A selection of items to be exhibited at the inaugural INK Fair 2016
La Valette’s own copy – a sumptuous work
- [CHARITABLE INSTITUTIONS IN FRANCE]. [LA VALETTE, Charles Jean Maris Felix de, Marquis]. LES ÉTABLISSEMENTS GÉNÉRAUX DE BIENFAISANCE PLACÉS SOUS LE PATRONAGE DE L’IMPÉRATRICE.Maison des Quinze-Vingts. Hospice du Mont-Genèvre. Maison de Charenton. Institution des sourds-muets de Paris. Institution des jeunes aveugles. Institution des sourdes-muettes de Bordeaux. Asile Impérial de Vincennes. Asile Impérial du Vésinet. Institution des sourds-muets de Chambéry. Monographies présentées à Sa Majesté par Son Excellence Monsieur le Marquis de La Valette, ministre secrétaire d’état au département de l’Intérieur. Paris Imprimerie Impériale, 1866.
Large imperial folio, pp. xxiv, 394,  blank; with tinted engraved vignette head-piece portrait of the Empress Eugenie at head of dedication, and 39 engraved plates and floor plans, of which 19 are on china paper, 15 are floor plans (6 of which are double-page), 9 are exquisite etchings by Léon Gaucherel showing exterior views of the institutions, and two are printed in colour; aside from some occasional minor foxing, a lovely, clean copy; bound in full red morocco, with triple, triple gilt fillet border with gilt interlace at each corner, spine in six compartments lettered and tooled in gilt, with gilt crown and the initials ‘LV’ in centre of upper cover, with decorative turn-ins and green moiré silk endpapers, all edges gilt; minor scratch and scuffing to lower corner of upper cover, with some wear and nicking to tail of spine, and tail of upper cover; the copy of the compiler, the Interior Minister the Marquis de La Valette; a lovely copy. £3,850
A magnificent, rare and finely illustrated survey of nine of France’s leading charitable and benevolent institutions, undertaken by the Interior Minister, the Marquis Charles Jean Marie Felix de La Valette (1806-1881), to commemorate and celebrate the Imperial decree of August 8th 1865 which had placed them under the patronage of Eugenie, wife of Napoleon III and empress of France (1853–70). The nine ‘Établissements généraux de Bienfaisance’ granted Imperial patronage had all played a significant role in the provision of care to those in need across France, and the present comprehensive and detailed work provides a historical survey of each institution, together with information regarding their administration, medical facilities, financial standing, and architectural design. The ancient ‘Maison des Quinze-Vingts’ was one of the only institutions in France to support and lodge blind people in the first half of the nineteenth century. Believed to have been founded by St. Louis in 1260, its aim was to help 300 (quinze-vingts) people and their families. It had in fact, already been placed under the patronage of the Empress in June 1854. The ‘Hospice du Mont-Genèvre’, situated in the Hautes-Alps and founded in the 14th century by Humbert II, provided refuge to travellers and pilgrims crossing the mountains from France en route to Spain and Italy. The ‘Maison de Charenton’ was founded in 1641, and treated those with mental afflictions. Founded in 1778 by Louis XVI, the ‘Institution des sourds-muets de Paris’ provided education and instruction to young deaf-mutes. The ‘Institution des jeunes aveugles de Paris’ similarly provided education and instruction to blind children of both sexes, whilst the ‘Institution des sourdes-muettes de Bordeaux’, founded at the end of the 18th century, provided care specifically for young girls. The ‘Asile Impérial de Vincennes et du Vésinet’ had been recently founded by the Emperor (by decrees of 1855 and 1859) and provided temporary convalescent care for workers of both sexes, either injured or suffering from disease. Finally, the ‘Institution des sourds-muets de Chambéry’, in the Duchy of Savoy, was founded in 1841 and had come under imperial control in 1861.
