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The Suffragette Movement. An Intimate Account of Persons and Ideals.

PANKHURST, E. Sylvia First edition. From the library of noted suffragette Edith How-Martyn, with a note tipped in on "Suffragette Club" notepaper stating "Please return to Edith How-Martyn, Parliament Mansions, Westminster SW1". How-Martyn is referenced twice in the index and she has made manuscript corrections to the entry on p. 216. She has also made manuscript corrections on pp. 139, 141, 228, 230, 239, 293, 294, and 307. 8vo., sometime rebound in green cloth with paper label on spine. Tipped onto the endpapers are contemporary reviews of the book. Several pages have been dog-eared and there are signs of off setting from the newspaper reviews onto the half-title. It seems likely that this copy was rebound after much use by its owner. Also loosely inserted is a sheet of "Suffragette Fellowship" headed letter paper with Edith How-Martyn noted as founder. How-Martyn's suffrage career began in the Women's Social and Political Union (WSPU), which she joined after going to a meeting. The women present 'were like a revelation to me. For the first time I felt I had met women who were strong and self-reliant My imagination was fired'. She resigned her post at Westfield College to devote the whole of her time to the WSPU. She first spoke in public in the deputation to Asquith on 21 June 1906, and was one of the first women to be imprisoned that year. In 1907, however, disillusioned by the WSPU's undemocratic structure, she and others founded the Women's Freedom League (WFL), a non-violent, militant organization. How-Martyn became a leading strategist at the height of the suffrage campaign and was unanimously appointed honorary secretary of the League. However disliking Mrs Despard's authoritarian style of leadership, she retired on health grounds as head of the WFL's political and militant department in April 1912. In 1918 How-Martyn was one of the first women parliamentary candidates, standing as independent (liberal) in Hendon, Middlesex. She was elected as the first woman councillor in Middlesex county council in 1919 and served for three years. How-Martyn continued to debate suffrage issues, and in 1927 she wrote that she agreed with both sides in the dispute between new and old feminism within the National Union of Societies for Equal Citizenship (NUSEC). She shared Mrs Abbott's definition of equality and feminism, yet, as one anxious to realize this equality, 'I soon find myself ranged as an ardent supporter of Miss Eleanor Rathbone' (Time and Tide, 218). In 1928 she founded the Suffragette Fellowship with Lilian Lenton, to preserve memories of the fight for women's suffrage; its records have provided much of the primary source material for the historiography of the Edwardian suffragettes.
Painting as a Pastime.

Painting as a Pastime.

CHURCHILL, Winston S. First edition "in Volume Form", clearly signed 'Inscribed by Winston S. Churchill' in ink by the author, to the half title. 8vo. Near-contemporary full red Levant goatskin by Sangorski & Sutcliffe, tooled in gilt and blocked to the upper cover with an unidentified 'Prince of Wales feathers'-type device. The spine with decorated raised bands and small lettering in gilt; dentelles with single-line gilt borders over marbled endpapers, all edges gilt. Frontispiece portrait of the author painting 'en plein air' at his easel (facsimile signature below), laid pp. 32 plus 18 captioned plates in colour, per list. An exceptional copy in fine condition of this work, an amalgam of two separate essays which first appeared in Churchill's book 'Thoughts and Adventures' in 1932. Churchill took up oil painting in 1915 following his removal from the Admiralty in the wake of the Gallipoli affair. He had discovered an antidote to depression. He was tutored by Hazel Lavery, the wife of Sir John Lavery, and over the course of a lifetime greatly enjoyed himself painting hundreds of pictures. The apparently upside-down crown or coronet over the three ostrich feathers stamped to the centre of the upper board could be a 3-bar heraldic 'label', which indicates an eldest son. A similar label in fact features on the Prince of Wales's arms (no less than four times). It seems most likely to be a fanciful private commission, playing on this heraldic design. The Prince of Wales's feathers can only be borne by the eldest son or grandson of the sovereign, and could also be used to indicate the eldest son of the Prince of Wales, but as there was no Prince of Wales from 1936-1958, the mystery deepens. The tool is not recognised by the Royal Library or Bindery at Windsor Castle. With thanks to Irene Campden, Senior Book Conservator-Restorerat the Royal Collection Trust.
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The National Cookery Book: Compiled from Original Receipts for the Women’s Centennial Committees of the International Exhibition of 1876.

VARIOUS.] [GILLESPIE, Mrs. Elizabeth D, Editor] First edition. Presentation slip inscribed 'With the Compliments of the Author' loosely inserted. 8vo. Original brown cloth blocked in black and gilt to the upper cover with an exhibition pavilion and flag of the Union surmounted by a banner lettered "E Pluribus Unum". Creased brown coated endpapers, all edges stained red. A little rubbing and bumping to binding; toning to the paper internally, small spot to margin of first few leaves, otherwise a very good copy. Dedicated 'To The Women of America', the around 1,000 recipes were contributed by members of local Women's Committees from all over the United States. They were published in the present volume form for the Centennial International Exhibition of 1876 which Philadelphia, Pennsylvania hosted between May 10th and November 10th 1876. It was part of national celebrations around the 100th anniversary of the signing of the Declaration of Independence in the same city. Chapters include all-American recipes for meals and dishes like Florida Charlotte Russe, Wisconsin Breakfast Eggs, Hominy Pancakes, Open Air Cooking (first published recipe for a clam bake), Seven Receipts from an Oneida Squaw, Indian Corn, Turkey with Plum Pudding Stuffing, Crimslech for Passover, Kichlers for Purim Night, Indian Bread with Buttermilk, St. Charles Corn Bread, etc. The Women's Centennial Committee raised $126k from the cookbook.
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Set design for Frederick Ashton’s ballet ‘Picnic at Tintagel’.]

BEATON, Cecil. Mounted 20 x 14 inch grey board with original backdrop design by Cecil Beaton in watercolour, chalk and crayon, signed "Picnic at Tintagel = Beaton" in bottom right hand corner. An evocative coastal scene in green and grey with pastel blue sky. A little abrasion to the edges of the image where the piece had presumably been taped up for use by the crew working on the backdrop itself. English photographer and designer Cecil Beaton (1904–1980) made his Royal Ballet debut in 1936 designing Frederick Ashton's Apparitions for the then Vic-Wells Ballet. He returned to design Ashton's Les Sirènes and Marguerite and Armand for The Royal Ballet and Turandot for The Royal Opera (originally produced by the Metropolitan Opera, New York). Beaton's other collaborations with Ashton included Illuminations and Picnic at Tintagel for New York City Ballet and The Nutcracker for Sadler's Wells Theatre Ballet (later Birmingham Royal Ballet). Frederick Ashton's Picnic at Tintagel is inspired by Mary Elizabeth Braddon's popular Victorian novel Royal Mount in which sightseers picnic on the ruins of Tintagel Castle, Cornwall. Ashton retells the story of Tristan and Isolde in two time frames, one Edwardian and the other set in the Dark Ages. As the story opens the Edwardians are picnicking amidst Tintagel's ruins where the lovers wander off for a tryst. The narrative then shifts to the Celtic lovers and their deaths at the hand of King Mark, Iseult's fiancé. Recovering from the impact of this tragedy, Ashton slyly rescues his Edwardians from discovery and the wrath of a cuckolded husband. All are frustrated but no one dies. Stage settings and costumes are by Cecil Beaton. Ashton chose Arnold Bax's The Garden at Fand instead of his tone poem Tintagel. George Balanchine commissioned the ballet, which was first performed by the New York City Ballet in February 1952.