By Amara Thornton

The beginning of this month was entirely taken up with preparations for a workshop held in the Museum of English Rural Life and the Ure Museum.  "Collectors, Curators, and Cataloguers: Hidden Women in Archaeology in the 19th and 20th centuries" was held on 12 June. Along with it we opened a new temporary display, "Hidden Women in the Archive: Collectors, Curators and Cataloguers",  which will be up until 10 September.

​More on these delights here!

By Amara Thornton

The humble postcard is, I'm happy to say, becoming something of a 'heritage' research field.  My colleague Jamie Larkin has explored the history of postcard sales at museums and heritage sites in the UK while Elizabeth Edwards has been researching photography, postcards and heritage sites. 
 
I've blogged about the history behind the production of postcards relating to specific excavations – namely, the postcard produced in the 1920s by the Palestine Museum (now Rockefeller Museum), showing the Galilee Skull, discovered in 1925 during an excavation near the Sea of Galilee by students at the British School of Archaeology in Jerusalem. In the same period, the Transjordan Department of Antiquities produced a postcard showing part of one of the key sites in the country – the remains of a Roman city at Jerash.  One of these postcards (hand annotated) is found in the Horsfield collection at UCL.
 
The British Museum from the early part of the 20th century produced a series of postcards of objects in their collection, collaborating in the production of these with Oxford University Press.
 
But the British Museum's collection also incorporates relevant externally produced postcards.  In the Middle East Department's ephemera collection are a series of five postcards showing images of inscribed ostraca known collectively as the Lachish Letters (EPH-ME.1562, EPH-ME.1563, EPH-ME.1564, EPH-ME.1565, EPH-ME.1566).* 
 
According to the information provided in the BM's collection metadata, these postcards were created around 1935.  The production date is significant because the Letters were discovered during the 1934-35 season at Tell Duweir, so the postcards would have been made in quick-time – probably, I suspect, so that they could be sold at the end-of-season exhibition in July 1935.
 
I hope more of these ephemeral artefacts will come to light – they are a potent reminder that discoveries made did not always go straight onto the shelves of museum storage or display case and that the ubiquitous postcard is also part of the history of archaeology.
 
* A selection of the artefact Letters is on display in Room 57 in the British Museum.

By Amara Thornton

The Royal Academy will be turning 250 this year.  Two and a half centuries since it was founded to give a home to Britain’s artistic elite. It’ll be interesting to see how the 250th celebrations are received, and what people make of greater exposure of the RA’s history in the forthcoming exhibition (“The Great Spectacle”) and research project in conjunction with the Paul Mellon Centre for Studies in British Art.  Personally, I’m pretty excited about the prospect of the RA's historic Summer Exhibition catalogues being made available online (about which more below).
 
2018 also happens to be the 100th anniversary of the Representation of the People Act, giving a portion of women the right to vote.  This centenary celebration is drawing attention to women in history in a number of ways, I’m happy to say. But the Royal Academy has a pretty dire record of admitting women to the lofty heights of Academician status.  Beyond 18th century artists Mary Moser and Angelica Kauffmann, who were part of the foundation of the RA, no women were admitted as Royal Academicians until Annie Swynnerton in 1922 (admitted as a Associate RA) followed by Laura Knight in 1936 (admitted as an RA outright).  So the result is (by my count, excluding Moser & Kauffmann) only 55 women have been admitted as Royal Academicians between 1768 and now.
 
The Summer Exhibitions, thankfully, tell a different story.  That’s why it’s so important that those catalogues are digitised and made available this year. The Exhibition catalogues yield valuable information about the activities of women artists over the course of the RA’s history.  And among those women represented in the RA’s Summer Exhibition catalogues are three artists – Jessie Mothersole, Freda Hansard, Florence “Kate” Kingsford – who also worked as tomb-painting copyists for Flinders Petrie in Egypt.
 
In 1906, Algernon Graves published an 8 volume history of contributors to the Royal Academy.  This included artists who had had work hung in the RA’s Summer Exhibitions, and it is a fantastic resource for exploring the history of women artists in Britain. So, how are my three archaeological artists reflected in Graves’s history?
 
