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New inventory of manuscript collection reveals unprecedented level of detail for scholars of British history

The Ransom Center recently published a new finding aid for one of its richest collections of early manuscripts: the Carl H. Pforzheimer collection of English manuscripts. The bulk of the manuscripts were acquired in 1986, along with 1,100 other rare early printed editions of English literature that form the Pforzheimer library. The manuscripts include nearly 2,000 items dating from 1485 to 1844 that feature original correspondence from European monarchs, nobles, and aristocrats. Represented are works and letters by notable figures in British history such as Oliver Cromwell, John Donne, Queen Elizabeth I, John Evelyn, John Locke, Samuel Pepys, and Sir Walter Raleigh.

 

The new finding aid represents the first-ever online description of the Center’s Pforzheimer manuscripts and provides a new wealth of detail about the collection. Each manuscript has been individually cataloged, and digitization of all of the Pforzheimer manuscripts is ongoing. As digitization is completed, the descriptions and images will be added to the Ransom Center’s publically available digital collections.

 

The Pforzheimer manuscripts have several thematic strengths. For example, there are letters signed by Queen Elizabeth I relating to the ultimately failed negotiations for her marriage to François, Duke of Anjou. Another theme encompasses letters and documents signed by participants in the regicide of King Charles I of England, including two letters by Oliver Cromwell. Another grouping is anchored by a significant collection of letters by philosopher John Locke and additional letters by other English Enlightenment-era thinkers from the late seventeenth and early eighteenth centuries. Several founding members of the British Royal Society are represented in this group, especially Samuel Pepys and John Evelyn—two famous diarists of the period who provide modern-day historians with first-hand perspectives on English culture, politics, and science in the period. Among Evelyn’s materials are original hand-drawn sketches of gardens and naval battles, and letters to colleagues discussing the classification of herbs.

 

Another highlight is a beautifully extra-illustrated 1833 biography of Sir Walter Raleigh, created by nineteenth-century collector John Dillon to hold his extensive collection of original manuscripts by Raleigh and his contemporaries along with more than 500 rare prints and original art. Other items of significance to the history of art and literature include letters by seventeenth-century poet John Donne and eighteenth-century playwright William Congreve; a rare early seventeenth-century copy of Edmund Spenser’s Shepheardes Calendar translated into Latin; and a vellum handwriting showcase book from 1606 by Esther Inglis, one of very few known women calligraphers of her era. There are also two letters by members of the early Quaker religious movement, Margaret Askew Fell Fox and Isaac Penington.

 

The largest group of manuscripts in the collection originated from the Bulstrodes, an aristocratic English family prominent in Middlesex in the seventeenth and eighteenth centuries. By far the bulk and the most significant of these manuscripts are 1,469 handwritten newsletters dating from 1667 to 1689 received by Sir Richard Bulstrode (1610–1711) while he was stationed in Brussels as an English diplomat. These newsletters provided Bulstrode with information from England that could not be printed in public newspapers, such as parliamentary business. The reportage in the newsletters offers today’s readers a first-hand insider’s perspective on English history and London culture in a tumultuous time. Readers will find reports on England’s involvement in North America, hostilities with the Dutch and French, court hearings about government censorship, parliamentary debates on the right of habeas corpus, the formation of the Whig and Tory political parties, the Popish Plot and persecutions of Catholics, the uneasy succession of Charles II by the Catholic James II, the Rye House Plot, the Duke of Monmouth’s Rebellion, the Glorious Revolution of William and Mary, and accounts of court gossip in the 1670s and 80s that involved Mary’s sister—the future Queen Anne.

 

Supported by additional correspondence between Bulstrode, the newsletter office owner Joseph Williamson, and some of Williamson’s clerks, the Pforzheimer collection preserves one of the world’s largest records of early correspondence journalism. And through its digital collections, the Center will provide access to a large collection of manuscript newsletters from this era, showcasing the immense value these documents have as primary sources for historical and cultural research.

 

Please click on thumbnails to view larger images.

