A scrap album belonging to an Australian woman, compiled between 1870 and 1880.
Thick folio album, 385 x 280 mm, half black morocco over moire silk boards ruled in gilt, upper board lettered in gilt ‘Book of Scraps’, spine in compartments with ornate gilt decoration and gilt lettering (as on upper board); all edges gilt, silk pastedowns and endpapers; first leaf with the owner’s name ‘FANNY’ spelled out in découpage; approximately  pp, filled with pasted-in chromolithographic scraps and engravings cut from books, many captioned in manuscript; tissue guards intact, some occasional and very light foxing, binding holding firm.
An exceptional nineteenth-century Australian scrap album.
The final page in this lovingly arranged and well preserved album features a large, dramatic colour lithograph by H. G. Eaton after Silvester Diggles’ drawing of Johnson’s Cassowary, a truly “do-it-yourself” scrap painstakingly silhouette-cut from one of the separately issued parts of Diggles’ The Ornithology of Australia, and with the accompanying original printed caption Casuarius johnsonii (Krefft), Johnson’s Cassowary. Other Australian content includes 7 plates cut from Edwin Carton Booth’s Australia (1874), steel-engraved by H. Bibby after John Skinner Prout: On the Goulburn; Port Arthur, Tasmania; Government House, Sydney; An Explorer’s Camp; Grass Tree Plains; On the Plenty, near Melbourne; and The Dandenong Ranges, Victoria. There is also a chromolithographic view captioned in manuscript Queenscliff & Port Phillip Heads, as well as a large scrap of a cockatoo.
The remainder of the content comprises Biblical scenes and Holy Land views from an illustrated Old Testament; classical art; views of the British Isles, Europe and North America; portraits of royalty and historical figures; animals; flowers; and boats and maritime views.
From the presence of portraits of Scottish poet Robert Burns, Scottish Presbyterian clergyman Norman Macleod (d. 1872), and Scottish physician William Cullen, as well as a view of the University of Edinburgh and a page relating to temperance, our guess is that the owner-compiler of the album, Fanny, was from a devout Presbyterian Scottish immigrant family resident in Victoria. The album was sourced in Melbourne.