who purchased his books to spend a little more of their household income on his unparalleled kitchen accoutrements. But Soyer wasn't completely mercenary, donating a portion of the proceeds from many of his books to various charities. And he was widely praised for setting up the first fully functional soup kitchens to aid victims of the Irish Potato Famine in 1847. (Although his famous recipe for inexpensive broth was lambasted in Punch as "not Soup for the Poor, but rather, Poor Soup!" )

A Elaborate Dessert, Designed By Sawyer
In Honor of His Longtime Love, Dancer Fanny Cerrito.

Soyer's fame as a chef was eclipsed only by the personal eccentricities that ensured he would always be the center of Victorian London's attention. He never forgot his childhood dreams of the stage, retaining an artistic and theatrical air throughout his life. His wife was a well-known portraitist whose work was displayed in the National Portrait Gallery, and upon her death he began a long-term affair with Fanny Cerrito, a famed prima ballerina. His dress, both in the kitchen and out, was outlandishly dandified. In place of chef's white, he wore embroidered silk suits in pastel shades of violet and green. And he even devised his own mode of tailoring, which he fancifully coined "dressing a la zoug-zoug." This meant all of his garments were cut along the bias or zig-zag, and sewn on the diagonal. Such was his abhorrence of horizontal and vertical lines that his hats were specially made to rest at a rakish angle, even his "carte de visite" was a parallelogram rather than a rectangle.

Soyer's Shapely Carte de Visite,
Displayed On A Black Backdrop.

The last thing one might expect from such a flamboyant showman would be an appearance on the battlefield, but during the Crimean War in the 1850's, this is precisely where Soyer chose to lend a hand, and where his longest standing contribution to culinary history was established. Soyer joined British troops on the continent at his own expense, and at great danger, to reorganize the provisioning of army hospitals alongside Florence Nightingale. He designed a field stove which was so efficient it remained in use through the First Gulf War in 1990. And he trained enough cooks for one to serve each regiment, ensuring that good nutrition and food safety would promote the morale and health of the English soldier. London's Morning Chronicle said of Soyer, "he saved as many lives through his kitchens as Florence Nightingale did through her wards."

The Famous Soyer Stove,
Used By The British Military For Nearly 150 Years.

Despite his many achievements, Soyer's flamboyance ensured he came in for his fair share of lampooning and ridicule. His good friend, William Makepeace Thackeray, poked gentle fun at the chef in an 1849 novel, Pendennis. His parody of Soyer is an outlandish French chef named "Alcide Mirobolant," a foppish womanizer who relocates to a small English village, determined to seduce every female who crosses his path. The Times of London criticized him much more savagely. Reviewing his book about his time in the Crimea, Soyer's Culinary Campaign (1857), the newspaper noted, "Alexis the Savoury opens his box of condiments, and shows us indisputably how fields are won. Such and such proportions of pepper and salt went to make such a breach or to repulse such a night attack."

A Punch Cartoon Of Soyer's Melodramatic
Resignation As Chef Of The Reform Club.

But in Victorian times, as today, for a celebrity the only thing worse than bad publicity is no publicity. Soyer remained one of the best-known figures in Victorian England until his death in 1858. Sadly, at the end of his life, Soyer was broke, and at the mercy of creditors. They seized his assets and destroyed most of his correspondence and his personal diaries, erasing much of his legacy. He was nearly a forgotten figure, until the first reliable biography of his life was published in 2008. Ruth Cowan's, Relish: The Extraordinary Life of Alexis Soyer, Victorian Celebrity Chef, returned the larger-than-life culinary star to center stage, where he undoubtedly belongs.

From the Rarified Air to the Lower Orders of London

Over the past two weeks, Booktryst contributor Cokie Anderson has written about How the Other .0001 % Lives, Part I and II, presenting us with the splendid estates and extravagant parties of the wealthy as documented in a few rare and sumptuously exquisite volumes.

We now turn our attention away from the thin-air blue-blood status exosphere to its polar opposite, the thick swamp gas red-blood low-life troposphere where most of the eighteenth and nineteenth centuries' population endured its have-not existence.

Rabbit-Man.

By its title and subtitle, Costume of the Lower Orders of London Painted and Engraved From Nature, a volume of twenty-four hand-colored etched plates by Thomas Lord Busby published in 1820, succinctly expresses the contemporary view amongst a certain socio-economic class that other socio-economic classes of people were of a lower order of primate. There is an almost zoo-like quality to this suite of plates, the viewer (undoubtedly of means; this was not an inexpensive book when originally issued) fascinated by these strange creatures heard about but rarely seen - you had to leave the castle, cross the defensive social moat, and step in the muck to meet them.

Billy Waters.

Match Girl.

You will have perhaps noticed that these portraits have been cleaned up to keep the visual stink of reality from offending the viewer; it is a Hollywood-lesque version of a reality that was deeply begrimed and malodorous.