Well, all three had work accepted in multiple Summer Exhibitions. In 1899, Freda Hansard, listed as a painter, had two works exhibited: “Medusa Turning a Shepherd into Stone” and “Isola dei Pescatori in Lago Maggiore”. Kate Kingsford, also listed as a painter, had “Greek girls playing at ball” accepted and displayed. The following year, Hansard’s “Priscilla”, an oil painting, and Kingsford’s water colour “Harmony” and black & white work “1844” were all exhibited.  In 1901, Hansard’s “Rival Charms” was exhibited, as well as Jessie Mothersole’s “Lilian”.  Mothersole was listed as a miniature painter in Graves’s history, so this may well have been a miniature portrait.
 
Unfortunately, I have no idea what most of these works looked like, barring a small black & white reproduction of Hansard’s “Priscilla” published in Hearth & Home in May 1900.  I don’t know if they are still extant – though you can see two of Freda Hansard’s other paintings online at art.org.uk.  One of Jessie Mothersole’s watercolours, displayed at the Royal Academy Summer Exhibition in 1911, is also available to see digitally – she included a reproduction of her watercolour “The Oldest Inhabitant – Scilly” in her 1910 book The Isles of Scilly: Their Story, Their Folk and Their Flowers, which you can read and download on Internet Archive.

Follow-up volumes to Graves’s History were published in the 1970s, pushing the history of exhibitors to the Royal Academy up to 1970.  These illuminate even further the lives of these women as working artists.  Freda Hansard (listed as Freda Firth, her married name), exhibited a rather intriguing piece called “Men may come, and men may go, but I go on for ever” in the 1908 Summer Exhibition.  I can’t imagine what it looked like, but I hope it’s still around, somewhere.  In addition to her contribution to the 1911 exhibition, Jessie Mothersole submitted one painting in 1913, and two in 1914.  Two of these paintings showcased Mothersole’s experiences in Egypt – showing Deir-el-Bahari, the site of ancient Egyptian Queen Hatshepsut’s temple, and Abu Simbel.
 
There is a lot of art and associated archive material to explore on the Royal Academy’s new Collections interface.  It’s there that I discovered, for example, that Florence Kate Kingsford (Cockerell) exhibited her illuminated manuscripts, including “Hymn to Aten, the Sun Disk” (now held at the Fitzwilliam Museum, Cambridge), in the 1916 Arts & Crafts Society Exhibition.  And that Winifred Newberry Brunton, another archaeological artist, had her miniature “The Nile” included in the 1915 War Relief Committee Exhibition, held at the Royal Academy.

So let’s hope, that with the digitsation of the RA’s Summer Exhibition Catalogues, we start to learn a lot more about the women whose work was featured there, year after year – so that, as I have argued elsewhere, “the digital makes visible the invisible”. Including the work of Misses Mothersole, Hansard, and Kingsford, artists.
 
References/Further Reading
 
Arts & Crafts Exhibition Society. 1916. Catalogue of the Eleventh Exhibition, 1916. (catalogue online via RA Collections beta site)
 
Graves, A. 1905. Preface. The Royal Academy of Arts: A Complete Dictionary of contributors and their work.Vol 1 of 8.  London: Henry Graves & Co/G. Bell & Sons.
 
Royal Academy. 1900. Exhibition of the Royal Academy of Arts MDCCCC. One Hundred and Thirty- Second. [Catalogue]

Royal Academy. 1911. Exhibition of the Royal Academy of Arts MDCCCCXI. One Hundred and Forty- Third. [Catalogue]

Royal Academy. 1915. War Relief Exhibition in aid of the Red Cross and St John Ambulancew Society and the Artist’s General Benevolent Institution. London: Royal Academy (catalogue online via RA Collections beta site)
 
Royal Academy. 1973-. Royal Academy exhibitors 1905-1970: a dictionary of artists and their work in the summer exhibitions of the Royal Academy of Arts. EP Publishing.

By Amara Thornton

Tuesday 3 June 1930, 2.30 p. m. London’s Hippodrome Theatre. Lady Newnes (aka Emmeline de Rutzen) hosts a “Historical Egyptian Matinee” to raise funds for the British School of Egyptian archaeology's excavations in Palestine and the Friends of the Poor.   Mrs Julia Chatterton, a well-known folk song collector, composes all the music for the occasion, to be played on Egyptian instruments.  The audience enters to the strains of Verdi’s Aida – first presented in 1871 at the Khedival Opera House in Cairo.
 
