Reblog: The Inexhaustible Jane Austen: An Interview with Jocelyn Harris and Bucknell University Press

Gentle Readers: I post here the full text of an interview with Austen scholar Jocelyn Harris that she did with her publisher Bucknell University Press on her newest book Satire, Celebrity, & Politics in Jane Austen. You can find the original post here: http://upress.blogs.bucknell.edu/2017/10/16/the-inexhaustible-jane-austen-an-interview-with-jocelyn-harris/

[Photo by Reg Graham]

Upon the release of her new book Satire, Celebrity, & Politics in Jane Austen (Bucknell University Press, 2017), Jocelyn Harris was kind enough to discuss her research and writing on the witty English novelist.  Jane Austen has been the subject for much of Harris’ work, and still is, as Harris continues to uncover new insights into Austen’s life and writing. As Harris puts it, Austen is “quite simply inexhaustible”—and as Harris’ responses demonstrate, new methods of research and deeper investigation reveal more about her with each new endeavor.

cover-satire-harris.jpg

Bucknell University Press [BUP]: You state in your introduction that you “reconstruct Jane Austen’s creative process by means of the newspapers she perused, the gossip she heard, the streets she walked upon, and the sights she saw.”  This method suggests a focus on environment, an almost anthropological study of a different time and place.  What was the research process like in regards to uncovering evidence from the past?  What challenges did you meet?  What was the most rewarding?

Jocelyn Harris [JH]: Distance is my biggest challenge, because I live in New Zealand, half a world away from the great libraries of Europe and North America. The Internet has quite simply changed my life. Exciting new resources such as databases of eighteenth- and nineteenth-century newspapers, digitized manuscripts, online books, blogs, and search engines all open up cultural and historical contexts that bring her back to life—as do new books and editions in print and e-book form, readily accessible articles on the web, and email suggestions from friends.

Reading the magnificent modern editions of Fanny Burney’s letters and journals made me aware that snippets of her correspondence, obviously too good to ignore, reappear in Austen’s novels. My guess is that her mother’s gossipy cousin, who lived over the road from the celebrated author, could have told the family many a sensational tale of Burney’s life at the court of George III.

With the help of the Internet, I realized that Austen probably based Elizabeth and Jane Bennet on two royal mistresses. Dorothy Jordan, celebrity actress, mistress to the Duke of Clarence, and mother of his ten children, seems to have inspired her creation of the lively Elizabeth, while Austen would identify a portrait of the regent’s mistress, Mrs. Georgina Quentin, as Mrs. Bingley. When the regent came courting this “professed spanker,” Georgina was living in Covent Garden, where Austen stayed with her banker brother, Henry.

Most of Jane Austen’s correspondence has been lost, and she kept no diary. Therefore, I had to fill out her life by poring over her locations, her reading, her social and literary networks, her knowledge of current events, and her viewing of cartoons and portraits.

BUP: While she is immortalized by her writing, Austen was a real person living during a unique moment in history.  In your opinion, what is the most compelling piece of information that you learned about Jane Austen during the research process for this book?

JH: Austen is often regarded as a gentle, amusing ironist. But as the title of Satire, Celebrity, and Politics in Jane Austen indicates, I believe that she was a courageous political satirist.  At a time when the cult of celebrity was in its infancy, she targeted celebrities, up to and including the Prince of Wales. Her in-jokes about public figures demonstrate her worldliness, her fascination with fame, and her relish of rumor.

She was also never more than one degree of separation away from royalty. To know from a local historian’s website that the young Prince of Wales lived near Steventon, Austen’s home, was to understand why she created so many satiric avatars of him. Austen was a patriot, and the prince was endangering the nation. She attacked him in the only way she could, obliquely, through her characters and plots. In Northanger Abbey, for instance, the unlovely John Thorpe lies, boasts, swears, looks, and behaves as badly as Prince George. A “stout young man of middling height,” with a “plain face and ungraceful form,” Thorpe utters “a short decisive sentence of praise or condemnation on the face of every woman they met.”

