Note: Spec. Coll. copy: quarter bound in green sheep and marbled printed waste paper boards; printed pink label on spine. Diana Patterson, scholar of decorated waste paper bindings at Mount Royal University in Calgary, has identified the source of the printed waste on the UCLA copy as volume 2 of Works of Anthony Raphael Mengs, First Painter to his Catholic Majesty Charles III / translated from the Italian; published by the Chev'r Don Joseph Nicholas D'Azara, Spanish Minister at Rome. London: Printed for R. Faulder New Bond Street & G.G. and J. Robinson, Paternoster Row, 1796. According to Patterson, some publishers began binding books in wastepaper about 1780, notably Joseph Johnson, with this binding style reaching its peak by 1805. Children's books often had such bindings, probably because they were considered ephemeral. Decorated waste paper bindings disappeared once wood-pulp paper became available, and cheap machine-made cloth made cloth bindings commercially viable. Inscriptions in ink on upper free endpaper: Isabella Jane Hayward, Feby. 6, 1803; Charlotte Sophia Gambier, October 1804. Small printed book label on front pastedown of Elvah Karshner.

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Label: Mabel Woodbine, and her sister Lydia : a tale interspersed with moral and original stories, by Elizabeth Somerville

Note: Frontispiece engraved by J. Hopwood after W. Hopwood and dated: June 10, 1802

Note: Spec. Coll. copy: quarter bound in green sheep and marbled printed waste paper boards; printed pink label on spine. Diana Patterson, scholar of decorated waste paper bindings at Mount Royal University in Calgary, has identified the source of the printed waste on the UCLA copy as volume 2 of Works of Anthony Raphael Mengs, First Painter to his Catholic Majesty Charles III / translated from the Italian; published by the Chev'r Don Joseph Nicholas D'Azara, Spanish Minister at Rome. London: Printed for R. Faulder New Bond Street & G.G. and J. Robinson, Paternoster Row, 1796. According to Patterson, some publishers began binding books in wastepaper about 1780, notably Joseph Johnson, with this binding style reaching its peak by 1805. Children's books often had such bindings, probably because they were considered ephemeral. Decorated waste paper bindings disappeared once wood-pulp paper became available, and cheap machine-made cloth made cloth bindings commercially viable. Inscriptions in ink on upper free endpaper: Isabella Jane Hayward, Feby. 6, 1803; Charlotte Sophia Gambier, October 1804. Small printed book label on front pastedown of Elvah Karshner.

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