Once everyone is seated, a gong tolls.  The familiarity of Verdi gives way to something entirely different, and much more authentic. Julia Chatterton wants the music to take the audience away from themselves, away from London, away from the 20th century.  They are to learn and appreciate, the programme notes tell them, “the Oriental mode of musical expressions.” 
 
Julia Cook-Watson Chatterton was no dilettante. She was a member of the Society of Women Musicians before World War 1, she had moved to Egypt at some point before 1914 to edit the illustrated newspaper The Sphinx, and spent ten years living in Egypt with her husband, architect Frederick Chatterton, who was employed in the Egyptian Public Works Department.  While there, she began researching Egyptian songs and instruments alongside making her name and garnering official recognition for her work entertaining the troops based in Cairo via the “Cards Concert Party” during the war. Her wartime medals were sold at Bonhams in 2013.
 
When she eventually returned to England in the 1920s, she began composing pieces with Egyptian themes, using instruments she had collected in Egypt, and presenting them in London.  The 1930 issue of Egypt and the Sudan features Chatterton’s article on “The Music of Egypt” in which she attempts to educate English tourists about the history and musicality of Egyptian songs and instruments.
 
I first came across references to Julia Chatterton’s work on the Hippodrome event some years ago; it’s been on my list of topics to blog about ever since.  In preparing for a talk at the Museo Egizio in Turin, I’ve revisited my initial research. Thanks to Petrie Museum curator Anna Garnett and former curator Alice Stevenson, I’ve now been able to see some of the fantastic ephemera created for this event in the Museum's archive.

The enormous event poster prominently promotes Chatterton’s “Original Egyptian Music”, and lists some of the Egyptian instruments to be featured – pipes, sistrum, lyre, nay, harp, oud (lute), darraboukeh.
 
In the programme, a full picture of the musical programme for the afternoon emerges. Fourteen individual musical interludes, with additional “incidents” occurred during the event. Italian-born London-based composer Francesco Ticciati conducted the orchestra.  Noted music historian, archaeologist and British Museum curator Kathleen Schlesinger loaned instruments from her personal collection.  Vocalists included one soprano, three mezzo sopranos, two tenors and four baritones (one of whom was Petrie student Gerald Lankester Harding).  Among the instrumentalists were a lute player, a tamboura player, a harpist and a pianist. Mamoun Abd el Salam was responsible for playing the nay, the argul and the rebab. Julia Chatterton herself was also one of the musicians playing the darraboukeh, an instrument with which she was particularly skilled, and the kithara.
 
Complementing the music was a series of fourteen tableaux showing ancient Egyptian history between 8000 and 30 B. C.  The performance had 81 cast-members, and “one white pigeon” (representing a dove). It began with a scene of earliest Egypt, accompanied by “Rhythmic Hand Clapping”, showing the Badarian civilisation, the remains of which had recently been excavated by Petrie students Guy Brunton and Winifred Newberry Brunton (also a noted artist). The story of King Khufu and "The Pyramid Age” of the 4th Dynasty was commemorated in Terence Grey’s short play The Building of the Pyramid. 
 
Princess "Sat-hat-hor-ant" (Sithathoriunet), whose elaborate jewellery had been the highlight of Petrie’s 1913-14 season at Lahun, was also featured in the tableaux.  The jewellery worn during the performance was recreated from published plates by Lady Leeds (Eltheleen Winnaretta Singer), who took the part of Nefert in the Pyramid Age Tableaux, using cardboard, beads, wax and macaroni.  The action wound up in Roman Egypt, with appearances from Marc Antony, Julius Caesar and Cleopatra (played by Lady Newnes herself).
 
The matinee attracted an audience of 1400 people, among them Princess Beatrice, Queen Victoria’s youngest daughter.  Lotus-badge wearing volunteers handed out further information on the British School of Egyptian archaeology’s research, schemes and publications to interested audience members - it was a fundraising venture, after all.
 
It seems to have been quite the Society event, and there are so many elements to explore in this one action packed aural and visual extravaganza it’s impossible to cover in one blog post, or in one lecture.  Needless to say I’ll be returning to this topic in due course, and perhaps someone with a connection to the event will have even more information!  (Pretty please?)

*Special thanks to Heba Abd el Gawad for finding suitable links for the Egyptian instruments featured in this piece.
 
References/Further Reading
 
Drower, M. 1995. Flinders Petrie: A Life in Archaeology. Madison, WI: University of Wisconsin Press.
 