 

Photo Friday

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Book Conservator Mary Baughman teaches intern Hsiang-Shun Huang how to build a housing that will keep shelved books safe. Photo by Kelsey McKinney.
Book Conservator Mary Baughman teaches intern Hsiang-Shun Huang how to build a housing that will keep shelved books safe. Photo by Kelsey McKinney.
Sonja Reid, Registrar with the Ransom Center’s exhibition services, adjusts the humidity of the case holding the Gutenberg Bible. Photo by Kelsey McKinney.
Sonja Reid, Registrar with the Ransom Center’s exhibition services, adjusts the humidity of the case holding the Gutenberg Bible. Photo by Kelsey McKinney.
Ransom Center staff oversee the installation of vinyl text for the exhibition “The King James Bible: Its History and Influence,” which opens Tuesday. Photo by Kelsey McKinney.
Ransom Center staff oversee the installation of vinyl text for the exhibition “The King James Bible: Its History and Influence,” which opens Tuesday. Photo by Kelsey McKinney.
Linda Hohneke, conservator at the Folger Shakespeare Library, installs an item on loan from the Folger for the exhibition "The King James Bible: Its History and Influence." Photo by Alicia Dietrich.
Linda Hohneke, conservator at the Folger Shakespeare Library, installs an item on loan from the Folger for the exhibition "The King James Bible: Its History and Influence." Photo by Alicia Dietrich.
Sonja Reid, registrar with the Ransom Center's exhibition services, and Linda Hohneke, conservator at the Folger Shakespeare Library, install a bible that belonged to Queen Elizabeth I. The item, on loan from the Folger, will be on display when "The King James Bible: Its History and Influence" opens Tuesday. Photo by Alicia Dietrich.
Sonja Reid, registrar with the Ransom Center's exhibition services, and Linda Hohneke, conservator at the Folger Shakespeare Library, install a bible that belonged to Queen Elizabeth I. The item, on loan from the Folger, will be on display when "The King James Bible: Its History and Influence" opens Tuesday. Photo by Alicia Dietrich.

Primp My Book: A brief history of the customized reading experience

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Long before viewers watched Pimp My Ride or American Chopper—in fact, long before the combustion engine—readers personalized, customized, glamorized, and just plain peacocked their books. Whether encrusted with jewels, adorned by portraits of queens, or scribbled upon with ballpoint pens, the books pictured here demonstrate post-market enhancements, or primping, as a recurring phenomenon in book culture across centuries. These volumes embody fantasies of transformation through the act of dressing up. The story of the custom book starts with medieval illumination, a process that primped a book on the inside. The remaining books mediate the relationship with the text through their covers.

The warmth of red velvet, the chill of a silver hinge, the sparkle of precious jewel, or the smell of fine leather can create a sensory experience that complements, critiques, or even contradicts the words within the covers. Using these diverse materials, as well as techniques from inlay to Cosway, these covers make statements, sometimes even jokes, about their books’ contents.

Edward FitzGerald’s 'The Rubáiyát of Omar Khayyám of Naishápúr.' Photo by Pete Smith.
Edward FitzGerald’s 'The Rubáiyát of Omar Khayyám of Naishápúr.' Photo by Pete Smith.

The Rubáiyát of Omar Khayyám of Naishápúr (Needham, MA: Rosemary Press, 1916)
Miniature Book Collection

This tiny Rubáiyát, like others in its series, is bound in Russian leather and hand-tooled in gold. It was one of only 60 published by Rosemary Press, founded by Charles Dana Burrage (1857–1926), a Boston lawyer, naturalist, Orientalist, and the first president of the University of California Club of New England. His wee books were given as party favors at club events.

Thomas Moore’s 'Lalla Rookh:  An Oriental Romance.' Photo by Pete Smith.
Thomas Moore’s 'Lalla Rookh: An Oriental Romance.' Photo by Pete Smith.

