She herself described her early years and gave a curious picture of the Bourbon Restoration in one of the last articles she wrote, which was published in 1897 in the Revue Bleue under the title of Une écolière sons la Restauration, « fragments de mémoires inédits ».

It is a preamble to the important work, it was republished several times (1970, 1971, 1978 and 1987), it was published in 1845 by Techener and Le Brument as la Normandie romanesque et merveilleuse; traditions, légendes et superstitions populaires de cette province.

She published Roman des ouvrières, a picture of the workers of the Rouen spinning mills, which takes place in the working-class districts of Saint-Maclou, Saint-Vivien and Clos-Saint-Marc.

[1] In 1892, through the intermediary of the erudite art critic Alfred Darcel, she donated to the library of Rouen an entire collection of autographs by George Sand, Sainte-Beuve, Champfleury, Deschanel, Maxime Du Camp, Cuvillier-Fleury and Méry, from the collector Sauvageot.

At the same time of these autographs, which had accompanying drawings, Amélie Bosquet made a donation to the museum of Rouen, a portrait of her by Jean-Baptiste Parelle.