1880s?. Oblong small 8vo, ff. 40 leaves of chromolithograph plates; some very light marginal browning and foxing; in contemporary navy and light blue cloth backed boards, upper cover lettered in gilt, spine lightly sunned, covers a little stained and soiled. A scarce and beautifully illustrated late Victorian trade catalogue, issued by the Kent based coach building company W. P. Love, with forty chromolithograph illustrations of horse-drawn coaches and carts, and showing a variety of commercial, utility and multi-passenger vehicles, some of which include oil-lamps. A wonderful catalogue, the images ‘transport’ us back to a bygone era of horse-drawn travel - the ultimate green form of transportation.
Despite living only 15 miles from Paddock Wood, we have sadly been unable to find out any further information about W. P. Love, though believe that they remained in operation on Commercial Road until the late 20th century.

1896. Oblong 8vo, pp. 43 (including inside rear cover), with engraved frontispiece, two chromolithograph plates enhanced with gilt, and numerous illustrations within text; text within attractive blue border, with some additional text and ornamentation in blue; some occasional minor foxing soiling, but otherwise clean and bright; with additional double-sided chromolithograph advertisement embellished with gilt for the ‘Apollo-Blyertspennor’ pencil, 285 x 215mm and folded horizontally, slight split along fold with with a couple of marginal nicks and tears; sewn as issued in the original cloth backed printed and embossed card covers, head and tail of spine very lightly worn, with further minor wear to extremities, covers a little foxed and soiled; an attractive copy. A rare and elegantly produced trade catalogue, issued by the firm of Johann Faber AG, at the time of publication, a successful rival to the more established company of A. W. Faber AG, run by Johann’s brother Lothar von Faber. A list of successful exhibition appearances on p. 13 suggests that the present brochure, Pencils and how they are made. Historical treatise on the pencil alongside a description of the method for their production, was produced in around 1896. Copiously illustrated throughout, of particular note are the two chromolithograph plates, the second of which is enhanced with gilt. The historical section includes a number of vignettes of the workshops and the various stages of production, and it is interesting to note that a number of the later stages were carried out by a predominantly female work force.
The foundation of the renown pencil dynasty can be traced back to 1791, established by Kasper Faber in Stein, a small town south of Nuremberg. He was succeeded by his son, Anton Wilhelm, who took over the small workshop and incorporated the family business as A.W. Faber. Despite facing various challenges over the years, the company grew, and was passed down the generations. Lother von Faber, who initially worked together with his two brothers Johann and Eberhard, before both went on to establish rival companies. Johann started his firm in 1876, though as the present preface makes clear, used his prior experience as Managing Director of A.W. Faber, to establish his credentials. This elegantly produced brochure clearly attests to his own success, though ultimately the two companies joined forces in 1931, and remain today as Faber-Castell.
A further appealing, chromolithograph advertisement, has been loosely inserted promoting the ‘Apollo-Blyertspennor’ pencil. We are also pleased to offer in addition, a small silver-plated Faber ‘Liliput’ pencil holder, with remains of pencil, presumably made in Germany and dated ca. 1910-20. The holder is a little tarnished and dinked, consistent with age and use, but still an appealing example.