Austen attacks the prince yet again in Mansfield Park’s Henry Crawford, a man marked like him by caprice and unsteadiness. Crawford indulges in the “freaks of a cold-blooded vanity,” and rids himself of his money and leisure “at the idlest haunts in the kingdom.” In Persuasion, she criticizes Sir Walter Elliot’s status and power, as unearned as the regent’s, and praises Captain Wentworth’s merit and courage. Austen’s lacerating portraits suggest first-hand knowledge of the prince’s vulgar, voyeuristic, and self-indulgent ways.

BUP: Considering again the study of place, if Austen had lived during this day and age, who do you think her subjects for inspiration might have been?  How do you think the world would have reacted to her wit, humor, and criticism?

JH: A Regency woman in a golden age of satire, Austen attacked the Prince of Wales for his much-lampooned appearance, his lewdness, his vanity, his instability, his outrageous spending, his tremendous debts, his desire for absolute power, his implicit treason, his fondness for over-the-top building ventures, and his embarrassing braggadocio. Even court insiders warned that the prince was not fit to be king, and Austen wrote that she hated him. The current resurgence of political satire in social media, newspapers, and cartoons would have delighted this savvy, progressive, and thoroughly modern woman.

BUP: Satire, Celebrity, and Politics being your third book on Jane Austen, how has your research evolved regarding your interest in her life and writing? Are there any questions that still need to be answered? What will you do next?

JH: I only want to know how Jane Austen did it (only!). In Jane Austen’s Art of Memory (Cambridge University Press, 1989), I followed the turns of her mind as she picked up elements from other writers and made them into her own. Undeterred by being a woman, she took whatever she wanted from anywhere.

In A Revolution Almost Beyond Expression: Jane Austen’s “Persuasion” (University of Delaware Press, 2007), I traced her creative process in the only manuscript to survive from her published novels. In the cancelled chapters of Persuasion, she deletes, interlineates, writes new material in the margins, and sticks on a scrap with a wax wafer. Eight days later, she threw all that away, and wrote some of the most remarkable scenes in her work––the last chapters of Persuasion.  She was indeed a true professional.

At a time of hardship, inequality, and war, Austen wrote, “How much are the Poor to be pitied, and the Rich to be blamed.” In Persuasion, she attacks the class hierarchies propping up the society of her day. In a highly subversive move, she sets Sir Walter Elliot’s Baronetage against Captain Wentworth’s Navy List, pride of birth against pride of accomplishment. The aging patriarch of the Elliots cannot compete with the glamorous young Captain Wentworth, who derives from real-life heroes such as Lord Nelson, Lord Byron, and Captain Cook. So too, in this brave new world of energy and achievement, the faded beauty of Bath gives way to the Romantic sublimity of Lyme Regis. In this eloquent novel about second chances, Anne Elliot finds a fragile happiness.

Jane Austen is quite simply inexhaustible. I’m writing about her relationship to Madame de Staël, the foremost woman genius of the age; the London locations where she could have seen contemporary cartoons; and her continual fascination with Fanny Burney. There is always more to find out about this extraordinary woman.

*****************

For more information on Austen, take a look at Harris’ latest book Satire, Celebrity, and Politics in Jane Austen. To order visit http://www.rowman.com or call 1-800-462-6420. Use code “UP30AUTH17” to save 30% on the list price (not valid on eBook).

cover-Satire-Harris

c2017, Jane Austen Vermont, reblogged from Bucknell University Press

WANTED! ~ Books with Montagu George Knight Bookplates

Calling all Booksellers, Librarians, Bibliophiles

Wanted !

The Godmersham Lost Sheep Society*

Cordially invites you to join in the

Global Search

For all books bearing

Montagu George Knight bookplates**

Please help us return these books to the fold

at the

Chawton House Library Chawton, Alton, Hampshire, UK

* The Godmersham Lost Sheep Society (GLOSS) is a research group of scholars and bibliophiles searching for all books that were originally in the libraries of Godmersham Park and later Chawton House, both estates of Jane Austen’s brother Edward Austen Knight.