No such visual euphemism is employed in Henry Mayhew's London Labour and the London Poor.

Mayhew was “the first to strike out the line of philanthropic journalism which takes the poor of London as its theme. His principal work, in which he was assisted by John Binny and others, was ‘London Labour and London Poor,’ a series of articles, anecdotic and statistical, on the petty trades of London, originally appearing in the ‘Morning Chronicle.’ Two volumes were published in 1851, but their circulation was interrupted by litigation in chancery, and was long suspended, but in March 1856 Mayhew announced its resumption, and a continuation of it appeared in serial monthly parts as ‘The Great World of London,’ which was ultimately completed and published as ‘The Criminal Prisons of London,’ in 1862. The last portion of it was by Binny. ‘London Labour and the London Poor’ appeared in its final form in 1864, and again in 1865” (DNB).

In the London of this era a large number of people had no fixed place employment and a significant number had no fixed place to live; you earned your money on the streets and slept there. At the lowest rung of the social ladder stood the "mudlarks" who searched the reeking sludge on the banks of the Thames for wood, metal, rope and coal from passing ships, and the "pure-finders," whose job it was to gather dog feces to sell to tanners. These do not make for pretty portraits; let's leave Smell-O-Vision to the next century. No amount of scrubbing, with soap or paint brush, could make this class of untouchables clean enough to be viewed by those highest in England's pecking order.

While Mayhew took a journalistic and, at times, maddeningly pedantic approach to his research, Lord Busby went slumming and the result was a romanticized, nobless oblige view of the impoverished yet  apparently happy, carefree, laughing, singing, dancing folk whose spirit and love of life were as inspiring to the British nobility as the noble Tom, Jemima, and pickaninny were to the plantation owner of the antebellum American South.

In short, poverty and degradation ennobled as a blessing. Oh, long green envying deep grime! If only all our money could buy their joie de vivre but, alas, we're filthy rich and will just have to make the best of it. (Heavy sigh). Now, let's get out of this zoo and get back home; I feel gamy.

__________

[BUSBY, Thomas Lord]. Costume of the Lower Orders of London. Painted and Engraved from Nature, by T.L. Busby. London: Published for T.L. Busby, by Messrs. Baldwin, Craddock, and Joy… [1820]. Quarto (11 1/4 x 9 1/16 inches; 286 x 231 mm.). iv, [24] pp. Twenty-four hand-colored etched plates. Text watermarked 1817, plates watermarked 1822. Abbey, Life 423. Colas 491. Hiler, p. 129. Lipperheide 1025. Tooley 123.

MAYHEW, Henry. London Labour and the London Poor: The Condition and Earnings of Those That Will Work, Cannot Work, and Will Not Work. London: Griffin, Bohn and Co. 1851-61. Four octavo volumes (numbered I-III and “Extra Volume” subtitled, “a cyclopædia of the condition and earnings of those that will work…,” etc.). With ninety-seven wood-engraved plates. Text in two columns.

__________

__________

A Bucolic Paradise For The Working Class, 1825

One of the rarest British color-plate architectural pattern books of the first half of the nineteenth century, Novel Designs for Cottages, Small Farms & Schools presents architecture as social engineering and provides the genesis for the company town.

It was produced by architect John Hall, Secretary to the Society for Improving the Condition of the Labouring Classes, and author of 1824's A Plan for the Abolition of the Present Poor Rates: and for Effecting a Grand Moral Improvement in the Lower Classes of Society, with a View to the Ultimate Annihilation of Pauperism (Goldsmith 24266). Novel Designs... won  Hall  a grant of Royal Letters Patent for the designs and plans therein.

"To The Nobility and Gentry Land Owners of Great Britain and Ireland, These Designs are very respectfully dedicated by their most Obedient Humble Servant JOHN HALL. July 1, 1825."

 

 "Showing how easily the situation of the Labourers may be improved and the Education of their Children be rendered independent of Public Contributions and Subscriptions."

The book opens with five designs by Hall to produce economical housing of unusual, rather extraordinary quality for land owners to rent to their workers:

 Pair of Labourer's Cottages.

"The object is an increase of comfort and happiness to the labouring classes: - an encouragement towards the attainment of a true independence, which, while it makes them superior to idleness, intemperance, and parochial relief, will tend to lessen their vices, and create a pleasurable observance of all the duties of society. In short, an inducement to preserve health by the exercise of cleanliness, delicacy, and industrious morality: the true Mens sana, in corpore sano!"

Hall provides details of the costs to the landlords and subsequent costs to the worker (including food bought from the Landowner) with a wife and four children for a house comprised of well-proportioned, high-ceilinged Living Room, Kitchen, and three Sleeping Rooms "to enable the parents, boys and girls to sleep separate" - most unusual at the time - each house to sit upon an acre and a quarter of land:

 Labourer's Cottage.