1838. Eight volumes bound in four, 12mo; I. pp. [iv], 182, [2], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate; II. pp. [iv], 202, [2], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate, (neat marginal tear touching a couple of letters on p. 191 but with no loss; III. pp. [iv], 218, [2], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate; IV. pp. [iv], 220, [2], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate; V. pp. [iv], 217, [3], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate; VI. pp. [iv], 217, [3], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate, pp. 97-100 misbound, p. 197 and 204 transposed, upper corners of pp. 81-84 torn; VII. pp. [iv], 212, [4], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate; VIII. pp. [iv], 215, [3], with additional engraved title-page lettered in red, engraved frontispiece, and one further engraved plate; plates all retaining the original tissue guards; volumes 2 and 4 retaining the original light blue silk bookmarkers; all eight volumes a little foxed and browned, but still crisp; most attractively bound in contemporary green calf over marbled boards, by Just-Bernard of Bourges, with their label and blind-stamp in first volume, spines attractively lettered and tooled in gilt, with speckled edges, some slight staining to upper edges, very minor wear to head and tail of spines and extremities; a lovely copy. A beautifully bound set of these early works by the noted educationalist and popular scientific writer Sophia Ulliac-Trémadeure (1794-1862). Published as part of the forty volume series for young children, ‘Bibliothèque des Enfants’, the present works, all available for individual purchase, formed an eight part sub-series under the sub-heading of ‘petit Cours d’Histoire naturelle’. We have so far traced only one complete set at the BnF, and all the separate volumes appear to be very scarce. In total, Ulliac Trémadeure contributed 21 volumes to the ‘Bibliothèque des Enfants’ series. A full list of the titles in the series on found on the verso of the half title, with a note saying of the series: ‘Ces jolie volumes sont imprimés avec soin sur beau papier, ornès de jolies vignettes gravés sur acier, d’un titre orné imprimé en couleur, et d’une jolie couverture ornée et gravée sur bois par Porret’.
These pretty volumes introduce the young reader to the basic principles of the subject in the form of a conversation between M. and Madame Derville and their daughters Cécile and Amédée, each accompanied by two attractive engraved plates.
In a clever marketing play, the works were published again in the same year, but under the title ‘Les Jeunes Naturalistes’ as part of the ‘Bibliotheque Universelle d’Education’ (though referred to as the Bibliothéque Universelle d’Éducation’ on the half-titles). The text and plates were identical, but were reset in a slightly larger format, and bound together as a two volume set.
Sophia Ulliac-Trémadeure wrote a large number of works and was later a moving force in the ‘Bibliothèque de la jeune Fille’, for which she produced during the 1850s a number of beautiful and striking works on natural history, adorned with colour plates, and often in striking bindings.

1831. 8vo; pp. [iv], 15, [1] blank, 15-473, 475 488, [9]; penned in a single hand throughout; dampstain affecting fore-edge from pp. 9-160 though never touching text, some occasional light foxed and soiling, a few corners a little creased, otherwise generally clean and bright; contemporary sheep-backed marbled boards, spine tooled and lettered in gilt, head of spine worn exposing headband, with loss at both upper joints, with further cracking and loss at tail of upper joint, covers scuffed and faded, extremities rubbed and somewhat worn. An extensive and neatly transcribed early 19th century manuscript course on zoology, the work of Jean Borros, whom we believe was a student at the recently opened Toulouse Veterinary School, thus providing an insight into part of the required curriculum in the early days of the establishment. Densely penned in a tight, neat hand, Borros has signed his name on the first leaf, below which is inscribed ‘eleve veterinaire’, and the manuscript is dated October 16th 1831 at its conclusion on p. 438. Purely zoological, the manuscript opens with a general introduction, before a section ‘Division du regne animal’ (pp. 42-143). The remaining portion of the manuscript comprises a ‘Tableau méthodique des mammifiéres’, subdivided into 8 orders (two-legged, four-legged, carnivores, rodents, toothless, pachyderms, ruminans and cetaceans) each order then further divided into subclasses and genre. Both domestic and exotic animals are covered, with details about characteristics and habitats described, with mammals such as kangaroos (p. 218) and buffalo and bison (p. 370-371), pangolins (260) and elephants (263) included.