The work is adorned with 39 finely executed engravings and plans, including nine etchings by Léon Gaucheral representing views of each institution. The monograph on Charenton includes a depiction of the statue of Esquirol, whilst monuments to both L’Épee and Valentin Häuy are also depicted. The work of these two leading institutions is further reflected in two plates – one printed in red representing various systems of sign language, whilst the other, printed in blue, celebrates the work of Louis Braille, and depicts the raised alphabet system.
Provenance: The present copy appears to be that of the compiler himself, the Marquis Charles-Jean-Marie-Felix de La Valette (1806-1881), with his initials ‘LV’ in gilt on the upper cover, under a gilt crown. Born in Senlis, this noted French politician was appointed by Napoleon III as the Minister of the Interior in March 165, before taking on the foreign affairs portfolio in 1868. He was Ambassador in in Constantinople before the Crimean war, and then in London from 1869 to 1870.
OCLC locates copies at Columbia, the Library of Congress, NYPL, the Canadian Centre for Architecture, the Wellcome, BL, Manchester, the BnF, Lyon, Delft, the Danish National Library and the National Library of Sweden.
Including rare accompanying treatise on globes
- [GLOBES]. RIZZI – ZANNONI, Giovanni Antonio and Rigobert BONNE. ATLAS GEOGRAPHIQUE CONTENANT LA MAPPEMONDE ET LES QUATRE PARTIES,avec les differantes etats d’Europe, dressés sous les yeux … A Paris, Chez Lattre Graveur rue S. Jacques a la ville de Bordeaux, 1762. [together with]. BONNE, Rigobert. IDÉE DE LA SPHERE, ou principes sur la géographie astronomique … A Paris, avec approbation & privilege du Roi, 1763.
Two works in one volume, 16mo; pp. [ii] engraved frontispiece, [ii] engraved title page signed ‘L. Legrand juv Sculp’, with one double-page engraved diagram ‘Sphère de Ptolomée’ and 29 double-page engraved hand coloured maps numbered 1-27, 10bis and 24bis; pp. [vi], 55, ; in contemporary French red morocco, triple fillet borders with a small flower at each corner, spine fully gilt in six compartments with a flower and tendrils, green morocco label, inner dentelles, all edges gilt; with engraved armorial bookplate of ‘Thos. Hesilrige’ on front paste down and his signature dated 1764 on verso of title; a very fine copy. £2,000
A most attractive copy of this pocket atlas, together with an accompanying and rare treatise on the use of globes. Though sometimes found, and thus also issued separately, these two works were clearly intended to be bound and issued together, as Bonne’s work contains a ‘Table des Cartes Contenues dans ce Recueil’ according to which the atlas is complete with the Sphère de Ptolomée diagram and 29 maps. Later issues had either 30 or 31 maps. Rizzi Zannoni (1736 – 1814) was an Italian cartographer and geographer who travelled extensively throughout Europe, and is reemember amongst other things for producing the first detailed map of Poland. Rigobert Bonne (1727-1795) was one of the most important cartographers of the late eighteenth century. From 1773 he held the office of Hydrographer at the Depôt de la Marine, and his maps were highly regarded for their accuracy and detail, as well as their simple but attractive aesthetic. He published his own pocket atlas, ‘Petit Tableau de la France’ in 1764.
OCLC locates copies at Harvard, Michigan, Texas, Yale and the New York Public Library.
Fine album of artistic anatomy
MELICHER, Theophil. FINE COLLECTION OF 41 ANATOMICAL DRAWINGSexecuted in a range of modes including pencil, pen, watercolour and possibly oils, predominantly signed, and most probably whilst at the Vienna Academy of Arts (Wiener Akademie der bildenden Künste), ca. 1879-1880.
Folio; 41 anatomical drawings, all but one mounted, on 23 card leaves; in a range of modes, many with neat annotations, most signed and several dated; some occasional light soiling; housed within an original maroon half cloth portfolio with linen guards, retaining ties, with paper label lettered in mss on upper cover, spine a little sunned, with light wear to extremities. £2,500
A fine collection of well executed anatomical drawings, in a range of modes, and the work of Theophil Melicher (1860-1926), Vienna. Theophil Melicher studied at the Wiener Akademie der bildenden Künste with Josef Matyáš Trenkwald (1824 – 1897), a Czech/Austrian painter, best known for his religious and historical paintings. Melicher himself became a restorer, conservator and painter, who specialized in fresco painting.