"A garden and a little land must be added, on which the spare time of the family may be beneficially employed, and inclining them to raise their thoughts in thankfulness to their Creator for the bounties they enjoy."

By Hall's calculations, the landlord will earn eleven shillings per annum in profit after recovering costs.

Of no less interest are his designs and plans for farm housing...

 Pair of Small Farm Houses.

"Wherever the plans for labourer's cottages are adopted, the establishment of small farms will speedily follow; for as the best conducted labourers will be selected as proper tenants for the cottages, so, in a short time, will the superior cottager be chosen for the tenant of a small farm."

 Pair of Small Farm Houses.

…And self-supporting country schools:

 School and Master's Residence. 

"Suppose an establishment, upon the plan given, for boys, girls, and infants…the whole upon ten acres of land, to cost £5000. Accommodation would then be afforded for three hundred infants, and six hundred older children…To make the elder children more efficient members of society than the children of labourers can become by mere intellectual instruction, only half their time must be given to reading, writing, and arithmetic, and the other half must be employed on the land attached to the establishment, in the workshops, and in the houses of the teachers…and [in] all those useful employments which will enable them, when they leave school, to become valuable servants, and to procure an honest livelihood by their own exertions…By this arrangement it is not too much to calculate, that, besides producing from the garden a sufficiency for the support of the teachers, one halfpenny per day each, may be averaged by the earning of the children!"

 School.

Hall's project, in its use of inexpensive, natural building materials (timber and Pisé, i.e. rammed earth, pisé de terre, an excellent, low environmental impact construction material popularized in the U.S. by S.W. Johnson in his 1806 book, Rural Economy, and now enjoying a renaissance) to construct small one story structures that would be affordable for the working classes and provide a spiritual uplift, was a forecast to Frank Lloyd Wright's series of Usonian homes developed one hundred and ten years later in the mid-1930s during the depth of the Great Depression in the United States to provide simple, affordable housing for the "common people" while at the same time offering an enlightened living experience.

Lodge Cottage.

But it was much more than that.

The whole was a dramatic, utopian plan to raise the social, moral and cultural level of the landowner's tenant labor force and farmers and their families while at the same time offsetting the associated costs and producing a profit. In this, it was a rural foreshadowing of the urban company community-towns of Victorian England, such as the Akroydon model housing scheme in the model village at Boothtown, built in 1859 for the workers at the mills of Edward Akroyd.

 A Pair of Labourer's Cottages.

Other model villages were built by philanthropist industrialists such as Titus Salt (Saltaire) and George Cadbury to house their workers as well as provide social amenities.

The Cadbury brothers were concerned with the quality of life of their employees and provided housing at low cost for the employees and their families. Their village, opened in 1879, became known as Bournville. There, families rented houses with yards, gardens, and fresh air. The brothers cared for their employees; they both believed in the social rights of the workers.

 Pilot's or Fisherman's Cottage.

These social labor efforts in Britain in turn influenced the company towns developed in Industrial Age America, providing possible answers to the United States’ own social labor questions that would culminate in the promised utopia of George Pullman’s Pullman, IL.

Developed 1880-1884, “to improve relations between management and labor by creating a clean and beautiful community for his workers… [Pullman] expected them to respond with hard work, loyalty and improved moral character.

“…The only thing residents lacked was a sense of control. By 1893, the population had reached 12,000. There was no local government. A town agent managed the community. The company decided which stores could locate in the town, which books would be stocked in the library, and which performances could be staged at the local playhouse.

“Worker discontent was expressed in an often-quoted saying: ‘We are born in a Pullman house, fed from the Pullman shops, taught in the Pullman school, catechized in the Pullman Church, and when we die we shall go to the Pullman Hell.’” (San Diego Union-Tribune. May 15, 2005).

Here, then, in Hall’s designs and plans (but for one school, never realized) we see the genesis of social mercy for the working class in rural England that led to the labor force’s migration to cities and the progressive social answers to that misery, then crossing the Atlantic, where those answers to labor-management, social justice, and harmony in the industrialized world would be adopted in the United States and lead to Pullman’s Eden with chains, the result of well-meaning noblesse oblige paternalism taken to its logical extreme to bare the authoritarian actual within the idealistic idyll.
__________

HALL, John. Novel Designs for Cottages, Small Farms & Schools, with Observations theron by John Hall, Secretary to the Society for improving the condition of the Labouring Classes.[ London: Published for the Author], 1825.

First edition. Folio. 11, [1, blank], including Engraved Title and Dedication pp., and fifteen hand colored lithographs with uncolored floor plans below. Text printed by C. Baynes. Lithographs signed: Printed by C. Hullmandel, except where stated.

Abbey, Life 23. Archer, British Domestic Architecture 140.1. Bobins 653.
__________
__________