Deborah Fisher, Gaster Project Cataloguer, shares some of her work.

We have recently started an exciting new project to fully catalogue the archive of Rabbi Dr Moses Gaster (1856-1939) and make the collection more easily available for research. Supported by external funding, the project runs from August 2023 to March 2024, and two project cataloguers will be carrying out the work to sort, list and catalogue Gaster’s extensive correspondence.

The Gaster Papers is the largest and most significant Jewish archive collection at UCL Special Collections. The bulk of it is correspondence between Dr Gaster and a range of individuals and organisations across the Jewish and wider community. It includes both incoming letters and copies of outgoing ones, and comprises around 50 linear metres of material.

Gaster was a Jewish communal leader, prominent Zionist and prolific scholar of Romanian literature, folklore, and Samaritan history and literature, as well as Jewish subjects. Born in Bucharest, he was expelled from Romania in 1885 because of his political activities. He settled in Britain and was appointed Haham (spiritual head) of the Spanish and Portuguese Jewish community, and later also Principal of the Judith Lady Montefiore College in Ramsgate. He was a founder and president of the English Zionist Federation and played an important role in the talks resulting in the Balfour Declaration of 1917.

The archive also has wider significance beyond Moses Gaster himself and is an important resource for research into late 19th and early 20th century history, both within and beyond the Anglo-Jewish community. Gaster corresponded with a huge range of individuals and organisations: a biographical index of Gaster’s well-known correspondents for the period 1870-1897 includes nearly 400 names, including rabbis; Jewish, Christian and secular scholars; politicians; financiers; doctors and even royalty. He received correspondence from Britain, Europe, America, the Middle East, India, South Africa and Australia.

Letters from the archive

The letters received by Gaster cover a broad range of topics, such as aspects of Jewish law and religious practice, charity appeals on behalf of individuals and organisations, and meetings attended or publications produced by Gaster for various societies including the Royal Asiatic Society, Society of Biblical Archaeology, and Folklore Society. 

The samples below reflect the diverse nature of the correspondence, providing a glimpse into Gaster’s daily life and the tasks and responsibilities he undertook. 

Shopkeepers and Businesses

In a letter dated 28 August 1896, Gaster is invited to attend a meeting in support of the Jewish Master Bakers. The Sunday Observance Laws and the Bread Acts of 1822 and 1836 prohibited bakers from baking on Sundays due to the Christian Sabbath, but as Jewish bakers were also unable to bake and sell bread on Saturdays (the Jewish Sabbath), they would only have stale bread to sell during the limited trading hours on Sunday as well as on Monday morning. Many Jewish bakers did bake and sell fresh bread on Sundays in violation of these laws; this met with opposition from Christian bakers, who felt that it gave the Jewish bakers a competitive advantage. This tension led to Christian bakers reporting these Jewish bakers to the authorities, so that they would be prosecuted and fined. The letter below, written on behalf of the Jewish Master Bakers, invites Gaster to a meeting to discuss the matter.

The restrictions on Sunday trading also affected other Jewish shopkeepers. The Gaster ephemera collection contains a flyer for a protest meeting against the “Sunday Closing of Shops and Markets Bill” in June 1906, at which Gaster was Chair. 

 

Hebrew Braille

Gaster was a highly respected scholar and linguist, and as such was asked by the National Institute for the Blind in June 1930 to serve on a commission for the development of a standardised Hebrew Braille code, to replace the regional variations already in existence. Furthermore, Gaster himself had lost his sight by this time, and so it may have been considered a matter of personal interest to him. 

Gaster responded that he would be willing to participate in this work, and that he had previously been involved in the preparation of an alternative writing system for Hebrew for blind users, albeit different from Braille. 

Ultimately, Gaster does not appear to have been directly involved in the work of the Commission; it emerged that there could only be one English member of the Commission with knowledge of Hebrew, and that position had already been filled. But the National Institute for the Blind did continue to seek Gaster’s advice on the subject in a private capacity, as the letter below shows.

A broader discussion of the history of Hebrew Braille is found in the American Jewish Archives: https://sites.americanjewisharchives.org/journal/index.php?y=1969&v=21&n=2 

Blog post by Deborah Fisher, Gaster Project Cataloguer, UCL Special Collections.

 

Our next blog post later this week will continue to explore the Gaster archive, with an article by Gaster Project Cataloguer, Israel Sandman.

 

The following was adapted from text written by Erika Delbecque and Tabitha Tuckett for the 2023 exhibition catalogue Hidden in Plain Sight: Liberating our Library Collections. The Main Library exhibition Hidden in Plain Sight is open until December 2023 and is open to the public. For more information, visit UCL Library’s Exhibition page.

 

Since 2021, we’ve run the Liberating the Collections volunteer project. Volunteers search our catalogues for Rare Books related to marginalised voices, including examples of historical LGBT+ writers in our collections. The items identified by our volunteers illustrate diversity of sexuality and gender identities present in our collections, while also highlighting the difficulty of applying modern notions of LGBT+ identites to authors who predate them.

One example is Katherine Philips (1632-63). She was one of the first female poets whose work was published during her lifetime. We have several editions of her poetry in our collections, including the 1669 edition of Poems by the most deservedly admired Mrs Katherine Philips.

Philips wrote vivid poems about friendships between women, interpreted by some critics as examples of lesbian poetry. One of her poems, “To my Lucasia, in defence of declared Friendship.” begins:

1.

O My Lucasia, let us speak of our Love,

And think not that impertinent can be,

Which to us both doth such assurance prove,

And whence we find how justly we agree.

2.