France was at the forefront of establishing veterinary medicine as a profession and Toulouse was the third dedicated veterinary school to open in France in 1825, following those of Lyon (1762) and Alfort near Paris in 1766, both founded by Claude Bourgelat (1712-1779). Up until 1761, veterinary ‘art’ was practised mostly by farriers and farmers, who were either self-taught or had moved through unregulated apprenticeships. Increasing livestock plagues at the beginning of the 18th century, however, were becoming so devastating that leading figures such as Pope Clement XI, commissioned reports into ways to address the situation. France was not immune to similar outbreaks and King Louis XV and his government was equally keen to bring an end to such epidemics, as well as seeking wider agricultural reforms. Bourgelat, Director of the Lyon Academy of Horsemanship, in his 1750 work Élémens d'hippiatrique ou nouveaux principes sur la connoissance et sur la médecine des chevaux, had already argued for the need of a veterinary school, and this hope became reality in 1762, having been giving a small grant by King Louis XV to established the Lyon school. The more rigourous, standardised scientific training, soon bore fruit, and within a short time diseases such as rinderpest were stayed. As a result Louis XV officially gave Lyon the title of Royal Veterinary School in 1764, with the Alfort school opening in the following year. These schools were the first real attempts to standardise veterinary practices and science, and Bourgelat is considered to be the father of modern veterinary science.
Jean Borros is found in the Recueil de Médicine Vétérinaire pratique Journal in a list of veterinary graduates in 1834 (p. 440), and went on to practice in the Dordogne. This suggests that it was a four year course, and that this general introduction to zoology may well have been part of the first year curriculum.

1917. Together three medals; Silver British War and Bronze British Victory Medals mounted together with brooch, ‘A. L. Merrylees’ inscribed on rim of both medals, both ribbons slightly soiled with some minor tarnishing to both versos, with separate bronze French Médaille d’honneur, issued by the Ministère de la Guerre for ‘Devouement Epidemies’, the reverse officially embossed ‘Miss A. Merrylees 1917’, house within original case of issue with gold blocked lettering to the lid ‘Ministère de la Guerre - Miss A. Merrylees 1917’; some internal wear to box interior, with further rubbing and scuffing to outer surfaces; miniatures of all three mounted together on a separate brooch, ribbons rather soiled and a little frayed; generally though very good to fine. Evocative trio of medals awarded to Miss Anna Louisa Merrylees for her war-time service to nursing. Merrylees was born in Aberdeen in 1879, and first served in Salonika with the Scottish Women’s Hospital before subsequently working as a Masseuse and Orderly in France with the French Red Cross. The medal roll shows her as being a serving member of The Scottish Women’s Hospital, and she served in the Royaumont unit with Miss Frances Ivens. Ivens was chief medical officer at the Scottish Women’s Hospital there, and for her services to the French forces she was awarded the Légion d’honneur and the Croix de Guerre. Merrylees served from September 1915 until September 1917, and she is quoted twice in Eileen Crofton’s book on the unit, Angels of Mercy: A Women’s Hospital on the Western Front 1914-1918 (though surname spelt as Merrilees). In the 1920’s she worked in Kenya, until returning to London and living in Chelsea. She was subsequently employed as a masseuse/physiotherapist at St. Bartholemew’s Hospital for 20 years, and died at Harborne Hall, Birmingham, in December 1965.
British Nurses who served overseas were awarded the standard campaign medals depending on where they served. The silver British War Medal (1914-1920) was awarded to officers and men and women of the British and Imperial Forces who either entered a theatre of war or served overseas between 5 August 1914 and 11 November 1918 inclusive. The ribbon has a central band of orange edged with white, black and blue lines and although many other medal ribbons symbolise something, it seems that the colour and pattern of the British War Medal ribbon has no special significance. The recipient's service number, rank, name and unit were inscribed on the rim of the medal, although only Miss Merrylees’ name has been included here. The obverse depicts King George V together with Latin inscription, whilst the reverse gives the dates of the First World War and shows St. George on horseback trampling underfoot the eagle shield of the central powers (German and Austro-Hungarian Empires), with a skull and cross-bones. Approximately 6.4 million of these medals were issued.
The Allied forces each issued their own bronze Victory Medal (1914-1919), with a similar design, equivalent wording and identical ribbon. The colours represent the combined colours of the Allied nations, with the rainbow additionally representing the calm after the storm. The ribbon consists of a double rainbow with red at the centre. The British version depicts the winged figure of Victory on the front with on the reverse 'The Great War for Civilisation 1914-1919’. To qualify, an individual had to have entered an area of active fighting, not just served overseas. Approximately 5.7 million Victory Medals were issued.