**The three Knight bookplates were all designed by Charles Sherborn in 1900 / 1901:

Bookplate 1

Bookplate 2

Bookplate 3

***********

1.  The History:  

Edward Austen Knight inherited three estates from his adoptive family the Thomas Knights: Godmersham Park in Kent, and Chawton House and Steventon in Hampshire. Godmersham and Chawton had large extensive libraries typical of the gentry of the time. Edward had a catalogue of the Godmersham Library compiled in 1818, listing about 1250 titles. These books were later combined with the Chawton House Library when Godmersham was sold in 1874, with many of the volumes sold or otherwise distributed over the years. [Montagu George Knight, grandson of Edward Knight, placed his bookplates in most of the books of this combined library, as well as in the books he added to it. The remaining library (called the “Knight Collection” and still in the family) is now housed at Chawton House Library, which serves as an important literary heritage site and a center for the study of early women writers]. We know Jane Austen spent a considerable amount of time in both these libraries – and an ongoing project has been to try to locate the missing volumes that have wandered away and might still be extant in libraries, in book collectors’ homes, or on bookseller shelves – the “Lost Sheep” of Godmersham Park.

2. The Digital Godmersham Project:

Initiated and run by Professor Peter Sabor (Canada Research Chair in Eighteenth-Century Studies and Director of the Burney Centre at McGill University), this is a web-based open-source project that will include the Knight family books that are recorded in the catalogue of 1818, as they were on the shelves – a virtual library so to speak. This Phase I of the project will launch in 2018, the bicentenary of the original catalogue. While it would be a final goal to locate all the missing titles that are out there, this digital project will create for us what Jane Austen would have seen and read when visiting her brother.

3. What we need:

If you have or locate any books with any of the three Montagu George Knight bookplates, please contact us – we would like good pictures of:

a.) the binding/cover;

b.) the inside cover of the book, where Montagu Knight’s bookplate should be attached, often together with a small shelf ticket from Chawton House Library; and

c.) the title page of the book.

These three pictures would be used on the website, with or without your name as the book’s current owner/location (this is up to you).

4. Donation / sell options:

Some of those found thus far have been privately purchased and donated back to the Chawton House Library (they do not have funds for this project). If you would like to “return” the book to Chawton to be part of their permanent collection, you would become one of GLOSS’s Team Heroes and we would be forever grateful. All donations are tax-deductible. Or, if you would consider selling the book back to CHL now or in the future (or making a donation to the cause so we can purchase books as they become available), we would add it to our wish-list of purchases and ask that you send the pictures noted above so it can be added to the website. Progress is slow, and because every book may not be able to return home, we hope this virtual library will serve as a useful research tool for future studies of reading habits in the 18th and 19th centuries.

***************
[CHL book with bookplate and shelf ticket]

Thank you for any help you can offer! 

For more information, please contact one of us:  

  1. Janine Barchas – Professor, University of Texas at Austin:
    barchas [at] austin.utexas.edu
  2. Deborah Barnum – Board Member, North American Friends of Chawton House Library: jasnavermont [at] gmail.com
  3. Peter Sabor – Professor, Canada Research Chair in Eighteenth-Century Studies, Director of the Burney Centre, McGill University: peter.sabor [at] mcgill.ca
c2017 JaneAusteninVermont

Jane Austen’s “Sense & Sensibility” at Lost Nation Theater ~ Guest Review by Margaret Harrington

Gentle Readers: I welcome Margaret Harrington, a JASNA-Vermont member, as she offers a review of the Kate Hamill play Sense & Sensibility, now playing at the Lost Nation Theater in Montpelier, VT – it is there through October 22nd – (I unfortunately had to miss this performance – I did see this same adaptation at the Folger last year, and very happy to hear from Margaret that is was just as delightful a production as the one I saw). Vermonters are in luck if you must miss this one by LNT – UVM has it in their theatre line-up for November 8-12, 2017. See below for details on both productions. Get your tickets today!