Before we knew the treasures of our Love,

Our noble aims our joys did entertain;

And shall enjoyment nothing then improve?

‘Twere best for us then to begin again.

 

The debate on whether Philips’s work should be read as such points to the difficulty of applying modern notions of sexuality and sexual identity to historical authors.

Charlotte Charke (1713–60) lived and worked as a man for much of her life, defying some of the career limitations for women in eighteenth-century England. Her autobiography A narrative of the life of Mrs Charlotte Charke … Her adventures in men’s cloaths records her experiences. To contemporaries she was notorious, but her works in our collections have received little attention until recently.

We use she/her pronouns when describing her as those are the pronouns she used to describe herself.

Charke acted on the stage in male roles, ran a puppet theatre staging political satire and worked in the traditionally male jobs of a gentleman’s valet and a farmer. Unfortunately she paid a price for doing so: frequently short of money, she was estranged from her father and two husbands, against whose affairs and gambling debts she rebelled. Only towards the end of her life, as a writer, did she find success with this book, an early example of a published autobiography written by a woman. We might be tempted to apply anachronistic terms of gender identity to Charke, but the survival of her autobiography at least enables us to read about her life in her own words.

During the eighteenth century, English guidebooks claiming to describe the dangerous temptations of London life to the innocent and respectable reader became popular. They enabled a vicarious exploration of illicit or unconventional sexual behaviour and gender that did not endanger either author or reader. The midnight spy … exhibiting .. bagnios, jelly houses .. and other places of midnight resort, focusing on London’s nightlife, includes an account of jelly houses and bagnios – restaurants and bathhouses that served as brothels where men could pick up both women and other men for sex, although the text does not clarify whether it describes homosexual or heterosexual activity.

Publications of this sort sold well and critical reviews from 1766 mention that passages of this book had been re-used from previous similar titles. Such comments suggest that this may not have been the most up-to-date account of London nightlife during time of rapid change in the capital as the Industrial Revolution began.

These items were indentified by Isobel Goodman (2021 Liberating the Collections volunteer), Chris Fripp (Liberating the
Collections pilot-project researcher 2019–20), and Michael Niedzwiecki (2022 Liberating the Collections volunteer). Thanks to their work, we can highlight these items and ensure they are no longer hidden on our shelves and in our catalogue.

If you would like to see these items for yourself, they are on display in the Main Library until December 2023.

 

 

The following is by Rozz Evans, Head of Collection Strategy and co-chair of the Library Liberating the Collections Steering Group. It was originally published in the introduction to our 2023 Exhibition Catalogue “Hidden in Plain Sight: Liberating our Library Collections” and has been slightly edited for the purposes of the blog.

UCL Library Services holds a rich and diverse range of collections containing almost two million printed items (alongside an extensive digital library). These collections comprise both Special Collections (a term that we use broadly to describe our rare books, archives and records)  and Teaching Collections. As Head of Collection Strategy, I work closely with our Head of Special Collections, Sarah Aitchison. We are responsible not only for the development, care and curation of our collections, but also for ensuring that we prioritise our effort and resources in the form of money, staff and space. An important aspect of this is our commitment to uncovering the hugely diverse material within our existing collections, enabling us to give a  voice to those who have been historically less visible.

As an institution, UCL has been very public about its commitment to addressing issues  around Equality, Diversity and Inclusion (EDI) for some years. Arguably the most high-profile work has been around eugenics, UCL’s part in  its history and its enduring impact.

However, institutional effort goes far wider than this. For example, UCL was one of the first institutions in the UK to set up its Liberating the  Curriculum project in 2016 to improve the inclusivity and diversity of its reading lists. One of the outcomes of this was a community of  practice, bringing together colleagues from across the university who are working in this area; this now has a broader remit than the original  project.

It is this group that inspired the name of our Library Liberating the Collections Steering Group (LLTC), which we set up in July 2020 to plan, monitor and oversee our work in this area. We have developed an action plan based around three key themes of Description and Visibility,  Collection Policy and Communication and Engagement.

‘Liberating’ is a term that already has currency in UCL and beyond. It conveys an active approach to this work and its broadness  demonstrates how this group is working to uncover, identify and promote a more inclusive collection in relation to all under-represented  voices. This means that although there will be specific projects in the realm of decolonisation, for example, the remit is broader than race and  racism. We feel strongly that it is important not to use terminology such as decolonisation as a shorthand for wider issues around diversity and inclusion.

UCL Library Services’ collections were initially built from departmental libraries, gifts, donations and bequests, supplemented by some  purchases. In the library’s earliest accessions registers it is clear that the focus was on generating teaching collections and filling shelves. This meant that there was no strategic approach to developing a collection, and therefore was primarily reflective of the status of donors. This is  very different to how we acquire material today. This involves a much more selective, considered and proactive process, governed by clear  and transparent collection policies that are available on our website.

This also means that in some cases – particularly in our older material – our collections tend to reflect historic bias and structural  inequalities in the university and in the society of the time. These include a normalisation of white, male, Western-centric theories, views,  experiences and opinions. This certainly does not mean that we do not hold material which relates to under-represented authors and  communities. However, it has become apparent that many of the systems and processes traditionally used by libraries in the curation,  management and description of the collections serve to perpetuate systemic bias and can make it difficult to discover this material. For example, the widespread adoption of international cataloguing standards, such as Library of Congress Subject Headings, makes it difficult to  challenge or change the use of outdated or discriminatory language in catalogue records.

We are also aware that our collections include content that is now considered discriminatory or harmful, and we must be explicit that its existence in our collections does not represent UCL’s current views.