The Médaille d’honneur for epidemics was first instituted by decree in 1885 to reward those for particular service and dedication during an epidemic. Awarded by the Ministry of War to both French and foreign civil and military personnel, it was awarded to those during WWI who had distinguished themselves helping the sick and injured, and was also given to those who helped during the Spanish influenza epidemic.

1942. Large oblong 4to, 242 x 295mm, ff. [24] black card leaves, of which 19 have been used, and containing 83 photographs of varying sizes (of which 27 are studio prints) and four postcards, all neatly mounted, together with a loosely inserted newspaper clipping, and two contemporary packets of photograph mounting corners; all images clear and fresh with no fading or oxidising; gutter cracking in places but holding firm; in the original black cloth ‘Cambrian’ photograph album, upper cover stamped in gilt, with advertisement printed in silver on inside front cover, head and tail of spine a little bumped, with some minor bumping and wear to edges, otherwise near fine. A particularly evocative collection of photographs compiled, we believe, by a nurse working at the Red Cross Auxiliary hospital of St Paul’s Walden Bury in Hertfordshire - the childhood home of Lady Elizabeth Bowes Lyon, later to become Her Majesty Queen Elizabeth The Queen Mother (1900-2002). Though sadly anonymously, this unique album not only gives an insight into the day-to-day life of the hospital, including several images of recuperating soldiers and the staff at work, but records in particular the visit of Queen Elizabeth on October 14th 1941 - what must surely have been a highly personal visit for all involved. The images include a number of more official studio photographs, including two large group shots which have been captioned, together with a number of smaller, more informal photographs showing Queen Elizabeth chatting to patients and staff.
The identity of the compiler remains unknown, though the album was acquired from a deceased estate and had belonged to a family member who had nursed there during the war. The Bowes Lyon family had previously loaned out the estate for use as a hospital during the first world war, and had once again given over their home to be used as a convalescence hospital during W.W.II. Out of interest, a plaque can be seen hanging on the wall of one bedroom, which not only notes that the hospital is under the auspices of the British Red Cross, but that the home has been ‘partly supported and maintained by a birthday gift to His Majesty the King, From the British American War Relief Association of Seattle, U.S.A. 1941’.
During the War, the Queen Mother and King George VI became symbols of the fight against fascism, and famously refused to leave London during the Blitz, and contributed much towards the war effort and raising morale. A newspaper cutting loosely inserted describes her visit - though pointedly makes no mention of its precise location. ‘The Queen on Tuesday afternoon visited a Red Cross and St. John War Organisation Auxiliary Hospital near a village in the Home Counties, and received a great welcome from village school children and from evacuee children who lined the drive. The visit was informal and unofficial, and the Queen, who was attended by Lady Victoria Wemyss, was received by the commandant, Mrs. Gurney Sheppard, and the sister-in-charge, Miss Storey. Her Majesty made a complete tour of the hospital, even to the kitchens, and spoke with every patient, most of whom are members of the Services, although there were one or two air raid casualties. Photographs were taken, including a ward group of all the patients and staff with the Queen. It was later discovered that one patient had been receiving massage elsewhere when the photographs were taken, and when the Queen was told of this she asked that a photograph should be taken of herself with the patient, so that he should not be missed. Her Majesty has given instructions that each patient shall be given a copy of the group photograph. Having taken tea with the nurses, the Queen, who expressed delight and satisfaction with all she saw, was given a very hearty send off.’