******************

Jane Austen’s Sense & Sensibility, by Kate Hamill

Review by Margaret Harrington

The play Sense & Sensibility by Kate Hamill, now running at The Lost Nation Theater in Montpelier until October 22, is a delicious feast of a production.

First it is served up by the lively professional direction of Kathleen Keenan who has whipped up a delightful ensemble on a silver platter of wonderful acting, comic timing, emotional intensity and faithfulness to the original story in Jane Austen’s first published novel Sense & Sensibility. Then you have the brilliant scenic design for theater in the round where the designer Kim Bent uses movable tables, chairs, windows and even potted plants to transport you to Regency England in a most inventive way. The costumes by Rebecca Stewart are essentially beautiful in color and texture and with a minimalist stroke – the addition of a hat, a vest, a shawl, or a mask, the actors play multiple characters masterfully. Lighting designer David Shraffenberger illuminates all with chameleon like magic which transports you just where you want to go. The Music Design by Tim Tavcar embraces and holds you there – lost and found in Austen.

The story lives in the marriage plot wherein the Dashwood sisters, Elinor and Marianne, must find husbands to lift them out of reduced circumstances brought about by the recent death of their father and the acquisition of his estate by their half-brother, John. The eldest sister, Elinor, embodies Sense in dealing with her impulsive mother and two sisters and most of all her erstwhile suitor Edward Ferrars played charmingly by the actor Sam Balzac. Annie Evans plays Elinor as a complicated young woman, totally sympathetic in her role as leveling anchor in her family. Her relationship with Marianne, portrayed with depth and passion personifying Sensibility by Katelyn Manfre, is the lynchpin of the play and the scenes between the sisters are riveting, funny and moving. There are two almost vaudevillian turns that stand out and nearly stop the show. These are Mrs. John Dashwood’s reaction when she learns that her brother is engaged to a woman with no money or status. Laura Michelle Erle in the role vents her frustration hilariously. The other is the Ferrars brother Robert played again by Sam Balzac who goes on about cottages with mindless panache that leaves you shaking with laughter. At times the actors insinuate themselves into the audience by including us in their gossip and this kind of social media chatter is what drives the plot.

This ensemble of actors work together so convincingly that they capture the audience from the beginning and draw us into the world of the story. It is amazing to me that the actors come from different places and meet here as professionals to form this true togetherness in art. I name all the actors here in tribute to their craft. They are: Leon Axt, Sam Balzac, Mariana Considine, Michael Dewar, Laura Michele Erle, Annie Evans, Erin Galligan-Baldwin, Brett Lawlor, Amanda Menard, Katelyn Manfre, Eve Passeltiner and Sebastian Ryder.

As a Janeite and a longtime enthusiast for the writings of Jane Austen (I am a board member with the Vermont Region of the Jane Austen Society of North America ), I believe this play at Lost Nation Theater captures the essence of Jane Austen and reveals the power of society over individual identity with wit and levity.

Relevant to life today? Think social media and bullying, peer pressure, emoji, text messages, limited characters for intimate communication!

Behold! – Jane Austen is alive and well and living in Vermont.

 The cast of Sense & Sensibility, Lost Nation Theater, photo courtesy of Robert Eddy, First Light Studios

*********************

Lost Nation Theater: Sense & Sensibility by Kate Hamill now running in Montpelier until October 22. You can get tickets here: http://lostnationtheater.org/sense/

UVM: Hamill’s S&S will also be playing at UVM’s Royall Tyler Theater November 8-12, 2017 with a different cast and crew. You can get tickets here: https://www.uvm.edu/cas/theatre/current_production_season

Don’t miss this!