Chatterton, J. 1930. The Music of Egypt. Egypt and the Sudan. London: The Tourist Development Association of Egypt, Cairo Station.
 
Chatterton, J. 1930. The Intimate Significance of Folk-Song. The Sackbut 11 (1): 11-13.
 
Petrie, H. 1930. Notes and News. Ancient Egypt (Part II, June): 63-64.
 
The Sketch. 1930. Nefert – and her Egyptian Matinee Jewels of Macaroni. 4 June. p 461.
 
Times. 1936. Mrs Julia Chatterton. 3 January, p. 17.
 
Copies of the event poster, programme, and preliminary notice are held in the Petrie Museum archives.

By Amara Thornton

In autumn 1923 Hurst and Blackett published Ethel Stefana Stevens (Drower)’s By Tigris and Euphrates.   I came across the book while researching post-WW1 guidebooks to Iraq; it was listed as recommended reading in Cook’s guide to Palestine and Syria (which in the 1920s also included a section on Iraq) and extensively quoted in the text relating to Baghdad.  As I’d written a previous post on Stevens as a pre-war travel writer with an eye for archaeology, naturally my interest was piqued, and I wanted to have a look at the book.  So, off I went to the British Library.
 
Stevens met her husband Edwin Drower in Sudan, but in 1919 they were living in Iraq – first in Basra and then in Baghdad, where they remained for twenty years.  By Tigris and Euphrates is dedicated to Drower, “the best of comrades, with whom many happy hours and good times in ‘Iraq have been shared”.  
 
Stevens charts her experiences in and observations of Iraq and Iraqis early on in the period in which Britain occupied and then administrated Iraq under a League of Nations Mandate – an occupation, it must be said, that she benefited from.*  By Tigris and Euphrates offers an illuminating if imperial glimpse into this period; among the subjects she highlights is the increase in British tourism to the country.  Stevens also reveals the nature of English expat society in Iraq, particularly for women – her chapter “The Englishwoman in ‘Iraq – Her House and Her Husband” is devoted entirely to their experience.
 
Stevens’ two chapters on archaeology form Part II of the work, taking readers on a highlights tour to “Some Buried Cities of Assyria” (including Nineveh, Nimrud and Asshur) and “Some Buried Cities of Babylonia” (including Babylon, Akerhuf and Ur).  At Ur, Stevens explains, the Iraq railways had arranged for a twenty minute stop at Ur junction for passengers to eat a meal and gaze at “great ziggurat” visible from the station. 
 
At the time of her visit to Ur in 1922, Leonard Woolley was just beginning his excavations at the site on behalf of the University of Pennsylvania and the British Museum.  Stevens credits him for providing her with information on the discoveries made in the first season, and acts as excavation champion in the text of the Ur section by flagging up a lack of funds hampering the continuation of work.    
 
While on site she went up to the top of the ziggurat in order to look down on the excavations.   Seeing the site deconstructed (as it were) gave her a perspective on how the site must have looked to the community of builders who originally constructed it.  She also examined some of the expedition's finds, carefully arranged on shelves in a “little room” awaiting conservation (a process she describes in some detail).  
 
Stevens was writing at a time before the Museum in Baghdad was formally instigated.  Gertrude Bell was acting as Honorary Director of Antiquities, but there was no building for accommodating and displaying collections.  Bell’s letters, now text searchable thanks to Newcastle University, show that “Mrs Drower” helped Bell arrange a small exhibition of finds from Ur (those to be left in Iraq after the division, more specifically) in March 1923, constituting the start of a publicly accessible Museum.  At the private view Bell arranged, Woolley and Bell conducted the notable visitors (including King Faisal and his ministers) round the display.
 
A new documentary film, Letters from Baghdad, offers another perspective of this immediate post-war period in Iraq. A visual smorgasbord of archive footage, Letters explores Gertrude Bell’s life and her work in archaeology and politics, complete with recreated interviews with key figures in Bell’s life – including several archaeologists.  It’ll be in UK cinemas from 21 April, so get you to the movies!
 
References/Further Reading
Buckley, J. J. (Ed). 2012. Lady E. S. Drower's Scholarly Correspondence: An Intrepid English Autodidact in Iraq. Brill.

Desplat, J. 2016. The beginnings of the Iraq Museum. National Archives blog. [Online]. 16 Nov.

Newcastle University, 2016. The extraordinary Gertrude Bell. [Online resource].