The illusory effects of optics vividly displayed
NICERON, Jean François. THAUMATURGUS OPTICUSseu Admiranda. Optices, per radium directum; Catoptrices, per reflexum è politis corporibus, planis, cylindricis, conicis, polyedris, polygonis & aliis: Dioptrices, per refractum in diaphanis. In quibus praer Scenographiae sue perspectiuae communis fundamenta, praxes facillimas & demonstrationes … Opus curiosum & utile pictoribus, architectis, statuariis, sculptoribus, caelatoribus, & quibuscumque aliis, quorum opera in delineandi studio posita est. Pars Prima de iss quae spectant ad visionem directam ad Eminum Cardinalem Mazarinum. Lutetia Parisiorum, Typis and formis Francisco Langlois, aliàs dicti Chartres, viâ Iacobaeâ sub insigni Columnarium Herculis. 1646.
Small folio, pp. [xxxii], 222,  blank; with fine engraved frontispiece signed S. Voüet, 42 engraved plates, woodcut head and tail pieces, and numerous woodcut text illustrations; a little foxed and browned throughout (though principally marginal), with a few leaves more prominently browned, plates 18 and 19 with more noticeable marginal browning, plates 4 and 32 with some oxidisation; bound in later half calf over marbled with new endpapers, with old morocco label on spine, head and tail of spine and joints a little rubbed and worn, with very small split along upper joint at head, surfaces a little soiled, extremities and corners a little rubbed; with the contemporary signature of ‘Bertherand’ at head and tail of frontispiece, and from the collection of the cinematographer David Samuelson. £3,500
Revised first Latin edition of Jean François Niceron’s important work on the practical applications of perspective, catoptrics, and dioptrics, and on the illusory effects of optics then traditionally associated with natural magic, first published in French in 1638 as ‘Perspective curieuse ou magie artificielle’. Having penned the original work for practitioners, Niceron intended with this Latin translation to reach a more erudite circle of readers, including more theoretical material, a description of his instruments, and more illustrations. His untimely death, however, prevented his plan to publish a revised and expanded second French edition. This project was initially carried out on by Niceron’s former teacher Marin Mersenne, but he too died in 1648 without completing the translation. Gilles Personne de Roberval finally saw the second edition of La perspective curieuse through to press in 1652.
Divided into two books, as opposed to four books in the 1638 edition, the present Latin edition (which is treated by many bibliographers as a separate work), is notable not only for the additional fine illustrations, but for the inclusion at pp.190-204 of the ‘Scenographum Catholicum sive Instrumentum Universale’. His comprehensive discussion of anamorphosis and other forms of what he called ‘artificial magic’ are also of particular importance and interest to scholars today, influencing as they did later artists and theorists. Also an artist of some note, he was interested in the uses of anamorphosis in religious art, and intent on finding a scientific solution to the problems presented by perspective, Niceron worked out the geometrical algorithms for producing anamorphic art. Niceron offered practical instruction in the construction of anamorphoses using a trapezoidal grid and illustrated how he created a monumental mural of St John the Evangelist writing the Apocalypse (now lost, destroyed by Napoleon Bonaparte’s troops when they sacked the cloister in 1798) using a perspective machine on a wall in the French convent of Sta Trinità die Monti in Rome (plate 33, and see Stafford and Terpak, ‘Devices of Wonder’ p. 213 for an explanation). Plate 2 also provides an early illustration of a camera obscura and projection onto a screen.
Jean-Francois Niceron (1613-1646) studied mathematics under Marin Mersenne (1588-1648) at the College de Nevers in Paris, France and entered the Order of Minims in 1632. He was acquainted with the leading scientists in France and Italy, such as Fermat, Descartes, Cavalieri and Kircher and was aware of all the latest theoretical developments, and indeed according to Mahoney (DSB), his discussion of refraction possibly contains “the first published reference to Descartes’ derivation of the law of refraction”.