Just available: a youtube interview with the director and three of our JASNA-Vermont members, Michelle Singer, Sarah Madru, George Shumar, and Margaret Harrington behind the scenes! You can watch it here:

c2017 Jane Austen in Vermont

JASNA-Vermont’s Next Gathering! ~ September 17, 2017, with Sheryl Craig on “Jane Austen and the Master Spy”

You are Cordially Invited to JASNA-Vermont’s September Meeting
~ part of the Burlington Book Festival ~


“Jane Austen and the Master Spy”
w/   Sheryl Craig

Sunday, 17 September 2017, 2 – 4 pm

Morgan Room, Aiken Hall,
83 Summit Street Champlain College, Burlington VT**

Jane Austen’s contemporary William Wickham was Britain’s first Master Spy and head of the British Secret Service. Wickham was also the focus of a massive government scandal and Parliamentary investigation when it was found that millions of pounds in taxpayer’s money had been funneled to Wickham and then disappeared without a trace. Pride and Prejudice’s George Wickham shares the Master Spy’s name and his legendary good looks, charm, cunning, and duplicity. Join us for an enlightening talk on what Jane Austen may have been telling her readers…
you can expect Sex, Lies, Scandal, and Spies!

Sponsored by JASNA-Vermont and Bygone Books

~ Free & open to the public ~ ~ Light refreshments served ~
For more information:   JASNAVTregion [at] gmail.com
Please visit our blog at: http://JaneAustenInVermont.blog

Burlington Book Festival website: http://burlingtonbookfestival.com/

************************************ 

Sheryl Craig has a Ph.D. in 19th century British literature from the University of Kansas and has been a faculty member in the English Department at the University of Central Missouri for more than twenty years. Sheryl has published in numerous Jane Austen-related journals and is the editor of JASNA News. A popular presenter at many JASNA AGMs and tireless traveler to JASNA regional groups (this is her second trip to Vermont!), she has trekked far afield to spread Jane Austen in Nova Scotia, Scotland and England, and upcoming in 2018 she will visit New Zealand and Australia. Her book Jane Austen and The State of the Nation was published in 2015, and she is presently working on Jane Austen and the Plight of Women about Jane Austen and the Women’s Rights Movement in Georgian England.

Hope you can join us!
~~

c2017 Jane Austen in Vermont

Julienne Gehrer on “Dining with Jane Austen”

Dear Janeites Near and Far,

Next Thursday, August 3rd, we will be welcoming author Julienne Gehrer to Vermont! She will be speaking at the Fletcher Free Library in Burlington from 5-7 pm on, you guessed it, “Dining with Jane Austen.” This is the first event in the Library’s  new series “BURLINGTON RISING: Lectures & Culinary Demonstrations centered on the historical role of bread in human civilization” – see below for more information on this series.

Julienne will be giving her full talk to us at the Library; a shorter talk will be offered on Friday evening at Shelburne Farms as we partake in a full-course Regency-era dinner provided by local chef Richard Witting and his Isolde Dinner Club – you can read the details of both events here.

Today, a little introduction to Julienne’s book – it will be available for purchase and signing at both events – if you would like to reserve a copy in advance, please contact me.

*******************

Telling Jane Austen’s Life Though Food

     During a cool and rainy summer in Hampshire, England, an American writer received unprecedented access to two manuscript cookbooks connected to Jane Austen. Paging through the unpublished works, it became clear that many of the family recipes could be connected to foods referenced in the author’s letters and novels.

Fast forward through three years of research, 45 period food articles, 75 recipe adaptations, plus on-site photography at two Hampshire houses where Jane Austen lived and dined. In her new book, Dining with Jane Austen, Julienne Gehrer tells the story of the famous author’s life through the foods on her plate. The book’s May release date coincides with the launch of Hampshire events celebrating the 200th anniversary year of the author’s death.

Readers will enjoy the book’s food-centric stories sequenced in the order of Jane Austen’s letters and residences: her girlhood home in Steventon, economic struggles in Bath, stability in Southampton, creative freedom at Chawton, and death in Winchester. Now Haricot Mutton, Orange Wine, Bath Buns, White Soup, and many other foods familiar to Austen can be recreated using the her family’s own recipes. By understanding and recreating these foods, readers can enjoy a certain level of intimacy with the author—much like that of sharing a meal with family and close friends.