Thomas Moore’s Lalla Rookh: An Oriental Romance (London and New York: Routledge, Warne, & Routledge, 1860)

This copy of Moore’s Lalla Rookh was primped in the early twentieth century. Sangorski and Sutcliffe of London bound this weighty three-pound copy in a colored leather binding inlaid with gold to form an intricate floral pattern studded with a central diamond and several rubies, pearls, and turquoises. Hidden inside the front cover is a stunning Cosway-style portrait of Moore, similar to Marie Antoinette’s portrait on another book in this display. A floral pattern was chipped into the book’s gilded edges creating a bas-relief effect, not unlike the gauffered edges on the embroidered prayer book mentioned below.

Page from Book of Hours. Photo by Pete Smith.
Page from Book of Hours. Photo by Pete Smith.

Book of Hours (France, 15th-19th Century)
Medieval and Early Modern Manuscripts Collection

Illuminated Books of Hours, or private devotional manuals, emerged as a distinct genre in the late thirteenth century. By the fourteenth, these status symbols had become items of conspicuous consumption for the nobility. The quantity and quality of their illustrations, called miniatures, is often an indication of their value, but this particular example has a twist—these illuminations are nineteenth-century fakes. While the manuscript dates to the fifteenth century, the miniatures were either over-painted or entirely fabricated approximately 500 years later into blanks left by the medieval scribe (for just such enhancement). The work is probably that of a nineteenth-century artist attempting to increase the value of a medieval manuscript.

'Officium Beatae Mariae Virginis.' Photo by Pete Smith.
'Officium Beatae Mariae Virginis.' Photo by Pete Smith.

Officium Beatae Mariae Virginis (Venice: Paulus Balleonius, 1709)

Dedicated to the Virgin Mary, this devotional is bound in thin wooden boards held together by metal hinges. The delicate fronds and flourishes on the upper and lower covers were created by inlaying various colored woods into a black veneer. Some of these woods are stained blue and green, while others retain their natural colors. The mother-of-pearl dog-roses that adorn the covers and spine are a symbol of Mary, and thus function as both ornament and clue to the book’s content.

'La Mode Feminine de 1490 a 1920,' Volume 2 of 3. Photo by Pete Smith.
'La Mode Feminine de 1490 a 1920,' Volume 2 of 3. Photo by Pete Smith.

La Mode Féminine de 1490 à 1920, Volume 2 of 3 (Paris: Nilsson, ca. 1926)
The Library of Edward Alexander Parsons

This collection of hand-colored French fashion plates features a portrait of the Queen of Fashion herself, Marie Antoinette. This portrait is an example of Cosway bindings, miniature paintings on ivory inset into gold-tooled leather covers. While these bindings get their name from the English miniaturist Richard Cosway (c. 1742–1821), the London bookselling firm Southeran’s is credited with their invention. Cosway bindings became popular as post-market modifications in the early twentieth century. This fashionable cover is tailor-made for its subject.

Bernard Kops’s 'The World is a Wedding.' Photo by Pete Smith.
Bernard Kops’s 'The World is a Wedding.' Photo by Pete Smith.

Bernard Kops’s The World is a Wedding (London: Mayflower-Dell, 1966)

Not all post-market portraiture is elegant. Kops modified this presentation copy of his autobiography for his friend and colleague Arnold Wesker, whose archive resides at the Ransom Center. Kops removed the original cover and replaced it with the inverted cover torn from a paperback copy of Evelyn Waugh’s Brideshead Revisited, which he then decorated with pen and a family photo. In his inscription on the title page, Kops explains, “I hated the… cover so much I made my own. Yours Bernard Kops December 65.”

'The New Testament of Our Lord Jesus Christ.' Photo by Pete Smith.
'The New Testament of Our Lord Jesus Christ.' Photo by Pete Smith.

The New Testament of Our Lord Jesus Christ (London: Christopher Barker, 1598)
The Stark Library

Early pocket-sized Bibles often benefitted from the protection of clasps and cornerpieces, which protected a volume’s edges from wear, enhancing longevity and portability. This small New Testament volume, printed by the same printer as the Book of Common Prayer, belonged to a wealthy individual: the edges of the pages show the remains of gilding, while the clasps and cornerpieces appear to be genuine silver. The Tudor roses visible on the cornerpieces and an inscription by a previous owner on the inside cover may link the book to Queen Elizabeth I.