1836-1840.]. Oblong folio, (208 x 337mm); ff. [2] title and explanatory text, 60 numbered leaves of weaving patterns of which 49 depict hand-coloured full weaving patterns with ‘pull and treadle’ diagrams executed in pencil, ink and watercolour in a variety of colours, with 11 showing the ‘pull and treadle’ diagrams only (plates 47-49, 51-2, 54-56, 58-60), [6] leaves of diagrams showing the ‘lacing of stoneware patterns’, [12] blank leaves; in all 66 plates; lightly browned and foxed throughout, pin-marks visible throughout presumed from tracing of the original plates, some occasional light creasing at gutter and with some marginal dust-soiling; bound in attractive blue decorative paste-paper boards, with white paper label on upper cover (left blank), head and tail of spine lightly bumped, with some light rubbing and wear to joints and extremities; a most attractive copy. A beautifully produced manuscript copy of a later edition of Johann Michael Kirschbaum’s noted decorative pattern book for damask linen weaving, ‘New Picture and Pattern Book for the Promotion of the fine art of Linen and tapestry Weaving’ first published in Heilbronn and Rotheburg in 1771. Kirschbaum (1725-1782) was a master weaver from Heilbronn and his innovative pattern book, the result of an accumulation of designs over a number of years, was intended as a guide for both masters and journeymen, as well as other amateur lovers of the art. The work is notable for the striking representations of the patterns illustrating the grid and binary system of two colours to describe the relation of the warp to the weft, together with diagrams of the set up on the loom, effectively ‘codifying’ the patterns. The strong contrasts give them a visual impact that to the modern eye makes them exercises in optical art: Bridget Riley meets Piet Mondrian.
As the opening line reveals, the present transcription was based upon the fifth edition of the work, which was issued as part of a series of technical works under the subriquet ‘Das gewerbsame Deutschland’ and published in 1836 by Claß in Heilbronn. The present copy was clearly made, and has been adapted for, the personal use of a weaver, who was either unable, or unwilling, to purchase an original copy. The title-page has been partially transcribed, with the description of the plates included, but Kirschbaum’s original preface has not been included. As produced for personal usage, the compiler has also decided to include only 66 of the 74 plates found in the printed volume, clearly intentional as his title-page has excluded the line referring to the total number of plates. This in no way detracts from the work however, which in many ways is of more appeal, 49 of the plates having been vibrantly hand-coloured either in red, orange, blue, purple, green, grey, brown and black. Clearly traced from the originals, with tracing pin-marks visible, the illustrations of the fabric patterns have been executed with great precision. In another sign of personal usage, 11 plates omit the pattern themselves, only including the ‘pull and treadle’ diagrams that run along the bottom of each design - presumably sufficient for an expert to understand the basic pattern layout. The final 6 plates correspond to plates 61-63 in the published work (though the compiler has failed to transcribe the final line ‘24’ on plate 61. These plates are more schematic and give instructions for lacing for stoned weaving. Those plates completely omitted are the most geometrically complex images including multiple figures of enlarged detailed patterns shown schematically on square grids. A laborious step too far for our compiler, perhaps, or merely surplus to requirements.
The published work itself is rare in any edition, with OCLC locating only two copies in Germany of the 1836 edition. As the present manuscript copy reveals, however, Kirschbaum’s work was clearly being used and considered of relevance over sixty years after the first edition was published. His graphic codification method, which presented the information in a manner readily understandable for weavers, no doubt paved the way for Joseph Marie Jacquard's punched card operated looms, which in turn inspired the punch cards which underpinned early computer programming. A beautifully produced, working copy, attesting to the skill of the craft, and providing a valuable record of the patterns in use.