Dining with Jane Austen gives readers their first view of family recipes on the family china in the family houses. To create the book, Gehrer was allowed to photograph from attic to cellar in Chawton Cottage, where Austen wrote or revised all her major novels. The cottage is now known as Jane Austen’s House Museum, located just down the lane from Chawton Great House, the home of Austen’s brother Edward Austen Knight. Here Gehrer was allowed to photograph the recreated recipes on the Knight family china bearing the familiar grey friar. Jane accompanied her brother and niece to select the pattern at Wedgwood’s London showroom in 1813—the same year Pride and Prejudice was published. One of Jane’s letters describes the pattern of  “a small Lozenge in purple, between Lines of narrow Gold;—& it is to have the Crest.”

In the midst of so many books offering the fictitious dishes of Mrs. Elton’s Rout Cakes or the dinner Mrs. Bennet might have served Mr. Darcy, Gehrer made it her goal was to serve up Austen with well-researched authenticity. By recreating the famous author’s favorite foods, readers may indeed feel like they are dining with Jane Austen.

Dining with Jane Austen
By Julienne Gehrer
May, 2017 (Ash Grove Press, Inc.) 218 soft-bound pages with 250 full color illustrations $34 at diningwithjaneausten.org and Amazon 

Proceeds from the sale of the book will benefit Jane Austen’s House Museum and Chawton House Library.

********************

Julienne Gehrer is a Lifetime Member of the Jane Austen Society of North America, and has served as a Board Member and Regional Coordinator. She worked as an Editorial Director for Hallmark Cards, Inc., and retired after a 31-year career. Julienne is the author of two books: In Season: Cooking Fresh From the Kansas City Farmers’ Market and Love Lore: Symbols, Legends and Recipes for Romance. She is the creator of three board games including Pride and Prejudice—the Game. Julienne has spoken at several JASNA conferences and regional events on topics including, Did Jane Austen Prefer a Plain Dish to a Ragout? and Jane Austen and 18th Century Kitchen Wisdom. Although she admits a preference for modern kitchens, Julienne has cooked period foods over the open hearth at the 1858 John Wornall House Museum.

Hope to see many of you there!

******************

More on the Fletcher Free Library series:

BURLINGTON RISING: Lectures & Culinary Demonstrations centered on the historical role of bread in human civilization Brought to you by the Fletcher Free Library, the Vermont Humanities Council and the Friends of the Fletcher Free Library.

Burlington Rising explores bread’s connection to cultural identity, the development of cooperative economies and food systems, archaeological artifacts from Africa to New England and the breads brought from across the globe to Vermont through immigration. Burlington Rising provides opportunities for people from a variety of backgrounds to learn from each other; educates our community about the historical foundations of diet and food preparation; and engages multiple generations in activities that build relationships through stories and food preparation.

Burlington Rising Lectures on Bread Traditions and Culinary Demonstrations:

  • August – from Europe
  • September – from Africa
  • October – from Asia
  • Late October & Early November – from the Americas

 

c2017 Jane Austen in Vermont, with thanks to Julienne Gehrer

Jane Austen’s Signature ~ Sells for 12,500 GBP = $16,111 !

Yikes!! ~ Just sold today (7-12-17) at Christies:

AUSTEN, Jane (1775-1817). Signature (‘Yours very affec[tionate]ly, Jane’), cut from a letter, n.d.

Price realised GBP 12,500 (Estimate GBP 1,000 – GBP 1,500)

AUSTEN, Jane (1775-1817). Signature (‘Yours very affec[tionate]ly, Jane’), cut from a letter, n.d.
22 x 91 mm. [With:] A later envelope, inscribed with provenance notes.

Provenance: Fanny Catherine Knight, Lady Knatchbull (1793-1882, niece of Jane Austen), given to – ‘H.P. Hope’, who, according to the endorsement on the accompanying envelope, dated 15 November 1858, ‘says “Lady K would have sent the entire letter, had it not contained family matters”’.

A tantalising fragment from one of the most elusive hands in English literature: Jane Austen’s signature, cut from one of her letters written to her favourite niece, Fanny Catherine Knight, apparently containing ‘family matters’. Any Austen autograph item is rare at auction: only four have sold in the last twenty years (ABPC/RBH).