Traditionally libraries have hidden behind ‘neutrality’ as a way of  preserving objectionable content without proper contextualisation, regardless of the harm it can cause to our academic and cultural  understanding of these items. However, their historical importance means that we cannot simply remove or delete such items from our  collections. Instead we are looking at how we can contextualise such material, acknowledging where necessary the harm these items might do to some of our users and alerting them to problematic content where we can. Pairing re-contextualisation with a celebration of previously ignored voices allows us to have a fuller understanding of our history and culture.

Working in this space tends to require a lot of background research and reflection before any work can begin, much less before the books and other materials are made available for use. “Hidden in Plain Sight” does not represent a finished project, but sets the scene for ongoing investigation,  discovery and promotion. Staff and volunteers have been working for many months or years, and this will continue to be the case. In the next few years we hope that more of our collections – already full of interesting stories, diverse voices and differing perspectives on colonialism –  will be accessible to students, staff and researchers. “Hidden in Plain Sight” is thus a teaser of things to come.

We hope that this exhibition also embodies a spirit of hope and excitement, as well as an ongoing commitment to ensuring that UCL Library’s collections are truly reflective of the richness and diversity of our shared history.

For more information on the history of UCL Library Services, check out our 2019 Exhibition catalogue “From Small Library Beginnings: a brief history of UCL Library Services.”

“Hidden in Plain Sight: Liberating our Collections” is on display in the Main Library Stairwell and 1st floor until December 2023. Exhibition items and catalogue are also available online.

Our new Main Library exhibition “Hidden in Plain Sight: Liberating our Library Collections” is now open! The exhibition is free and open to members of the public.

Across UCL Library Services, staff members, students and volunteers have been working together to discover, record and celebrate the diverse voices in our collections. Through a number of projects, overseen by the Library Liberating the Collections Steering Group, we have gained a better understanding of our collections and improved their accessibility. However, we are at the early stages of this important initiative and there is still more work to be done.

The exhibition is located in the Main Library Staircase and First Floor. It is open to the public – just speak to a member of the Main Library front desk about getting a 15 minute pass to see the exhibition.

A catalogue for the exhibition is available online.

Items in the exhibition have also been digitised.

The following was adapted from text written by Erika Delbecque and Tabitha Tuckett for the 2023 exhibition catalogue Hidden in Plain Sight: Liberating our Library Collections, which will be available online at the end of March. The Main Library exhibition Hidden in Plain Sight will also be opening at the end of March. Keep an eye out for an opening date announcement coming soon!

Often when we look at books in our collection, our preconceived notions about the historical roles of women in society can cause us to make assumptions about the history of an item. After all, what could the collected works of Francis Bacon, a former Lord High Chancellor of England, tell us about the working lives of women in 17th century England?

When you first open the 1657 edition of Resuscitatio your eye is almost immediately drawn to the full-page engraved portrait of Francis Bacon.  However, this book is part of the long history of women’s involvement in book production.

In early modern England, printing was mostly the preserve of men. However, widows were permitted to take over their late husbands’ printing businesses, which allowed many women a way into this profession. One of these women was Sarah Griffin, who was active as a printer from 1653 to 1673. We can see her involvement in the production of the 1657 edition of Resusciatio by taking a closer look at the title page.

The bottom of the title page for Resuscitatio reads: “LONDON, Printed by Sarah Griffin, for William Lee, and are to be sold at his Shop in Fleetsstreet, at the sign of the Turks-head, near the Mitre Tavern, 1657.”

Sarah Griffin inherited the printing business from her husband Edward in 1652 and ran it successfully for the next 20 years. We have several books printed by Sarah Griffin in our collection, including her edition of Resuscitatio.  

Hannah Allen was another example of a woman who acquired a business on her husband Benjamin’s death in 1632. While it is unclear how long she was involved in publishing, from 1646-1651 Allen published at least 54 books and pamphlets. Her business specialised in religious treatises, such as The hope of Israel. It is an English translation of a work by Menasseh ben Israel, who set up the first Hebrew printing press in Amsterdam.

Like the 1657 edition of Resuscitatio, a quick glance at The hope of Israel does not reveal an obvious connection to women-owned businesses. However, the bottom of the title page reads: “Printed at London by R.I. for Hannah Allen, at the Crown in Popes-head Alley, 1650.”

Our collection includes The hope of Israel and the 1648 pamphlet The humble ansvver of the General Councel of the Officers of the Arm.

Both of these items were identified as part of the Rare Books Liberating the Collections volunteer project, which equipped participants with the knowledge and tools to search our catalogue for items in our rare book collections relating to under-represented groups. Twenty-seven volunteers have worked with us, each focusing on a particular topic, such as books owned by women, authors of colour and representations of disability. Without the work of these volunteers, we may have never realised that Resuscitatio and The hope of Israel were part of the history of women in publishing and printing.

Both of these items were identified by Emilia Reid, a 2021 and 2022 Rare Books Liberating the Collections volunteer.

 

This guest blog post was written by Jane McChrystal , who spent five months volunteering at UCL Special Collections as part of the Liberating the Collections project.

In March I was presented with an exciting opportunity – discovering the work of women authors published before 1750, held by UCL Library’s Special Collections. I’d been invited to join a team of volunteers for the library’s Liberating the Collections project, by Head of Rare books, Erika Delbecque. Next, Erika convened an online meeting to introduce volunteers to each other and some members of the library team. During the meeting the librarians showed us how to identify works catalogued in the Special Collections using the Explore service, knowledge which could then be applied to the pursuit of the individual projects Erika had assigned.