1697. Folio, two parts in one volume, with two further supplements; pp. [ii] engraved title-page, [68], 152; pp. [2], 259,[1] errata; pp. [iv]; pp. [iv]; with woodcut head and tailpieces and 48 engraved plates by Jan and Caspar Luiken, Georg Christoph Eimmart and Christoph Weigel, and two further double-page engraved plates; title printed in red and black with 2 large woodcut historiated initials, the plates comprising either nine or 12 panels including two title panels flanking top central image giving the millennium and century; narrow horizontal worm hole in blank outer margins of first 20 leaves (touching a few words and edge of one plate but with no significant loss), small hole with loss upper gutter of final leaf, some minor foxing and spotting throughout, mostly marginal, and with some soiling and foxing to plates, a few with some browning to verso margins, light dampstain to margin of final two leaves; front free endpaper detached; with 19th century owner's inscription dated 1851 on front flyleaf, who has clipped the top corner of same flyleaf to remove earlier provenance, remains of further label on rear endpaper and of old label on rear paste-down; in contemporary speckled calf, spine in compartments with raised bands, with old title label, tooled in gilt, head and tail of spine worn exposing head-bands, with loss at head, upper joint cracked and head and tail but holding, covers somewhat scuffed and scratched, corners bumped and worn; a good copy. First edition of a striking educational compendium - a superbly illustrated mnemonic history of the world from Creation up to 1697, the work of the noted engraver Christoph Weigel (1654-1725), and with text by Gregory Andreas Schmidt (1655-1696) and Samuel Faber. The beautifully etched and engraved plates provide a chronological summary of universal history, and are presented mnemonically broken down into the six millennia before and after Christ, then into the centuries and also by decades. A general ‘table’ is given summarising each millennium, with 37 special tables for the 37 centuries of the two millennia before Christ and the two after, each with 10 illustrations depicting events from a given decade. The small beautifully executed copperplate engravings vividly demonstrate Weigel’s mastery, and no doubt would have captured the imagination of the young readers. As an iconographic memory tool, it is in the great tradition of symbolic and emblematic books of the period.
‘In 1697 there appeared in the bookshop of Johann Daniel Tauber in Nuremberg a large tome, richly illustrated with 48 folio copper plate engravings and titled Sculptura Historiarum Et Temporum Memoratrix. The book, which presents the principal events in universal history since the creation of the world in the form of a chronological summary, does not simply follow a strictly chronological order but is shaped on mnemotechnic principles... History is thus conceived as a list of the principal events in history. This virtual list is embodied first and foremost in sets of illustrations on 48 panel engravings each of which depicts a millennium—or a century as the case may be—which in turn are divided into ten panels; these last illustrate either a century (as a subdivision of a millennium) or a decade (as a subdivision of a century). The plates, as such, can thus be viewed as pictorial lists. This became fully apparent when in 1700, poorer-quality copies were made and published on their own, with no explanatory text, under the title Die Welt in einer Nuß (’The world in a nutshell’).’ (Abstract from: ‘Le Monde dans une noix’, Markus Meumann, online facsimile of the reprint of 1700; without appendix here present - https://doi.org/10.4000/mcv.5803).
The present copy is also bound with two supplementary mnemonical double-page engravings, both of which appear to be rare, and we believe were printed before the book edition was published. The first, Gedächtnuß-hülffliche Bilder-Lust der merckwürdigsten Begebenheiten des 1696ten Jahrs’ describes 12 events in 1696 and announces the publication of the main work available by "nechkünfftige Michaeli" (feast of St. Michael, September 29). It is accompanied by two leaves of printed text ‘Memorabilia historica anni millesimi sexcentesimi nonagesimi sexti. Oder historische Denckwürdigkeiten des 1696ten Jahrs’.
This is followed by a second similarly rare broadside, Gedächtnuß-hülffliche Bilder-Lust der merckwürdigsten Begebenheiten des 1697ten Jahr’ with the VD 17 locating only a single copy at Munich. As usual it describes 12 contemporary events including a view of Cartagena in Columbia, South America as well as a view of Barcelona. The heading is: ‘Memorabilia historica anni MDCXCVII. Sive continuatio prima ad annum praecedentem MDCXCVI. Das ist: historische Denckwürdigkeiten des 1697sten Jahrs. Oder: Die erste Fortsetzung auf das vorhergehende 1696ste Jahr’. The Raid on Cartagena in Columbia was a successful attack by the French on the fortified city of Cartagena de Indias, on May 6, 1697, as part of the War of the Grand Alliance. By 1695, the French Navy had declined to the point that it could no longer face the English and Dutch in an open sea battle and therefore had switched to privateering. The account provided includes a detailed list of the loot together with two leaves of explanatory text.
Of further Americana interest, p. 206 under 1492 notes Columbus's New World discoveries and voyages to the islands of Cuba and Hispaniola, including later explorations in 1497 and 1506 with Americus Vespucci; page 273 notes battles in 1621 Brazil between the Dutch and Spanish; the Spanish Silver Fleet in 1628 from the Americas; on pages 258-9 appears an illustrated account of William Penn, the great Quaker. (Not in Landis, European Americana).