Goldsmith N 207; Caillet 7973; Honeyman Coll. 2337; Poggendorff II, 279. DSB X, 103f; see Kemp, The Science of Art, pp. 129ff; Baltrušaitis, Anamorphosis, 51ff; Stafford and Terpak, Devices of Wonder, pp. 225 and 239.
Rare orthopaedic treatise with 30 lithograph plates
[ORTHOPAEDICS]. HUMBERT, François, and M.N. JACQUIER. ESSAI ET OBSERVATIONS SUR LA MANIÈRE DE RÉDUIRE LES LUXATIONSspontanées ou symptomatiques de l’articulation ilio-fémorale; méthode applicable aux luxations congénitales et aux luxations anciennes par cause externe. Bar-Le-Duc: Chez F. Gigault D’Olincourt… [&] Paris: Chez J.B. Baillière… 1835.
Two volumes, 8vo text and large 4to atlas; pp. xiii, viii, 554; pp. [viii], and 30 lithographed plates (4 anatomical and 26 of apparatus, the latter accompanied by 15 leaves of explanation); some minor spotting to text with occasional marginal dampstaining, atlas volume a little foxed and browned; in modern quarter blue straight-grained morocco, preserving the original printed wrappers to the text bound in, spines in compartments ruled and lettered in gilt, spines a little sunned, extremities lightly rubbed and bumped, minor wear to boards; a very good copy. £1,750
Rare first edition. Humbert was the first to make any progress on a problem unsolved since antiquity — reduction of a dislocation of the hip. Taking advantage of the latest information on the anatomy of the hip presented by Dupuytren and Vrolik, Humbert developed manipulative techniques which he claimed succeeded in reducing both congenital and pathological dislocations in brief sessions. While successors such as Pravaz and Gerdy considered that he achieved a transposition and not a true reduction, both acknowledged that his innovative work was the impetus to the successful reductions achieved by Pravaz in the 1840s. “Humbert was one of the first who tried to correct congenital dislocations of the hip without operation. His book on this procedure (published together with Jacquier) and his other works are adorned with excellent, precisely detailed construction drawings of the apparatus invented by him…” (Valentin, Geschichte der Orthopädie, 120–121 and 205–206, in translation).
This rare book is unusual and elegant both in its typography and illustration. Four of the plates illustrate the hip, and the remainder show precise details of the apparatus that Humbert and Jacquier devised. Humbert, who described himself as a “médecin-orthopédiste” opened one of the first orthopaedic establishments in France, preceded only by Delpech. Humbert founded the first orthopaedic hospital in France in 1817, and invented extension beds and chairs, and an instrument to measure changes produced by spinal curvatures.
OCLC locates copies at Harvard, NLM, Minnesota, Rochester, Pennsylvania, Chicago, the British Library.
RUGGIERO, Pietro. LA MILITARE ARCHITETTURA,Overo Fortificatione Moderna, cauata dall’esperienza, e da varie maniere più pratticabili, con le regole principali dell’Aritmetica, e dottrina de’ triangoli spettante all’ Arte, espugnation, e guardia dell Piazze, et un trattato dell’ arte militare … Dedicata All’ Altezza Serenissima Del Signor D. Gio. D’Austria In Milano, Appresso Lodouico Monza, Con Privilegio. 1661.
