Revery

1929:
Aaron Bohrod
etching
plate: 5 1/8 x 3 7/8 in. (13.1 x 9.8 cm)
Smithsonian American Art Museum Link

Chatelaine

1810-1820: " Gold and gilt metal, embossed, cast and chased; bloodstone egg, with enamelled mounts; rock crystal seal. During the 18th century, a fashionable woman wore from her belt a 'chatelaine', or, as it was then known, a 'chain' or 'equipage'. From the chatelaine might hang a range of different objects: a watch, seals, a box for a thimble, or an 'étui' containing sewing, writing or cosmetic implements." Link

Shagreen

1680: "This small book with its matching gold stylus would have fitted into a pocket. It might have been used as a diary or a notebook. The cover is of black shagreen, a type of leather made from shark or fish skin, and decorated with round-headed gold studs. The inside cover is lined with a thick paper painted with leaves in gold on a purple ground. When the book is closed, four bands of engraved gold form a tube into which the stylus fits. The book would originally have held paper, which would have been coated so that the metal stylus would leave a track like that of a pencil on paper." Link

Winter Aconite (Eranthis hyemalis)

1977: "This photograph is a print made in 1995 from the original transparency. This was used as an illustration in Roger Phillips's book, The Wild Flowers of Britain, which was published in London by Pan Books in 1977. Phillips pioneered the use of photography for field guides to plants. His own curiosity about plants inspired him to produce the book. He was frustrated with the standard flora or field guide that catalogues plants by family and assumes that the user has some specialist botanical knowledge.

As a photographer, Phillips set out ‘to make a book in which the visual is paramount’. He organised the contents in a way that was logical and accessible to those without any special knowledge of botany. In fact, he reverts to much earlier models such as the florilegia (decorative flower books) of the 17th century, and arranges the plants by their season of flowering." Link

Lady's Archery Score Kit

1850-1860: "This is a lady's scoring kit for archery. These usually hung from a lady archer's belt together with a quiver, a spare string, and sometimes a purse containing shillings. Three golds (arrows in the centre) entitled a competitor to receive a shilling from each opponent.

The kit has three parts: The acorn-shaped cup or pot contained grease (a mixture of mutton fat and tallow) which help the finger protectors or shooting glove slide more easily off the bowstring.

The pricker is the tubular object with a sharp pointed stiletto used for marking scores onto the card disc which holds a circular replaceable printed paper bulls-eye card with circles in gold, red, white, black and blue. Players scored nine for gold, seven for red, five for blue three for black and one for white." Link

Jessie Newbery

1900: "Newbery believed design the most important element in her work. Despite being highly stylised, her patterns are based on her lifelong interest in botany. Each element was reduced to a geometrical, almost abstract, shorthand which helped evolved the Glasgow style." Link

The History of Plants According to Women, Children and Students

1542/2002: "For this suite of prints Borland selected 10 plates from one of the earliest and most important woodcut herbals, Leonhart Fuchs' 'De Historia Stirpium' (History of Plants), published in 1542, and reworked them as etchings. Fuchs' herbal is one of the earliest books on plants which can properly be called scientific, and it was immensely influential in medicine and botany in succeeding decades. His introduction credits the artist and engravers involved in the production of the images, but those who coloured the plates were unidentified women and children. Hand-colouring was skilled work which required careful copying from master copies or from the original watercolours. Crude, uneven or inaccurate colouring could obscure the finely-printed outlines, or misrepresent the species or variety , and thus undermine the usefulness of the image for purposes of identification. It was common practice for print publishers to employ women for this work, but there contributions were never credited.

Borland's [2002] publication of these prints reversed the usual hierarchy of credits and recognition - though a number of people were involved in the etching and colouring of the plates, only those undertaking the colouring were paid and credited." Link