Stevens, E. S. 1923. By Tigris and Euphrates. London: Hurst & Blackett Ltd.
 
*Edwin Drower was Judicial Advisor in Iraq; Gertrude Bell worked with him to draft Iraq’s Antiquities legislation in 1923.

By Amara Thornton

This month Trowelblazers and Leonora Saunders launched the Raising Horizons exhibition.  It features 14 new portraits of historical "Trowelblazers" - women active in archaeology, geology and paleontology.  As I mentioned in a previous post, I was asked to portray the Egyptologist Margaret Murray for the exhibition, a great honour.  It's been a fantastic project to be involved in - in no small part because I got to dress up for my photograph (though I must admit publicly to a smidgen of costume envy - who wouldn't want a bit of Charlotte Murchison's early 19th century sheen?)

There are several known portraits of Margaret Murray.  One, by her student Winifred Brunton - an artist - now hangs on the 6th floor of the UCL Institute of Archaeology.  Then there's Murray's Manchester Museum mummy unwrapping-in-action photograph (on which the portrait of Murray in the Raising Horizons exhibition is based).  And another six photographic portraits of Murray taken in the 1920s and 30s by studios Lafayette Ltd and Bassano Ltd, now held in the National Portrait Gallery.  UCL has some too, including this photograph of her, aged 100, receiving the compliments of the College on her birthday (plus, check out her amazing student/staff record card!)

Just seeing someone's face tells you something almost indescribable.  I can see someone's handwriting for years, read their thoughts in letters and diaries, and have a vague picture of them in my head, but there's always something missing without a image of them.  Somehow they seem a bit less real.  That's what I enjoyed the most about seeing all the Trowelblazers portraits hanging in the Geological Society.  It brought home again the fact that these women were alive, human beings, not just names on a page.

Raising Horizons is open till the end of the month at the Geological Society and then moving on to other venues - do check it out if you can!  For more information, visit the project website: raisinghorizons.co.uk.

*My favourite Margaret Murray find remains, unsurprisingly, her curry recipe - more on that here.

By Amara Thornton

I've been getting corseted up for a photoshoot of historic significance.  The team behind Trowelblazers has a new project called "Raising Horizons" developed with photographer Leonora Saunders.  They will be opening a photography exhibition early next year, featuring 14 women currently active in the fields of archaeology, geology and paleontology representing 14 historical counterparts. Team Trowelblazers very kindly asked me to take part, paired with Egyptologist and folklorist Margaret Murray. So at the beginning of this month I was sinched in, dressed head to toe in black (with white apron) and snapped!

For another Raising Horizons pairing (archaeologists Shahina Farid and Kathleen Kenyon) the Palestine Exploration Fund loaned a vintage camera as a prop for the photograph. The camera once belonged to the archaeologist John Garstang who used it at Jericho in the 1930s.  In doing a bit of background research for a blogpost on the photoshoot, I started digging up information on John Garstang's wife, a rather elusive figure called Marie-Louise, whose archaeological work (unsurprisingly) has been significantly overshadowed.  More on Marie-Louise in due course, but you can see a picture of her at Jericho in the PEF's Raising Horizons post. 

The "Raising Horizons" team is now crowdfunding to support the exhibition and associated events planned - you can contribute to the project at their Indiegogo page and get some great perks for your contribution.

By Amara Thornton

This month's post is over on the Architectural Association Collections blog.  I had a wonderful trip there to see archives relating to Egypt Exploration Society architects Ralph Lavers and Hilary Waddington.  Both were students at the Architectural Association Schools in the 1920s and thanks to archivist Ed Bottoms I explored a hidden history of architectural dramatics in which both Lavers and Waddington took part.

Lavers organised the 1933 exhibition of objects from the Society's Amarna excavations at the Architectural Association.  In a detail of the EES catalogue front cover that Ed used to lead the piece, Lavers' name is just visible between the kneeling figure's right leg and foot. You can read "Pantos of the Past" here.

By Amara Thornton

Two letters in the Petrie Museum’s archives got me thinking about archaeological commutes.  The letters in question were from Flinders Petrie to Amelia Edwards, dated September 1884 and September 1889. They were written not from a remote Egyptian site, but on the train in England - the first en route to London and the second en route to Dover.