Christoph Weigel's (1654-1725) ‘fame rests not so much upon his own work as engraver as upon the mighty works which he issued as publisher. The height of his career was reached in 1698 when he settled in Nuremberg.’ (Faber du Faur, German Baroque Literature p. 469).

1880. Small silver-plated jug, 16 cms tall, 12cms from spout to outer handle; elegantly and elaborately engraved with floral design and presentation lettering; some slight wear to interior gilding and inner base slightly pitted and scratched, with some light surface wear and darkening in a couple of places, but otherwise a most appealing survivor. A charming survivor. A most elegantly engraved presentation silver-plated jug given to ‘Mrs Baggally’, by the ‘Members of the Female Sick Club in recognition of her valuable services in its behalf and of her untiring interest in the welfare of its members, Jany 25th 1880’. Sick Clubs, together with friendly societies, benefit and burial clubs, were locally established mutual aid organisations that emerged during the Industrial Revolution and continued well into the 19th century. At a time when there was no state provision for the poor, they grew in popularity and provided much needed help to working class families during times of need. More commonly aimed at working men, both in factories and in farming communities, gradually a number of sick clubs for women were established, though these were often overseen by a male committee and actuary. A few appear to have been run by wealthier philanthropic women, who were able to devote the time to running such clubs that working women could not. Ultimately, though friendly societies remain in existence to this day, many sick clubs were disbanded, having underestimated the funds required and the increasing needs of an ageing working population.
We have so far been unable to find any further information about Mrs Baggally. That the jug has been made in Sheffield may suggest a link, though the firm were nationally established with links to London. A report of Female Friendly Societies in the Insurance Cyclopaedia of 1876 (p. 579) does mention a Sheffield Friendly Society, and noting that it was managed by women.

1909. Offered together, a matching cup, saucer and small side plate, each bearing the motif of the ‘Angel of Freedom’, and the stamp of Williamsons on the base; some very slight loss of green colour around handle of cup and plate edges, but otherwise in very good condition. A lovely trio of stylish WSPU china, elegantly manufactured by the Staffordshire potter H.M. Williamson and bearing the striking motif designed by Sylvia Pankhurst, of the ‘Angel of Freedom’ blowing her trumpet and flying the banner of Freedom. In the background are the initials ‘WSPU’ set against dark prison bars, surrounded by the thistle, shamrock, rose and dangling chains.
The china was commissioned for use in the tea room at the WSPU exhibition held at the Prince’s Skating Rink at Knightsbridge in May 1909, one of a number of fund-raising events organised by the Society. The tea room was run by Mrs Henrietta Lowry, with help from her four daughters and another young suffragette, Una Dugdale. ‘The white china has strikingly clean, straight lines, rimmed in dark green and with angular green handles... It is more than likely that, from the range offered by Williamson, Sylvia Pankhurst chose this shape, keeping the design simple so that the ‘angel of freedom’ motif that she had designed specifically for the Exhibition should be shown to best effect.... At the end of the Exhibition, the china - tea pots, cups, saucers, tea plates, sugar bowls etc. - was offered for sale, made up into sets of 22 pieces’ (Elizabeth Crawford, Suffragettes and Tea Rooms). Complete sets are extremely scarce, and individual items are increasingly uncommon. As Crawford goes on to describe, other designs were commissioned for use in tea-rooms at other exhibitions, fund-raising bazaars, and in WSPU shops and offices. An comprehensive set sold recently at Bonhams for £11,475.
As a young womna, Pankhurst studied art at the Manchester School of Art, winning many awards during her time there including a travelling studentship to study in Italy. She took the Royal College of Art entrance exam in 1904, and was not only awarded a scholarship, but came top in the entire country. She made close friends at the RCA but struggled to reconcile her life of study and painting with her growing socialist principles, and "desperately longed to find a purpose for her art" (Harrison, Sylvia Pankhurst: A Crusading Life, p. 47).