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Exhibition Item List



Case 1 – “The Clifford Women: Patrons, Readers, Writers”

  • Amelia Lanyer. Salve Rex Judaeorum. London: Printed by Valentine Simmes for Richard Bonian, 1611. STC 15227 copy 1; displayed E4r (image).
  • FACSIMILE from Skipton Castle, Yorkshire. English School. Portrait of Lady Anne Clifford. Oil on panel, 17th-century.
  • FACSIMILE from Skipton Castle, Yorkshire. English School. Portrait of Lady Margaret Clifford. Oil on panel, 17th-century.
  • Amelia Lanyer. Salve Rex Judaeorum. London: Printed by Valentine Simmes for Richard Bonian, 1611. STC 15227 copy 2; displayed E1r (image).
  • Samuel Daniel. The whole workes of Samuel Daniel Esquire in poetrie. London: Printed by Nicholas Okes, for Simon Waterson, 1623. STC 6238 copy 1; displayed p. 71 inscription (image).
  • John Seldon. Titles of honor. London: Printed by William Stansby for Richard Whitakers, 1631. STC 22178 copy 3; displayed title page inscription (image).
  • LOAN from the Library of Congress. Virginia Woolf. Second Common Readers. New York: Harcourt, Brace, and Company, 1932. PR99 .W78 1932a; displayed essay on Donne after three centuries.

Wall Between 1 and 2

  • FACSIMILE from the Sarah Campbell Blaffer Foundation, Houston, Texas. Paul van Somer. Portrait of Elizabeth Cary, 1st Viscountess Falkland. Oil on canvas, ca. 1620.

Case 2 – “English Translations of French Religious Works”

  • FACSIMILE the Royal Collection, by gracious permission of Her Majesty, Queen Elizabeth II. Portrait of Queen Elizabeth I. Watercolor on vellum attached to a playing card. Attributed to Levina Teerlinc, ca. 1560-5.
  • Marguerite de Navarre. A godly medytacyon of the christen sowle.Translated by Elizabeth I, Queen of England. Wesel: Dirik van der Straten, 1548. STC 17320; displayed title page (image).
  • FACSIMILE from Musée Condé, France. Attributed to François Clouet and Jean Clouet. Portrait of Marguerite d’Angoulême, Queen of Navarre. Oil on wood panel,ca. 1540.
  • Mornay, Philippe de, seigneur du Plessis-Marly. A discourse of life and death. Translated by Mary Sidney, Countess of Pembroke. London: Printed by John Windet for William Ponsonby, 1592. STC 18138; displayed title page.
  • LOAN from the Beinecke Library, Yale University. Elizabeth Cary. Reply of the most illustrious Cardinal of Perron. Douay: Martin Bogart, 1630. Me65 D925+R4G; displayed dedication to Henrietta Maria.
  • Elizabeth Richardson, Baroness Cramond. “A discourse of ye teadiousness of life and profitt of death” from Instructions for my children. Manuscript, 1606. V.a.511; displayed fo1. 84 (image) with facsimile of Elizabeth Ashburnham’s signature (image).

Wall Panel Between 2 and 3 – “Mary Sidney’s Psalms”

  • FACSIMILE from National Portrait Gallery, London. Nicholas Hilliard. Portrait of Mary Sidney Herbert, countess of Pembroke. Watercolor on vellum, ca. 1590.
  • FACSIMILE images from Bodleian Library, Oxford University. Mary Sidney. The Psalmes of David translated into divers and sundry kindes of verse. Manuscript, ca. 1620–30. Bodl. MS. Rawl. poet. 24.

Case 3 – “Versifying the Psalms”

  • Ann Locke Prowse.   A Meditation of a Penitent Sinner. London: John Day, 1560. STC 4450; displayed Aa3v - Aa4 (image).
  • Laura Battiferri degli Ammannati. I sette salmi penitentiali del santissimo profeta Dauit. Fiorenza: Appresso i Giunti, 1566. 252- 285q; displayed p. 22-23 (image) with facsimile of title page (image).
  • Esther Inglis. Les CL pseaumes de David escrites en diverses sortes de lettres par Esther Anglois, Françoise, Lislebourg. Manuscript, 1599. V.a.93; displayed closed.
  • Esther Inglis. Argumenta psalmorum Davidis per tetrasticha manu Estherae Inglis exarata strenae nomine illus. Manuscript, 1608. V.a.94; displayed closed. Seed pearl binding (image).
  • Elisabeth Sophie Chéron. Pseaumes de David et Cantiques. Paris: Chez Guillaume de Luyne, Michel Brunet, Charles Robustel et M. Cheron, 1694. 240- 744q; displayed frontis and title page (image).
  • Thomas Bentley. The monument of matrones. London: H. Denham, 1582. STC 1892 copy 2; displayed p. 103 (image).