There were some initial qualms- what if there weren’t any works by women authors pre 1750 in UCL’s collections, or I couldn’t work out how to find them? Luckily, my supervisor, Jo Baines, Academic Liaison Librarian / Archivist, was at hand to reassure me that there were, as I’d hoped, many different ways of approaching the collections to find relevant texts, so it was fine, at this stage to try out a variety of search methods and see what worked.

Initially, I set out in quite a random fashion. I didn’t make much headway, but I was able familiarise myself with Explore and become more confident about finding my way round the collections. And then, Covid struck in April, leaving me quite foggy for a number of weeks.

Once the fog lifted, something had become clear, I needed a system. A simple idea occurred to me. How about approaching my searches with a list of women authors who lived between the 14^th and 18^th centuries? In this instance, Wikipedia was my friend and it helped me to compile a list of 353 authors. I then selected some who looked the most promising and noted the subjects they addressed, and the literary forms they employed, such as poetry, meditations or drama. Consequently, I was able to match the authors with the collections they were most likely to be found in and the carry out a simple author search in the catalogue of the relevant collections.

The Rotton and Strong Room collections yielded eleven works by Aphra Behn, a good result, but not too surprising, as she was about the only seventeenth-century woman author I was already familiar with. Today, she is remembered chiefly for a novel, Oroonoko, the tale of a doomed affair between Oroonoko, an African prince and his love, Imoinda, set largely in Surinam played out against the background of a slaves’ revolt, and later adapted into a more successful play.

Before my search, though, I wasn’t aware of her four other dramas and poetry, mainly composed of paeons of praise to various illustrious individuals and members of royalty. I really knew very little about this literary form, but as I went ahead with further searches, I came to realise how popular it was, which makes sense when you consider the important role of patrons in literary life at the time.

And then I came across a gem in the Rotton collection, a collection of Lady Mary Wortley Montagu’s letters to various eminent men in England, concerning her travels in Europe, Africa and Asia with her husband, a British ambassador, which lists the name “Mary Astell” among its contributors.

Mary Astell (1666-1731), sometimes referred to as England’s first feminist, was the author of A Serious Proposal to the Ladies for the Advancement of their True and Greatest Interest, a Lockean philosopher and the founder of a charity school for girls in Chelsea.

She also belonged to a circle of scholarly women in Chelsea, which included Lady Mary Chudleigh, Elizabeth Thomas and Elizabeth Elstob and Wortley Montagu. Each lived in quite different circumstances, ranging from the wealthy, aristocratic Wortley Montagu to Astell.

Astell was a single woman, whose family had fallen on hard times and, as such, had no prospect of marriage to a social equal. She survived on the patronage of women, like those in the circle, who shared her interests in feminism, the oppressive nature of marital relations and the importance of a good education for girls and women.

I returned to the catalogue in search of their names and found four other works by Montagu in the Rotton Collection, largely made up of more letters about her experiences in the different countries she lived in. It is fortunate that these letters were preserved in the eminent men’s libraries and published after their estates were distributed. These texts were then picked up by collectors who donated them to UCL Library.

So, what next?  On 24th August I look forward to sharing my discoveries at a meeting of UCL Library’s Rare Books Club, where participants will have a chance to take a look at some of the texts I found and learn about the work of two fascinating women authors previously buried in the Special Collections, together with the stories of some other important women in their orbit.

All in all, these experiences of taking part in Liberating the Collections have lived up to every expectation I set out with and beyond. Working with Jo as my supervisor has been one of the most enjoyable of them and, thanks to her knowledge, flexible approach and supportive attitude, I found a path to these heroines.

For most of recent history, access to the means to read, write, publish and collect texts was restricted to society’s most privileged. Most of the 150,000 rare books that are looked after by UCL Special Collections were donated over the past two centuries by members of the same privileged group. Collecting books is never neutral: the choice to purchase books in a certain discipline, or on specific topics or by particular authors also implies the choice not to purchase other materials. The interests and prejudices of the collectors themselves and the society they lived in deeply influenced those decisions.

The result is that the rare printed collections that we have inherited overwhelmingly document the experiences, achievements and concerns of white men of European heritage. The experiences of less privileged people – those of non-white ethnicity, women, those living with a disability or people who are LGBTQ+, for example – are much more difficult to find.

Uncovering obscured histories

To start addressing this challenge, we set up a volunteering project called Liberating the Collections in 2021. Thirteen volunteers searched our catalogue for books, pamphlets and journals that relate to the experiences of people from marginalised groups. Focusing on topics such as women book owners, same sex love and desire and BAME authors, they compiled a list of 650 books from our collections that provide glimpses into some of those obscured histories. A new display at the Student Centre, which is opening on 15^th February ’22, will showcase a selection of images from the items that the project has uncovered.

Complex questions

Searching for these underrepresented voices in our collections brought up many questions that don’t have easy answers. Are descriptions of non-Western traditions by representatives of the nations that colonised these countries examples of preservation or exploitation? How do you uncover women’s histories when the surviving historical evidence is scanty? Can we apply modern notions of sexual identities to texts that were written by historic people?

These issues are reflected in some of the items that are included in the display. There is a copy of a sixteenth-century epic poem that was signed by Mary Rich and Margarit Riche, whose identities we can only guess at. Another item in the display is a volume of poetry by Katherine Philips (1632-64), who some consider to be a lesbian poet, although others have called this reading anachronistic. Also included is an illustration from Kaladlit okalluktualliait (1859-61), an anthology of Inuit folk tales that was published by a Danish colonial official.