Washington Irving’s 'A History of New York,' Volume 1 of 2. Photo by Pete Smith.
Washington Irving’s 'A History of New York,' Volume 1 of 2. Photo by Pete Smith.

Washington Irving’s A History of New York, Volume 1 of 2 (New York: Inskeep & Bradford, 1809)

Written under the pseudonym Dietrich Knickerbocker, this playful account of New York parodies earlier histories. Owned by the New York cotton magnate M. C. D. Borden and bearing the seal of New York City on its cover, this first-edition copy was re-bound by prominent Parisian bookbinder Georges Canapé (1864–1940) close to 100 years after its printing. The bright orange color may hint at New York’s Dutch history, while the goatskin leather, commonly used by Canapé, fits the nickname that Irving gave to New York City: Gotham, or “goat town.”

C. H. A. Bjerregaard’s 'Sufi Interpretations of the Quatrains of Omar Khayyam and Fitzgerald.' Photo by Pete Smith.
C. H. A. Bjerregaard’s 'Sufi Interpretations of the Quatrains of Omar Khayyam and Fitzgerald.' Photo by Pete Smith.

C. H. A. Bjerregaard’s Sufi Interpretations of the Quatrains of Omar Khayyam and Fitzgerald (New York: J. F. Taylor, 1902)
Numbered edition, no. 1 of 5
The Stark Library

Bound in brown pigskin, this painted cover lavishly depicts Omar’s vines of wisdom, each line of the drawing seared into place by a heated tool or flame. True to Bjerregaard’s vow to explore the “mines under the vineyard,” the pages between the decorated covers—rich with watercolor paintings, additional pyrographic illustrations, and brocade backed endpapers—reveal further artistic enhancements. One of only five printed, this opulent “Jamshyd” copy presents Bjerregaard’s anti-sensualist pairing of the famous quatrains with Sufi wisdom.

Edward Bulwer-Lytton’s 'The Last Days of Pompeii.' Photo by Pete Smith.
Edward Bulwer-Lytton’s 'The Last Days of Pompeii.' Photo by Pete Smith.

Edward Bulwer-Lytton’s The Last Days of Pompeii (London: Collins, ca. 1910s)
The Library of Edward Alexander Parsons

Polished wooden inlaid boards cover this otherwise unassuming edition of Lytton’s popular novel, leaving the original spine visible. The inlaid upper cover is composed of at least eight separate pieces of wood, cut and fitted together so precisely that the surface feels completely smooth to the touch. Inlaid bindings peaked in popularity in the seventeenth and eighteenth centuries, so this early twentieth-century repackaging was likely a deliberately anachronistic choice—perhaps a playful reference to the famous mosaics of Pompeii.

Book of Common Prayer. Photo by Pete Smith.
Book of Common Prayer. Photo by Pete Smith.

Book of Common Prayer (London: Christopher Barker, 1586)

Embroidered with silver cord and thread, this rare surviving example of textile binding features red velvet covers decorated with spangles. Although the exact date of this binding is unknown, it closely resembles the embroidered velvet Bible presented by the same printer, Christopher Barker, to Queen Elizabeth I as a New Year’s gift in 1584. The identity of ‘F. S.’ remains a mystery, but the gauffered edges—gilded, and then impressed with patterns by a heated tool—indicate that this book was owned by a member of the upper class. A final clue to the mysterious owner’s status lies in a 1638 statement by a guild of English embroiderers, who claimed that their book covers were fit for the “Nobility and Gentry of this kingdome… and not for common persons.”

Students in The University of Texas at Austin Professor Janine Barchas’s fall 2010 graduate seminar, English 384k: Graphic Design & Literary Text put together a display case at the Ransom Center with these examples of various bindings. This display can be seen during Reading Room hours through the end of January. Students who worked on this project include Lynn Cowles, Colleen Eils, Jennifer Harger, Brianna Hyslop, Aaron Mercier, Michael Quatro, Robin Riehl, Jessica Shafer, Connie Steel, Laura Thain, Joanna Thaler, and Jay Voss.