The first letter was addressed from Bromley – the town in Kent where the then single Petrie had grown up with his parents William Petrie and Anne Flinders Petrie.  Bromley was the terminus of a branch line of the South-Eastern Railway, connecting suburbs of Kent to the metropolis.  By the mid 1880s trains ran regularly into London's West End as they still do today, and the first letter concludes:

At the time of writing the letter, Petrie’s exhibition of artefacts from San (Tanis) and Pithom was in its third week.  It seems likely that on departing the train he made his way to Oxford Circus where the exhibition was open in the Royal Archaeological Institute’s rooms in Oxford Mansions.  

In the second letter, Petrie was travelling to Dover, having finished most of his responsibilities in England.   It’s clear that the train journey was anything but smooth that day – he begins “Here come spiders!  How it jolts.” and signs off “Ever yours in shakes”. 

As luck would have it, recently Ashley Cooke, Liverpool Museum’s Senior Curator of Antiquities, discovered a collection of catalogues from Petrie’s early exhibitions in his office, and tweeted images of them.  Among the catalogue cachet is a Hand List for Visitors to the Collection of antiquities Discovered in the Fayum, Egypt, by W. M. Flinders Petrie 1889 – the very exhibition that was starting its last week when Petrie took the train to Dover.  

This is a real archive treasure - catalogues for Petrie’s 1880s displays are (as far as I know) incredibly rare.  It might possibly be even more exciting to me as a historian of archaeology and archaeological exhibitions than hidden chambers in Tut’s tomb!  

Acknowledgements
Thanks to Alice Stevenson for permission to write about Petrie's letters (3/1/PEN/12 and 3/1/PEN/50) in the Petrie Museum archive, and publish a detail of 3/1/PEN/50 here, and to Ashley Cooke for putting the images of his catalogue discovery on Twitter!

By Amara Thornton

​One of the exciting things about the digital age is finding ephemeral historical items online.  A recent discovery via Internet Archive is the catalogue for “Underground Jerusalem”, an exhibition of drawings by celebrated Illustrated London News artist William “Crimea” Simpson (so called because of his famous sketches of the Crimean war).  

“Underground Jerusalem” opened at the Pall Mall Gallery in London on 6 April 1872.  A leaflet advertisement for the exhibition, inserted into the Palestine Exploration Fund’s Quarterly Statement, noted that the display was open from 10 am to 6 pm daily. The admission price of one shilling included the catalogue in which Simpson’s 40 sketches on display, made during a trip to Jerusalem in the spring of 1869, are listed and described.

Simpson journeyed to Jerusalem from Egypt, where he was busily engaged in documenting the Prince and Princess of Wales’ trip to the country and illustrating the not-yet-opened Suez Canal – “the new route to India” – for the Illustrated London News.  He left Egypt at Port Said on the Red Sea coast and sailed for Jaffa, travelling to Jerusalem by cart.  Once there he contacted Palestine Exploration Fund explorer Charles Warren, then excavating in Jerusalem near the Haram al Sharif/Temple Mount.  Warren’s deep shafts at the edges of the enclosure, sunk in the face of considerable opposition from local political and religious authorities, had been made in order to understand the development of the city through time.

Like a number of tourists to Jerusalem at the time of Warren’s excavations, Simpson accompanied Warren down some of his shafts, obtaining a glimpse at the early layers of the Old City.  Unlike the average tourist, though, once below the surface Simpson recorded what he saw with his pen and paper. Lit magnesium, which emits a bright white light, was the only source of illumination.  He later recorded in his autobiography 

It took Simpson three years to finish his drawings.  The exhibition was also a sale with the works ranging in price from 10 to 120 guineas (for No. 32, "'The Sakrah' or Sacred Heart of the Dome of the Rock").  ​The PEF's Secretary Walter Morrison bought a number of them. They remain in the collection of the Palestine Exploration Fund today, where they are not just a unique record of excavation in progress, but another piece of London's exhibition history.

References/Further Reading
​
Eyre-Todd, G. (ed.). 1903. The autobiography of William "Crimea" Simpson, R. I. London: T. Fisher Unwin.

Pall Mall Gallery. 1872. Underground Jerusalem. Descriptive Catalogue of the Above Collection of Water-Colour Drawings by William Simpson… London: W. M. Thompson.

Warren, C. 1876. Underground Jerusalem: an account of some of the principal difficulties encountered in its exploration and the results obtained. London: R. Bentley and Son.