Next steps

Listing items from our collections that relate to underrepresented and marginalised groups is only the first step in amplifying these voices. Through updating our catalogue records with the findings of the volunteers, we will make these items easier to discover. For example, where volunteers have identified women who previously owned books in our collections or women printers who used their late husband’s name, we are adding these names to the catalogue record. We are also planning to digitise some of these items so that they are freely available online, and we are using the list as a basis to diversify the items we use in our exhibitions, classes and events.

The Liberating the Collections project has only scratched the tip of the metaphorical iceberg, but already we are finding treasures as the ice starts to melt.

This guest blog post was written by Isobel Goodman, who spent six months volunteering at UCL Special Collections as part of the Liberating the Collections project.

Tasked with researching pre-1750 women writers, as part of UCL’s Liberating the Collections project, I was struck by the varied ways in which women engaged with print culture in this period. Unsurprisingly, recognised names such as Margaret Cavendish, Mary Wortley Montagu and Aphra Behn occur frequently in the catalogues, but the research also revealed several other women writers whose non-aristocratic status and lesser-known writings provided a fascinating insight into the processes at work.

*****

The political writings of author-printer Elinor James (1644-1719) were regularly published even before she inherited her husband’s printing business in 1710. Renowned for her petitions to the king and parliament, James’ work benefitted from ready access to a printing press: not only could her concerns be published promptly in response to new debates (hence avoiding any appearance of pre-meditated attack on the petitionee), but also in large quantities for maximum impact. Extant documents indicate that she penned at least 90 pamphlets and broadsides during her career, although the ephemeral nature of these items could disguise a much greater number. UCL holds a copy of Mrs James’ Vindication of the Church of England (1687), in which she defends James II’s ‘Declaration of Indulgence’ against criticism in another pamphlet published anonymously weeks earlier. Robustly countering the anti-Catholic stance of the earlier publication, James concludes “GOD Save the KING”!

The fast, cheap, ephemeral nature of pamphlet production suggests that James sought neither literary renown nor fortune from her writing. However, the conspicuous inclusion of her name in her publications, often in the title itself, demands recognition as both author and printer. Indeed, a portrait she gifted to Sion College in 1711, notably depicts James holding a lavishly bound book whilst a copy of her Vindication of the Church of England rests nearby.

*****

In the absence of owning a press, less-wealthy eighteenth century authors could fund the third-party publication of their writing through subscription i.e. half of the book price paid in advance by readers and the other half on receipt, in return for their names being listed in the publication itself. Kitchen maid, Mary Leapor (1722-46), was an unlikely candidate for a published poet, yet she successfully funded printing in this way – no doubt aided by subscribers’ curiosity of her situation. Rector’s daughter, Bridget Freemantle, and Leapor’s employers and their relations (the Jennens and Blencowes) also provided useful connections.

Following Leapor’s premature death, two years before her book appeared in print to positive reviews, novelist Samuel Richardson published a posthumous second volume of Leapor’s manuscripts (1751), of which UCL holds a copy. While less successful in attracting subscribers, the text’s woodcuts still suggest a reasonable budget. Leapor was certainly well-known during this period: an anthology ‘by eminent ladies’, published in 1755, devoted more pages to her than any other writer. Indeed, UCL’s text previously belonged to Jeremy Bentham and includes his annotations of ‘Mrs Grey’s memories of Mary Leapor’, indicating a prestigious readership of both sexes. Bentham reports that Mrs Grey introduced Leapor to Bridget Freemantle, who subsequently provided her “with pens, ink & paper & a bureau, book case & likewise books, before which she had scarcely an opportunity of coming at any books, or the means of procuring them”.

*****

In contrast, the corpus of poems, prose, petitions, biography and translations penned by Lucy Hutchinson (1620-81) remained deliberately unpublished during her lifetime. She is perhaps best known for her Memoirs of her husband, John Hutchinson – a signatory of Charles I’s death warrant who died in prison following the Restoration – which she compiled for their children between 1665 and 1671.

The Memoirs’ posthumous publication in 1806, by Hutchinson’s great-great-grandson, raises questions about the control authors ultimately had over their work. The private account was intended as “a naked undrest narrative, speaking the simple truth of him”, confirmed by careful, personal revisions of the original manuscript. Yet the heavily edited (although well-received) first publication was swiftly followed by two further editions before 1810. UCL special collections hold five four copies, ranging in date from 1808 to 1904. The original editor promoted the text to female readers as having “all the interest of a novel”, and the book’s moralistic account of the civil war impacted both historiography and popular opinion, despite no evident intent by Hutchinson to do either.

*****

The scandalous memoirs published in 1748-9 by Teresia Constantia Phillips (1709-65) were perhaps originally penned more for blackmailing former lovers than for book sales! In a self-promoting sales tactic, the imprint claims, “Such extraordinary care has been taken to intimidate the Booksellers, in order to stifle this Work, that Mrs. Phillips is obliged to publish it herself, and only at her House in Craig’s Court, Charing Cross; and to prevent Imposition, each book will be signed with her own hand”. Yet, in reality, the removal of pre-publication censorship during the 18^th century had freed publication of such material in Britain. Trade publishers, such as Mary Cooper, who would assign their own name to an imprint and sell publications anonymously on behalf of the publisher and copyright holder, further enabled publishers to print controversial works without risk to their reputation.

*****

Whether for money, renown, or politics, the women represented in UCL’s special collections employed authorship for their own purpose – albeit with varying control over the resulting publications. Literacy was expanding during the 17^th and 18^th centuries, as was the print market following the lifting of restrictions on printer numbers in 1695. Combined with women’s evident interest in matters beyond the household (despite being unable to fully participate or vote in them) the processes were in place for them to reach a wider audience than ever before, through the medium of print.

