
ALT A set of four biscuits against a maroon wooden background. The biscuits are iced in different shades of cream. Three are rectangular, and one has a cloud-like shape. Each biscuit is painted to look like an eighteenth-century printed trade card. One has ‘James Reynolds’ written in large type, spelt with an I instead of a J. Beneath, in a curly calligraphic font, the biscuit reads: ‘Haberdasher at the Hand and Pen in Russell Street, Covent Garden, London’. The design is finished with an extravagantly-framed hand holding a quill. The other biscuits read: ‘John Lockington: Engraver, Hair Worker & Toy Manufacturer’; ‘Elizabeth Bagwell, Linen Draper at the great Ship & Bell on Tower Hill’; and ‘Owen & Cox, Appraisers, undertakers, etc.’ Elizabeth Bagwell’s card features an image of an eighteenth-century ship. Owen & Cox’s design is framed with tiny line drawings of furniture pieces.

ALT Joy Labinjo, Lady from Liverpool (2020). Copyright and digital reproduction granted by the artist. Copyright remains with the artist.

ALT New Essays on The Woman of Colour (1808) introduction by Nicole N. Aljoe, Kerry Sinanan, and Mariam Wassif Reading Slantwise: Dido in The Woman of Colour (1808) By Sofia Prado Huggins “Mind Is Revealed in the Countenance”: Subversive Laughter and Caricature in The Woman of Colour By Leigh-Michil George Interracial Sex and Narrative Crisis in The Woman of Colour By Joyce Green MacDonald Sentiment and Sexual Servitude: White Men of Feeling and The Woman of Colour By Rebecca Anne Barr August Disgust: Distinction, Disinterest, and Race in The Woman of Colour By Daniel Yu Favoured Isles: Selfishness and Sacrifice in the Capital of Capital By Natalie Zacek Coda: The Woman of Colour and Living Memory By Addy Adelaine



