Wall Panel Above Case 3 – “Decorating the Psalms”

  • FACSIMILE of Esther Inglis. Les CL pseaumes de David escrites en diverses sortes de lettres par Esther Anglois, Françoise, Lislebourg. Manuscript, 1599. V.a.93; illustration for emblem indicating that the written word outlives all monuments (image).
  • FACSIMILE of Esther Inglis. Argumenta psalmorum Davidis per tetrasticha manu Estherae Inglis exarata strenae nomine illus. Manuscript, 1608. V.a.94; title page with floral border (image) and dedication to Henry, Prince of Wales (image).
  • FACSIMILE of Elisabeth Sophie Chéron. Pseaumes de David et Cantiques. Paris: Chez Guillaume de Luyne, Michel Brunet, Charles Robustel et M. Cheron, 1694. 240- 744q; illustrations to Psalm 8 (image) and Psalm 76 (image).

Wall Panel Between 3 and 4 – “Georgette de Montenay’s Emblems”

  • FACSIMILES of Emblem I (image) and Emblem LI (image) from Georgette de Montenay. Liure d’armoiries en signe de fraternite contenant cent comparaisons de vertus et emblemes Chrestiens agences. Frankfurt: Jean Charles Unckel, 1619. STC 18044.8.

Case 4 – “Varieties of Religious Writing”

  • Catherine Parr. Prayers or meditacions, wherein the minde is stirred. London: W. Powell, ca. 1550. STC 4824a; displayed title page (image).
  • Vittoria Colonna. Rime. Venegia: Appresse Gabriel Giolito de’ Ferrari, 1559. PQ4620 C96 R5 1559 Cage; displayed p. 79 (image).
  • LOAN from Lisa Baskin. Marguerite de Navarre. Marguerites. Lyons: Pierre de Tours, 1549. Displayed title page.
  • Abraham Bosse. Les vierges sages. Paris: Le Blond, ca. 1640. Art Box B745 no.6 (size L) (image).
  • Georgette de Montenay. Liure d’armoiries en signe de fraternite contenant cent comparaisons de vertus et emblemes Chrestiens agences. Frankfurt: Jean Charles Unckel, 1619. STC 18044.8; displayed portrait after p. 8 (image).
  • Eleanor Douglas. The bill of excommunication, for abolishing henceforth the Sabbath called Sunday or first day. London: [s.n.], 1649. D1979 Bd.w. D2010; displayed title page of D1979 (image) with facsimile of daughter’s signature at front of book (image).
  • Margaret Fell. Womens speaking justified. London: [s.n.], 1666. F642 copy 1; displayed title page (image).

Vitrine After Case 4

  • FACSIMILE from the Walker Art Gallery, National Museums Liverpool. Jean Clouet. Portrait of Princess Marguerite of Angoulême. Oil on panel, ca. 1530.

Case 5 – “Continental Women Writing About Love”

  • Vittoria Colonna. Rime della diuina Vettoria Colonna marchesana di Pescara. Venice: Marco Salvioni, 1539. 230- 717q; displayed B8v.
  • Tullia d’Aragona. Dialogo della signora Tullia d’Aragona della infinità di amore. Vinegia: Appresso Gabriel Giolito de Ferrari, et fratelli, 1552. PQ4562 A9 D5 Cage; displayed title page (image).
  • Gaspara Stampa. Rime. Venetia: Plinio Pietrasanta, 1554. PQ4634 S65 R5 1554 Cage; displayed A1r (image).
  • LOAN from Houghton Library, Harvard University. Louise Labe. Oeuvres. Lyon: [s.n.], 1555. FC5 L1125 555o; displayed title page.
  • LOAN from the Annenberg Rare Book and Manuscript Library, University of Pennsylvania. Veronica Franco. Terze Rime. 1575. PQ4623.F6 T4 1575; displayed Capitolo 16.
  • Marguerite de Navarre. Contes et nouvelles. Paris: Aux depens de la Compagnie, 1740. 176- 725q; displayed title page (image).