By Isobel Goodman

Bibliography

Primary sources

Hutchinson, Lucy. Memoirs of the Life of Colonel Hutchinson. London: Printed for Longman, Hurst, Roes and Orme by T. Bensley, 1810.

James, Elinor. Mrs James’s Vindication of the Church of England, in an Answer to a Pamphlet entituled, A New Test of the Church of England’s Loyalty. London: Printed for me, Elinor James, 1687.

Leapor, Mary. Poems upon Several Occasions. The second and last volume. London: Printed and sold by J. Roberts, 1751.

Muilman, Teresia Constantia. An Apology for the Conduct of Mrs Teresia Constantia Phillips. London: Printed for the Author, and sold at her house in Craig’s-Court, Charing Cross, 1748-1749.

Secondary sources

Brown, Susan, Clements, Patricia, Grundy, Isobel. “Elinor James: Writing,” Orlando: Women’s Writing in the British Isles from the Beginnings to the Present, last accessed 03/08/2021. http://orlando.cambridge.org.ezp.lib.cam.ac.uk/protected/svPeople?formname=r&people_tab=2&person_id=jameel&crumbtrail=on&dt_end_cal=AD&dt_end_day=27&dt_end_month=06&dt_end_year=2021&dt_start_cal=BC&dt_start_year=0612&dts_historical=0612–+BC%3A2021-07-12&dts_lives=0612–+BC%3A2021-07-12&dts_monarchs=0612–+BC%3A2021-07-12&heading=h&name_entry=Leapor%2C+Mary&subform=1&submit_type=J

Greene, Richard. Mary Leapor: A Study in Eighteenth-Century Women’s Poetry. Oxford: Oxford University Press, 1993.

Hutchinson, Lucy. Memoirs of the Life of Colonel Hutchinson. Cambridge: Cambridge University Press, 2013.

Mayer, Robert. “Lucy Hutchinson: A Life of Writing,” The Seventeenth Century, Vol. 22(2) (2007): 313.

McDowell, Paula McDowell. “Introductory note” in Elinor James. The Early Modern Englishwoman: A Facsimile Library of Essential Works, Printed Writings, 1641-1700: Series II, Part Three, Volume 11. Ed. Paula McDowell. London: Routledge, 2017.

Plaskitt, Emma. “Phillips [married name Muilman], Teresia Constantia (1709-1765],” Oxford Dictionary of National Biography, September 23, 2004, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-22170

Treadwell, Michael. “London Trade Publishers 1675-1750.” The Library Series 6, Vol. IV, No. 2 (1982)” 99-134.

This guest blog post was written by Sara D’Amico, who spent six months volunteering at UCL Special Collections as part of the Liberating the Collections project

We might think that women were not allowed to participate in skilled crafts: for instance, the art of book binding was foreign to them until the nineteenth century. But women have always been involved in the book trade. However, many of them have remained in the shadows and their contribution has not been acknowledged for centuries. The Liberating the Collections project aims to fix this and give the women who are represented in the rare book collections at UCL Special Collections the recognition they deserve. As a volunteer in the LTC project, I have conducted a focused search among the Castiglione and Dante Collections, to allow the women involved in the Italian book trade to come to the fore. What follows is only a brief overview of some of the most interesting people involved in the making and keeping of Italian books.

Luchina Ravani (active ca. 1532-1541)

Financial considerations often forced a printer’s widow to take over the business, as the death of a husband plunged many widows into poverty. These women would often work until their sons came of age, but in the case of Luchina Ravani, she apparently continued working even after her son took over. The State Archive in Venice holds two documents stating that Luchina was free to run “a suo conto la stamperia.” This indicates that the widow held an important position in the business and possibily had some kind of agency in deciding what to print, like the beautiful Libro del cortegiano in the Castiglione Collection. However, despite her active role, her name is never explicitly mentioned on any edition. Only her son’s name, Vittore, appears on the titlepages or the colophons, followed by a simple and anonimous “& Co.” The reasons behind this choice remain unknown, but they do raise the question: how many other women’s works are hidden behind a man’s name?

Sofia Giacomelli (1779-1819)

Book history has neglected women engravers. Wood engraving was, for almost two centuries, the most common means of illustrating printed work. This art was not usually practised by women until the rise of the Arts and Crafts movement, and yet some of them, because of their incredible talent, managed to excel in this field almost half a century prior. Geneviève Sophie Giacomelli was one of them.

Also known as Sophie Janinet and Madame Chomel, Sofia was a popular singer and an accomplished graphic artist: she even exhibited her work at the Paris Salon in 1799 and in 1800. Art magazines from all over Europe praised her work in illustrating Milton’s Paradise Lost and Dante’s Divina Commedia. The Journal des arts, des sciences, et de littérature reviewed her Milton collection in 1813: “The collection of the twelve figures of Madame Giacomelli is one of the most agreeable productions that engraving has offered us for a long time. We live in a century when women have won the most distinguished rank in literature: it is enough to look at this work to discover that the field of the arts is not foreign to them either.” But most importantly, Sofia didn’t stop working on her engravings after her marriage in 1802 with musician Joseph Giacomelli, who introduced her in the world of music and singing. She was, first and foremost, an artist.

Caroline Morris (dead after 1870)

Caroline Morris was not an occasional book owner: together with her husband she formed a library of about 9,000 volumes, making her a book collector on all counts. In the nineteenth century it was not common for a woman to collect that many books and it was even less common for a woman with no titles and significant richness to do so. James Morris, Caroline’s husband, was a Professor of Languages in the Royal College of Mauritius and the UCL Calendar (1870-71) seems to suggest that he was the owner of this extensive and valuable library: apparently, he bequeathed it to his wife for the duration of her lifetime, and after her death to the College. And yet, the illustrated bookplates that can be found in the books clearly say: “Jacobus et Carolina Morris”.