'Every now and then you have to think outside the box'

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Preservation Housings Manager Apryl Voskamp spends a lot of her time at the Ransom Center making boxes. Yet, she says, “every now and then you have to think outside the box.”

That’s because the preservation lab is responsible for housing every type of item in the Ransom Center’s collections: from Lewis Carroll’s photo album to Ezra Pound’s chess set.

“Every single box in the lab is custom-made,” Voskamp says. “Every housing has to fit the unique object stored inside. We take three measurements for every item: length, width, and thickness. Then we look at what material the item is made of. That way I can figure out what other materials can be housed with it, like tissue, felt, or other kinds of non-abrasive materials to cushion or pad the items.”

The preservation lab has compiled a binder full of templates for common housings such as boxes for books, custom-made folders, and more. But some items are so unique that the preservation team has to come up with entirely new and innovative designs.

For example, the preservation team is currently devising housing for a wicker form in the colleciton. The two-piece form is too tall and fragile to be stored in one piece, so the top and bottom halves will be stored separately. The top half currently lies in a box, and the legs greet visitors to the preservation lab.

“The top half is most stable lying down. I put some batting inside the housing and wrapped simple, muslin, non-bleached cloth around the batting so it has a little pillow for support,” Voskamp says. “We realized that the bottom half would be most stable standing up. Because of the angle of her legs, it tends to roll to one side if you lay it down. We’ll make some sort of support structure for the bottom half.”

One challenge of housing the wicker form is that it’s spray-painted gold.

“The gold pigment is probably a mixture of copper and zinc, which can react adversely with the acetic acid in some adhesives commonly used in boxmaking,” Voskamp notes. “In this case, we would prefer to use water-based chemicals.”

Voskamp had to think creatively when she was asked to store Arthur Conan Doyle’s golf clubs and golf bag. She devised a box that was anything but elementary.

“I put the clubs in the bottom of a box and used foam supports to stabilize them and then hollowed out grooves that he clubs could fit into that would support them. Then there was a shelf above the clubs that the golf bag would sit on. The leather was deteriorating, so we wrapped the shelf with non-abrasive material. Then we gently stuffed the golf bag full of tissue paper to hold its shape,” Voskamp says.

Robert De Niro’s collection, which the Ransom Center acquired in 2006, kept the preservation lab busy devising new housings for swords, a machete, baseball bats, suitcases, and a plaster facial cast from Frankenstein (1994), to name a few. For Voskamp, one highlight was De Niro’s tackle box full of makeup from when he was first starting his career as an actor.

“It was one of the last things he gave us because he wanted to hold onto it. That was special because it was his, it wasn’t a prop,” Voskamp says.

While planning how to house the tackle box, Voskamp faced an unusual challenge: after years storing bottles of adhesive and makeup, the box had started to smell.

“I was fortunate because when it came in, someone who worked specifically with film props was visiting the department. It was incredible timing that we had the perfect person to consult,” Voskamp says. “He was really excited. His reaction was, ‘Wow, this is great! What’s in here?’ We talked about what he would do about the smell, and he encouraged me to make a ‘breathable’ box.”

The sides aren’t completely sealed, which promotes air circulation. But the housing still protects the tackle box from light and dust, which Voskamp says is always her number one concern.

“If you create an isolated and somewhat air-tight environment, you can possibly do harm to the object inside. It could become a problem. It was really important to get air exchange into the enclosure and let those potentially harmful chemicals diffuse, or ‘breathe.’ Eventually whatever reaction is going on inside will slow,” Voskamp says.

In the end, the preservation lab’s boxes are essential to the items they’re housing. Without the proper box, Gloria Swanson’s sunglasses, Ernest Hemingway’s manuscripts and coin collection, and Queen Elizabeth I’s wax seal would be lost to the ages.

The Harry Ransom Center's preservation lab is responsible for housing every type of item in the Ransom Center’s collections: from Lewis Carroll’s photo album to Ezra Pound’s chess set.
The Harry Ransom Center's preservation lab is responsible for housing every type of item in the Ransom Center’s collections: from Lewis Carroll’s photo album to Ezra Pound’s chess set.