Large 4to, printed on thick paper, pp. [ii] attractive engraved title-page, [x], 238,  index,  Registro and blank; with appealing woodcut diagrams in part I numbered 1-38 and 15 double-page etched plates with numerous figures numbered 40-54, (no 39 as issued due to a typographical error), with further woodcut head-pieces and initials; small paper flaw with old repair at head of p. [viii], with further repair at head of p. 23, and small nick at head of p. 22 with small loss, with evidence of repair at upper inner gutter of final plate, aside from some occasional light soiling and browning, internally very clean and crisp; with previous ownership inscription in brown ink at head of engraved title-page, neatly scored through; in contemporary carta rustica, with stitching cords visible, evidence of previous manuscript title at head of spine, with manuscript numbering, and remains of paper label at tail, covers a little rubbed and soiled, with small ink stain on upper cover, and larger and more prominent stain at lower outer margin of rear cover, extremities lightly rubbed and worn; a lovely copy. £3,750
A lovely copy of the first and only edition, printed on thick paper, of this rare Italian treatise on fortification and military tactics, by Pietro Ruggiero (or Pierre Rougier) of Burgundy, a captain and military engineer in the service of his ‘Catholic Majesty’, at the time Philip IV of Spain, the Spanish monarchy controlling the Duchy of Milan during much of the 17th century.
Divided into four ‘books’, the first part deals with geometry and arithmetic, providing the reader with a basic introduction into the various rules most applicable to military engineering. This section is accompanied by a series of appealing woodcut illustrations to demonstrate the principles under discussion. Ruggiero then moves on to the construction of fortresses themselves, discussing not only methods of construction, but also the important strategic considerations such as location of the site. The second book also describes the evolution of fortress construction from antiquity up until the present day. Book three is devoted to specific military operations for the defence or siege of a fortress, whilst the final part discusses general rules of military tactics, and describes a number of scientific instruments for military use, including a compass for cartographic measurements.
A striking engraved frontispiece opens the work, with a further 15 double-page etched technical engravings following on from the series of woodcut figures illustrating geometric principles and projections.
Vinciana, Libreria Vinciana, Autori italiani del ‘600 a cura di S. Piantanida, 1461; Marini, Biblioteca istorico-critica di fortificazione permanente, pp. 102-3 (see also his Architettura Militare di Francesco de’Marchi, p. 82 though he is far from complementary about the work!); Macclesfield X, 3745; D’ Ayala, Bibliografia militare-italiana antica e moderna, 118; Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés danls les bibliothèques de France, VII, p. 60; Guarnieri, Breve biblioteca dell’architettura militare, p. 92; OCLC locates copies at the Getty, the British Library and Cambridge, with a small number of further European copies.
[TRADE CATALOGUE – COLOUR PRINTING]. COOKE, Alf. ALBUM OF COLOUR PRINTING.Art Colour Printer to the Queen, Crown Point Printing Works, Leeds. [n.d. but ca. 1887].
Small folio, ff. 15; in chromolithograph throughout printed on heavy coated paper, including facsimile reproduction of Royal Warrant on inside front cover, a portrait of Cooke on the title-page, a large depiction of the interior ‘New Crown Point Printing Works’ on inside rear cover, so in all 32 chromolithograph plates; and with four further large folding chromolithograph plates tipped in, each retaining original tissue guard; some light soiling throughout, two of the folding plates torn along folds but with no loss, some edge wear, gutters exposed in a number of places; stitched as issued in the original green cloth backed decorative chromolithograph boards, with gold embossed Royal Warrant label on upper cover, and with further depiction of the exterior of the printing works on rear cover, book block somewhat loose and inner hinges cracked but holding, spine quite rubbed and worn, covers a little foxed and soiled, with remains of silk tie evident, extremities a little dog-eared; despite wear and being a little fragile, a most appealing and striking catalogue. £850
A wonderfully evocative and striking specimen catalogue, issued by the renown chromolithograph printer, Alf Cooke of Leeds, who as the present catalogue proudly announces was ‘Her Majesty’s Colour Printer by Special Royal Warrant, The only appointment’ – an honour granted in 1885.