As is often the case for women book owners, virtually no biographical information about Caroline is available. However, the UCL archives hold some of the Morris’s correspondence. The letters, together with the bookplates, were invaluable in proving that Caroline must have had an active role in the making of the Morris Library. Not only that, the letters from scholars like Francis William Newman and J. M. Peebles prove that she was also a reader and they help shine a light on Caroline’s interests in a great variety of subjects: from botany to music to women’s rights.

There are many women like Luchina, Sofia and Caroline who contributed to the making and preserving of some of the finest rare books in the UCL Special Collections. Their names are often overshadowed by those of their husbands but the LTC Project is finally giving them a new voice. While there is still room for more research, these first results are an indication of how many valuable resources are hidden within the UCL Special Collections and how much they can contribute to the study of the Italian book trade’s history.

References

Michelle Levy, ‘Do Women Have a Book History?’, in Studies in Romanticism, Vol. 53, No. 3 (2014), pp. 296-317.
Deborah Parker, ‘Women in the Book Trade in Italy, 1475-1620’, in Renaissance Quarterly, Vol. 49, No. 3 (1996), pp. 509-541.
Patricia Jeffe, Women Engravers, 1990.
Stephen S. Stratton, Woman in Relation to Musical Art, in Proceedings of the Musical Association, 9th Sess. (1882-1883), pp. 115-146.

This guest blog post was written by Dr Steph Carter, who spent six months volunteering at UCL Special Collections as part of the Liberating the Collections project

The initial phase of the ‘Liberating the Collections’ project at UCL Special Collections has begun to highlight under-represented and marginalised voices in the collections. One area of research has been women owners, contributing not only to the existing narrative of pre-1750 books in the UCL Special Collections but also to the growing scholarly interest in early modern women book owners.

Working primarily with the UCL library catalogue, 5000 provenance statements were examined for evidence of women owners and straightaway provided ample data to pursue research on the lives of these former book owners. However, research into women book owners brought to the fore the intensely acute disparity that is so common between men and women when it comes to historical documentation and searching for biographical details. Biographies of identifiable women tend to be tied into the biographies of their fathers, husbands or brothers, typically comprising little more detail than a wedding date and how many children were born. An added complication is the repeated use of the same first name through successive generations of a single family.

A Hebrew text from the 1680s includes the inscription ‘Rebecca Mocatta’ on the front endpaper. This is undoubtedly part of the surviving Mocatta Library, the majority of the collection having been destroyed by bombing in 1940. The Mocatta family were established in London by 1671 with the merchant and diamond broker Moses Mocatta. At his death in 1693, Moses identified a niece called Rebecca; his son Abraham later had a daughter also named Rebecca. Rebecca also continued to be an important female family name in the 18th and 19th centuries, and the book remained in the Mocatta family collection until at least the early 19th century as there are manuscript notes on the front flyleaves detailing information about births in the family between 1797 and 1809.

Of course, even with a family name it is not always possible to identify the correct lineage. The Countess of Warwick, Mary Rich (1624-1678), is a known author and book owner. She was addicted to plays and romances in her youth, so it is not ridiculous to assume that she is the author of the inscription ‘Mary Rich’ on the title-page of Sir John Harington’s 1591 translation of Ariosto’s Orlando Furioso – the Italian poem that is a source for Much Ado About Nothing.

However, another ascription, ‘Margarit Riche’, is also present on the title-page and an inscription on p. [186] of the main text refers to a note on the marriage of Robert and Elizabeth Riche in 1616.

These details do not match with the genealogy of the Earls of Warwick, suggesting that this book may have been owned by a completely separate family and passed down through female members of that family.

Despite the limitations of researching and identifying women book owners, the Mocatta and Rich examples contribute to a growing narrative of what the editors of Women’s Bookscapes in Early Modern England describe as ‘the myriad ways in which women bought, borrowed, accessed, wrote in, made, recorded, cited, and circulated books’ (p. 4). Such research on women book owners will also contribute to a broader engagement with the UCL Special Collections.

Dr Steph Carter, Associate Researcher, Newcastle University

References

Orbell, J. (2004) ‘Mocatta family (per.1671-1957), bullion dealers and brokers’, Dictionary of National Biography Online. Available at: oxforddnb.com [Accessed on 27 July 2021].
Cambers, A. Godly Reading: Print, Manuscript and Puritanism in England, 1580-1720 (Cambridge: Cambridge University Press, 2011), pp. 48-50.
Knight, L. and White, M. ‘The Bookscape’ in: Knight, L., White, M. and Sauer, E. (eds.) Women’s Bookscapes in Early Modern Britain. Ann Arbor: University of Michigan Press, 2018, pp. 1-18.

This blog post was written by UCL student Sae Matsuno (MA Library & Information Studies) as part of a two-week work placement at UCL Special Collections. Sae’s Twitter handle is @O_Aspirations. 

19th-century folklore books that travelled from Greenland to UCL

Kaladlit Okalluktualliait (1859-1863) is a multi-part work (four volumes) of Greenlandic oral folklore collected, written, illustrated, published and preserved. The organiser of this large-scale preservation project was a Danish geologist/colonial official Hinrich Rink (1819-1893). As Inspector of South Greenland, Rink requested all Greenlanders to record in writing their local legends and poems. He worked with native artists/catechists to illustrate the stories and translate the texts into Danish. Among them, Âlut Kangermio – better-known as Aron of Kangeq (1822-1869), Rasmus Berthelsen (1827-1901) and Lars Møller (1842-1924) are notable figures.