Wall Panel Above Case 5 – “Women Poets”

  • FACSIMILE from the Uffizi Gallery, Florence, Italy. Christofano dell’Altissimo. Portrait of Vittoria Colonna. Oil on panel, ca. 1550.
  • FACSIMILE from Art Resource. Daniel Antonio Bertoli after Guercino. Portrait of Gaspara Stampa. Engraving, 1738.
  • FACSIMILE from Art Resource. Pierre Woeiriot. Portrait of Louise Labé. Engraving, 1555.
  • FACSIMILE from the Worcester Art Museum, Worcester, Massachusetts. Follower of Jacopo Tintoretto. Portrait of Veronica Franco. Oil on canvas, ca. 1575.
  • FACSIMILE from the Pinacoteca Civica, Brescia, Italy. Moretto da Brescia. Portrait of Tullia d’Aragona dressed as Salome. Oil on canvas, ca. 1525–49.

Vitrine After Case 5

  • Lady Anne Southwell. Miscellany of Lady Anne Southwell. Manuscript, ca. 1587-1636. V.b.198; displayed 56v-57r (image).

Case 6 – “Italian Heroic Romance”

  • Laura Terracina. La prima parte de’discorsi sopra le prime stanze de’canti d’Orlando furioso. Venetia: Per gli heredi di Luigi Valuassori, & Giouan Domenico Micheli, 1584. 168- 765q v.1; displayed author portrait (image).
  • Moderata Fonte. Tredici canti del Floridoro. Venetia: Francesco Rampazetto, 1581. 183- 328q; displayed A1r (image).
  • Margherita Sarrocchi. La Scanderbeide : poema heroico. Roma: Lepido Facij, 1606. 252- 745f; displayed title page (image).
  • LOAN from Houghton Library, Harvard University. Lucrezia Marinella. L’Enrico. Venice: Imberti, 1635. IC6 M3386 635e; displayed title page.
  • Lodovico Ariosto. Orlando Furioso. Venetia: Appresso Gabriel Gioli di Ferrarii, 1544. PQ4567 A2 1544 Cage; displayed leaf 16 (image).
  • Torquato Tasso. La Gerusalemme liberata. Venetia: Dal Sarzina, 1625. 177- 100q; displayed p. 177.

Wall Between 6 and 7

  • Wall Panel: “Women Reading Sidney’s ‘Arcadia’” with quotes from Lady Anne Clifford’s   Diary and Virginia Woolf’s The Common Reader, Second Series
  • Edward Hall. The vnion of the two noble and illustrate famelies of Lancastre and Yorke. London: Richardi Graftoni, 1548. STC 12721 copy 2; displayed Mary Sidney verse and signature after Fol.cclx (260), before Fol. F (image).

Case 7 – “Sidney Family Ties”

  • Mary Wroth. Pamphilia to Amphilanthus. Manuscript, ca. 1615-ca. 1620. V.a.104; displayed fol. 1 (image).
  • Anna Waemys. A continuation of Sir Philip Sydney’s Arcadia. London: William Bentley, 1651. 166- 792q; displayed title page (image).
  • FACSIMILE by kind permission of Viscount De L’Isle from his private collection. Marcus Gheeraerts the Younger. Double portrait of Two Ladies (probably) Lady Mary Wroth and Lady Barbara Sidney, the landscape with Haymakers. Oil on panel, 1612.
  • Mary Wroth. The Countesse of Mountgomeries Urania. London: Augustine Matthews?, 1621. STC 26051 copy 1; displayed engraved title page (image).
  • Philip Sidney. The Countesse of Pembrokes Arcadia. London: John Windet for William Ponsonbie, 1593. STC 22540 copy 1; displayed prelim 3 facing Dorothy Wylde inscription (image).

Wall Panel After Case 7 – “The Sidney and Clifford Families”

  • Family tree and description of the two families

West End of Hall

  • Jan Van Belcamp. The Great Picture. 1646. Courtesy of Abbot Hall.

  Case 8 – “Writings by Mothers, Daughters, & Sisters”