2017 Jane Austen in Vermont

Austen on the Block! ~ July 10 at Forum Auctions, and July 11 at Sotheby’s

There are a number of terrific Austen items on the block today at Forum Auctions in London: it’s happening as we speak… scroll up and down from this link and you will see the hammer prices.

And tomorrow, there are three of Jane Austen’s letters up for sale at Sotheby’s, all to her niece Anna Lefroy: go to the links provided to see images.

  1. Lot 82: http://www.sothebys.com/en/auctions/ecatalogue/2017/english-literature-l17404/lot.82.html

Austen, Jane. AUTOGRAPH LETTER, WRITTEN IN THE THIRD PERSON, TO HER NIECE ANNA AUSTEN (LATER LEFROY)

a masterly comic jeu d’espirit, written as if to Rachel Hunter, the author of the verbose gothic novel Lady Maclairn, the Victim of Villainy, asking her to thank Mrs Hunter for the “spirited sketches … of those more interesting spots Tarefield Hall, the Mill & above all the Tomb of Howard’s wife – of the faithful representation of which Miss Jane Austen is undoubtedly a good Judge, having spent so many summers at Tarefield Abbey”, assuring her that she has wept copiously over these affecting scenes, expressing her earnest hope that Mrs Hunter “would have the kindness to publish at least 4 vols more about the Flint family”, and closing with local news that “the Car of Falkenstein [the Alton-London coach] which was the pride of that Town was overturned within the last 10 days”, 3 pages, 8vo (184 x 114mm, partial “Horn” watermark similar to Heawood 2752-2762), integral autograph address panel (“Miss Austen | Steventon”), remains of a black wax seal impression, [Chawton, ?29-31 October 1812], original folds, very slightly discoloured at edges, remains of hinges where once probably mounted in an album.

Jane Austen’s Letters, ed. Dierdre Le Faye (1995), no. 76 (edited from a copy).

2. Lot 83: http://www.sothebys.com/en/auctions/ecatalogue/2017/english-literature-l17404/lot.83.html

Austen, Jane. SUBSTANTIAL FRAGMENT OF AN AUTOGRAPH LETTER, TO HER NIECE ANNA LEFROY (NÉE AUSTEN)…

with lively family gossip in the weeks after Anna’s marriage, including the comings and goings of Jane’s brothers Charles and Henry, regretting that she will not be able to see her and her husband Benjamin again before she leaves London, assuring her that the Austen party had enjoyed their visit to Anna’s new home in Hendon (“…We talked of you for about a mile & a half with great satisfaction, & I have been just sending a very good account of you to Miss Beckford, with a description of your Dress for Susan & Maria…”), and with revealing comments about a trip to the theatre (“…Acting seldom satisfies me. I took two Pocket handkerchiefs, but had very little occasion for either…”), 2 pages, 8vo, [23, Hans Place, London, 29 November 1814], weak at folds, small tear (c.15mm) at top not affecting text [with:] a later envelope recording family provenance.

Jane Austen’s Letters, ed. Deirdre Le Faye (1995), no. 112.

  1. Lot 84: http://www.sothebys.com/en/auctions/ecatalogue/2017/english-literature-l17404/lot.84.html

Austen, Jane. FRAGMENT OF AN AUTOGRAPH LETTER, TO HER NIECE ANNA LEFROY (NÉE AUSTEN),

describing a visit to her younger nieces at her brother Charles’s family home (“…Cassy was excessively interested about your marrying, when she heard of it …. She asked a thousand questions, in her usual way – what he said to you? And you to him?…”), ten lines, [23 Hans Place, London, 29 November 1814], with, on the verso, fragments of pen practices (“Miss J Austen | Hans Place | Sloane Street” etc.) and a black wax seal impression [with:] Mary Isabel Lefroy, autograph letter signed, to Richard Austen-Leigh, presenting him with this fragment, also mentioning a forthcoming visit to Cambridge to inspect the Sanditon manuscript that had been given to King’s College, 2 pages, 4to, 27 October [1931], with envelope.

c2017 Jane Austen in Vermont