The three volumes housed in UCL Special Collections were originally owned by the Peckovers, a leading Quaker family in Wisbech, England; and donated in 1967 to Library Services by the UCL emeritus professor L. S. Penrose (1806-1974). For the last few years, the item has drawn more attention through the National Trust exhibition at Peckover House (2019), publication in Art History (Hatt, 2020) and the Liberating the Collections project at UCL Special Collections (2021).

Voices, languages and tensions in colonial Greenland

Kaladlit Okalluktualliait is a finely executed print work, including woodcut plates, many of which were hand-coloured. One example is an illustration for “The Man Not to Be Looked at by the Europeans”. In this story, an Inuk was made by his mother’s charm unbearable for European sailors to see. As no Europeans dared to look at him, the man had the freedom to steal from them. Angry sailors came to attack the man, but no one could shoot him even when he challenged them to do so.

In the history of printing, Kaladlit Okalluktualliait is considered as one of early milestones of the print culture in Greenland. (Oldendow, 1953; Thisted, 2001) Rink continued to collect folktales and translated them into other languages. Among them, Danish (Eskimoiske Eventyr og Sagn, 1866) and English (Tales and Traditions of the Eskimo, 1875) editions, of which copies are also held at UCL Special Collections, can be accessed via HathiTrust Digital Library. Tales and Traditions and Danish Greenland (1877) – written also by Rink – are of note, as they were richly illustrated by Âlut, Berthelsen and other indigenous artists.

Rink certainly played a central role in promoting Greenlandic cultures (see the chapter “The Greenlanders Sketched by Themselves” in Danish Greenland). However, I hesitate to call their relationships “collaboration” because of the power imbalances between Denmark and colonial Greenland. In this context, many questions arise. Who decided which folktales were to be included in the volumes? Were the artists allowed to create their works in their own ways, or did they follow Rink’s instructions? Who chose illustrations that accompanied the texts? What have been the benefits of this project for the Inuit?

As I read the relevant literature (see below for references), it becomes more clear that there are complex ambiguities between preservation and exploitation, sounds and pictures, as well as between spoken and written languages.

For instance, Hatt characterises the production of Kaladlit Okalluktualliait as a process where “[t]radition was eroded”. (2020: 313) His article helps us to critically think about:

1) transforming indigenous oral traditions to texts and images, as a result of which the stories may lose their orality (e.g. accents and vocal expressions) and get detached from the local storytelling practice;
2) translating those texts into other languages, through which cultural values and nuances may not be fully expressed or understood;
3) publishing and selling the intangible heritage of indigenous peoples as collectibles, while Inuit communities can be excluded from the life cycle of collections.

Interdisciplinary potential

As much as we appreciate the artistry of Kaladlit Okalluktualliait, we should also put these historical and ongoing tensions at the centre of our attention. By doing so, the print work can be used as a gateway to engage with indigenous oral traditions, as well as to explore and better understand how these traditions function (or stopped functioning) in Inuit societies. This item can be a meaningful part of interdisciplinary teaching, learning and research across Indigenous Studies, Postcolonial Studies, History, Literature, Arts and more.

References:

Hatt, M. (2020) ‘Picturing and counter-picturing in mid-nineteenth-century colonial Greenland’. Art History, 43(2), pp.308–335. Available at: https://onlinelibrary.wiley.com/doi/full/10.1111/1467-8365.12498 [Accessed 4 May 2021]

Hauser, M. (1993) ‘Folk music research and folk music collecting in Greenland’, Yearbook for Traditional Music, 25, pp.136–147. Available at: https://www.jstor.org/stable/768690?seq=1#metadata_info_tab_contents [Accessed 30 April 2021]

Kahn, L. and Valijarvi, R. (2020) ‘The linguistic landscape of Nuuk, Greenland’, Linguistic Landscape, 6 (3), pp. 266-295. Available at: https://discovery.ucl.ac.uk/id/eprint/10094235/1/Kahn_linguistic_landscape_nuuk__centrevsperiphery_final.pdf [Accessed on 30 April 2021].

McDermott, N. K. (2015) Unikkaaqtuat: traditional Inuit stories. PhD dissertation. Queen’s University. Available at: https://qspace.library.queensu.ca/bitstream/handle/1974/12806/McDermott_Noel_K_20154_PhD.pdf.pdf?sequence=3&isAllowed=y [Accessed on 30 April 2021].

Montenyohl, E. L. (1993) ‘Strategies for the presentation of oral traditions in print’, Oral Tradition, 8(1), pp.159–186. Available at: https://core.ac.uk/download/pdf/160495057.pdf [Accessed on 30 April 2021].

Oldendow, K. (1958) ‘Printing in Greenland’, Libri, 8(3-4), pp.223-262.

Petterson, C. (2012) ‘Colonialism, Racism and exceptionalism’, in: Loftsdóttir, K. and Jensen, L. (eds.) Whiteness and postcolonialism in the Nordic region: exceptionalism, migrant others and national identities. Farnham, Surrey, England: Ashgate, pp.29-41.

Thisted, K. (2001) ‘On narrative expectations: Greenlandic oral traditions about the cultural encounter between Inuit and Norsemen’, Scandinavian Studies, 73(3), pp.253–296. Available at: https://www.jstor.org/stable/40920318?seq=1#metadata_info_tab_contents [Accessed 30 April 2021].