  • Hortense Mancini, duchess de Mazarin. Memoires de Madame la Duchesse de Mazarin. Cologne: Chez Pierre du Marteau, 1675. DC130 M28 A3 Cage; displayed title page.
  • FACSIMILE from the Royal Collection, by gracious permission of Her Majesty, Queen Elizabeth II. Ferdinand Voet. Portrait of Hortense Mancini and her sister, Marie Mancini. Oil on canvas, ca. 1670-1700.
  • Marie Mancini. Les memoires. Cologne: Chez Pierre du Marteau, 1675. DC130 C61 M4 1676 Cage; displayed title page.
  • Anne Seymour, Jane Seymour, and Margaret Seymour.. Le tombeau de Marguerite de Valois royne de Nauarre. Paris: De l’imprimerie de Michel Fezandat, & Robert Granlon, 1551. DC112.M2 U7 Cage; displayed B1r (image).
  • Madeleine des Roches. Les missiues de Mes-Dames Des Roches de Poitiers mere et fille. Paris: Chez Abel l’Angelier, 1586. 165- 546q; displayed Biiir (image).
  • Madame (Antoinette) Deshoulières. Poesies. Paris: Chez la Veuve de Sebastien Mabre-Cramoisy, 1688. 217- 493q; displayed p. 39 (image).
  • FACSIMILE from Musée Condé, Chantilly, France. Elisabeth Sophie Chéron. Portrait of Madame Deshoulières. Oil on canvas, 17th century.
  • LOAN from the Library of Congress. Madame (Antoinette) Deshoulières. Poesies. Paris: [s.n.], 1705. PQ1794 D4 1705 Pre-1801 Coll, vol. 1; displayed title page.

Case 9 – “Women of the French Salons”

  • Marie de Rabutin-Chantal, marquise de Sévigné. Letters of Madame de Rabutin Chantal, Marchioness de Sevigne, to the Countess de Grignan, her daughter. London: printed for J. Hinton, 1745. PQ1925 A22; displayed title page (image).
  • Abraham Bosse. Les femmes à table en l’absense de leurs maris. Paris: Le Blond, ca. 1636. Art 264930 (size M) (image).
  • Madeleine de Scudéry. Artamenes; or, The Grand Cyrus. London: J. Darby, R. Roberts, B. Griffin, and R. Everingham, 1691. S2145 v.10; displayed plate opposite p. 27 (image).
  • Madame de La Fayette. The princess of Cleve. London: printed for R. Bentley and S. Magnes in Russel-Street in Covent-Garden, 1688. 154- 944q; displayed title page engraving (image).
  • Madame de La Fayette. La princesse de Monpensier. Paris: Chez Charles Osmonts, 1678. PQ1805.L5 A68 1678 Cage; displayed title page (image).
  • Madeleine de Scudéry. Conversations nouvelles sur divers sujets. La Heye: Chez Abraham Arondeus, 1685. 171- 523q; displayed frontis (image).
  • Anne-Marie-Louise d’Orléans, duchesse de Montpensier. La galerie de peintures. Paris: Chez Charles de Sercy, 1663. 175- 898q; displayed frontis foldout (image).

Wall Panel Between 9 and 10 - “Virginia and Vita on French Salon Writers”

  • FACSIMILE from Châteaux de Versailles et de Trianon, Versailles, France. Anonymous. Marie de Rabutin-Chantal, marquise de Sévigné. Oil on canvas, 17th century.
  • FACSIMILE from Châteaux de Versailles et de Trianon, Versailles, France. Pierre Mignard. Anne-Marie-Louise d’Orléans, duchesse de Montpensier, called “La Grande Mademoiselle.” Oil on canvas, 17th century.

Case 10 “Italian Women Playwrights”

  • Valeria Miani Negri. Amorosa speranza. Venezia: Per Francesco Bolzetta, 1604. 176- 173q, displayed title page (image).
  • Giulia Rangone Ariberti. La virtù trionfante: opera regale. Milano: Per li heredi di Filippo Ghisolfi, 1690?. PQ4632.R15 V5 Cage; displayed frontis (image).
  • Ottavio Bertotti Scamozzi. Il forestiere istruito delle cose più rare di architettura e di alcune pitture della città di Vicenza. Vicenza: Giovambattista Vendramini Mosca, 1761. NA1121.V7 B4 Cage; displayed foldout opposite p. 92 (image).
  • Margherita Costa. Li buffoni: comedia ridicola. Fiorenza: Nella stamp. nuoua d’Amador Massi, e Lor. Landi, 1641. 169- 572q; displayed frontis illustration of stage (image).
  • Veronica Maleguzzi. L’innocente riconosciuta: opera. Bologna: Per Giacomo Monti, 1660. 168- 227q; displayed p. 14-15 (image).

Wall Panel Between 10 and 11- “Virginia Woolf Imagining Judith Shakespeare”

  • FACSIMILE from private collection. George Charles Beresford. Virginia Woolf. Black and white photograph, 1902.

Case 11 – “English Women as Professional Playwrights”

  • Robert Garnier. The tragedie of Antonie. Doone into English by the Countesse of Pembroke. Translated by Mary Sidney, Countess of Pembroke. London: P. Short for William Ponsonby, 1595. STC 11623; displayed title page (image).
  • Elizabeth Cary. The tragedie of Mariam. London: Thomas Creede for Richard Hawkins, 1613. STC 4613.2; displayed title page (image).
  • Katherine Philips. Poems. London: T.N. for Henry Herringman, 1678. P2035; displayed frontis and title page (image).
  • Katherine Philips. Copy of Poems by the most deservedly admired Mrs Katherine Philips, ca. 1670. V.b.231; fol. 116 (image).
  • Margaret Cavendish, duchess of Newcastle. Plays, never before printed. London: A. Maxwell, 1668. N867; displayed title page (image).

Case 12 – “Literary Ladies as Playwrights”

  • Aphra Behn. The widdow ranter. London: Printed for James Knapton, 1690. B1774; displayed A4 (Dramatis Personae) (image).
  • William Vincent. The Indian queen. London: J. Smith ex., ca. 1689. ART 232- 569.1 (size XS) (image).
  • Aphra Behn. Promissory note from Aphra Behn to Zachary Baggs. Autograph manuscript signed August 1, 1685. From Papers of Jacob Tonson. Manuscript, 1680-1737. C.c.1 (4) (image).
  • Mrs. Manley (Mary de la Rivière). The lost lover. London: printed for R. Bently, in Covent-Garden; F. Saunders, in the New-Exchange; J. Knapton, and R. Wellington, in St. Paul’s Church-Yard, 1696. M435; displayed p. 1 (image).
  • Catharine Trotter. Agnes de Castro, a tragedy. London: printed for H. Rhodes in Fleetstreet, R. Parker at the Royal-Exchange, S. Briscoe, at the corner of Charles-street, in Russel-street, Covent-Garden, 1696. C4801 copy 2; displayed title page (image).
  • Susanna Centlivre. The basset-table. London: printed for Jonas Browne, and S. Chapman, 1706. 153- 587q; displayed frontis (image).
  • Mary Pix. The false friend. London: Printed for Richard Basset, 1699. P2328 copy 2; displayed B1r (image).

Vitrine After Case 12

  • Anne Kingsmill Finch, Countess of Winchilsea. Miscellany poems with two plays by Ardelia, ca. 1685-1702. N.b.3; displayed p. 141 (image).
  • FACSIMILE from National Portrait Gallery, London. Peter Cross. Portrait of Anne Finch, Countess of Winchilsea. Watercolor on vellum by Peter Cross, ca. 1690.

Case 13 – “Learned Women”

  • Christine de Pisan. Here begynneth the boke of the cyte of ladyes. London: in Poules chyrchyarde at the sygne of the Trynyte by Henry Pepwell, 1521. STC 7271; displayed Aaii (image).
  • Mary Astell. A serious proposal to the ladies, for the advancement of their true and greatest interest. London: Printed for R. Wilkin, 1694. 140- 765q; displayed title page (image).
  • Anna Maria van Schurman. The learned maid. London: John Redmayne, 1659. S902; displayed frontis and title page (image).
  • Abraham Bosse. La maistresse d’escole. Paris: Le Blond, ca. 1638. Art 264811 (size M) (image).
  • Hannah Woolley. A guide to ladies, gentlewomen and maids. London: Dorman Newman, 1668. W3278.5; displayed frontis and title page (image).
  • Elizabetha Johanna Westonia. Parthenicôn. Pragae: Pauli Sessij, 1606?. 152- 551q; displayed title page (image).
  • Lucrezia Marinella. La nobilita, et l’eccellenza delle donne. Venetia: Appresso Gio. Battista Ciotti Sanese, 1601. 168- 763q; displayed title page (image).
  • Bathsua Makin. An essay to revive the antient education of gentlewomen, in religion, manners, arts & tongues. London: John Darby, 1673. M309; displayed cover and title page (image).

Case 14 – “Virginia and Vita Looking Back”

  • LOAN from the Library of Congress. Virginia Woolf. A Room of One’s Own. New York: The Fountain Press, 1929. PN471 W6.
  • V. Sackville-West. Knole and the Sackvilles. London: W. Heinemann, 1922. DA690.K7 S3; displayed title page.
  • LOAN from the Library of Congress. Virginia Woolf. Orlando. London: L. and V. Woolf at the Hogarth Press, 1928. PR6045 O72 O7 1928b; displayed title page.
  • V. Sackville-West. Daughter of France. London: M. Joseph, 1959. DC130.M8 S2; title page with portrait (image).
  • Anne Clifford Herbert, Countess of Pembroke. The diary of the Lady Anne Clifford, with an introductory note by V. Sackville-West. London: W. Heinemann ltd., 1923. DA378.P4 A3; displayed title page with portrait (image


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