Alfred Cooke (1842-1902) set up his business in 1866 and bought premises for his printing works in the early 1870s near Crown Point Bridge in Leeds. After a fire destroyed the works in 1880 the firm moved to a new site on the Hunslet Road, disaster striking again in 1894 when another fire forced yet another rebuild, to the same designs of Thomas Ambler, including a clock tower. By 1895 it was the largest printing works in the world, Cooke priding himself on using not only the latest printing technology, but equipping the works with both electric lighting and modern sanitation. The exterior of the building is illustrated on the rear cover, with a wonderful depiction of the new ‘state of the art’ interior found on the inside rear cover. Various processes of production can be seen in action, with both male and female members of staff on view. ‘This view faithfully represents the interior of the New Crown Point Printing Works, covering an entire area of eight thousand square years (8000) of ground floor, added to which are four tiers of galleries, 800 yards in length. The largest, cleanest, healthiest, and most completely fitted printing works in the World. Brilliantly illuminated by arc and incandescent electric lamps. 300 Chromolitho, and other machines. 750 workpeople in full and continuous work’.
The 32 fabulous specimens give examples from a variety of periodicals and trade catalogues, the firm producing products, calendars, labels and images for a number of leading firms such as Suttons Bulbs, Cleaver’s Soap, and Mellin’s Food. A number of illustrations produced for the Religious Tract Society are also reproduced. The catalogue also includes four large folding portrait plates, illustrating some of the leading actresses of the day the first of which depicts the actress Sarah Bernhardt as ‘La Tosca’, the second Miss Mary Anderson as ‘Juliet’, the third Ellen Terry as ‘Portia’, and finally Miss Dorothy Baird as ‘Trilby’. The album prints a number of testimonials, several of which are dated 1897.
A number of earlier albums were issued in 1885, 1890, 1893 & 1894.
Wakeman & Bridson, Guide to 19th century colour printers, p. 27; the Waddleton Chronology of colour printed illustrations (on-line database) cites the 1885 issue (St. Bride Foundation Cat. ref. 14982), and Wakeman notes too that St Bride hold a copy of this edition; OCLC locates three copies at Yale, Harvard, Delaware and Cambridge.
A little known Maria Cosway design – and Thomas Jefferson was sent a sample
[WATERPROOFING]. ACKERMANN, SUARDY & CO., ENGRAVED BROADSIDE. PATENT WATER-PROOF MANUFACTORIES.Upper Belgrave Place, formerly New Spring Gardens. Chelsea, and at Cupers Bridge, Lambeth. Patronised by Their Majesties, Their Royal Highnesses the Prince of Wales, the Dukes of York, Clarence, Kent, Cumberland, Glocester [sic] &c, &c. &c. Ackermann, Suardy and Co. Patentees for making all sorts of Cloth, &c. Water-Proof, Unimpairable by Heat, humbly beg leave to offer their services to the Public, upon the following moderate terms, viz … and every other article in proportion. NB This waterproof process does not injure delicate colours, nor prevent perspiration. The entrance at the great Gate Upper Belgrave Place … Ackermann, Suardy & Cos Royale Patent Water Proof, London. [n.d. but ca. 1802].
Engraved broadside, sheet size 415 x 285mm, plate mark 405 x 275mm; with large stipple engraved image signed ‘Mrs Cosway del, Girtin Script et sculpt 56 Drury Lane, Agar sculpt’, and with text in copper plate below; lightly soiled and stained, with evidence of a couple of minor abrasions and marginal tears; mounted on modern card 570 x 380mm. £2,250
A wonderful broadside from the turn of the 19th century, advertising a range of waterproof clothing designed, manufactured and patented by Ackermann, Suardy & Co of Chelsea, having invented a method for rendering materials impenetrable to water. A price list for twelve standard items of clothing is given, including lady’s riding habits, great coats, waistcoats, gaiters, ‘trowsers [sic] or pantaloons’, as well as cloths for horses. ‘To prevent imposition every piece of clothing done at the above manufactories is marked on the inside either in Black or Red, with the annexed Die. Cloths are received and delivered from 9 o’clock in the morning, til 6 in the evening, & for each article a ticket is given mentioning the day when it will be ready for delivery. Manufacturers, merchants, factors, and wollen-drapers, are requested to send their cloths to be render’d waterproof to Messr Douglas & Co. Manufactory, Cupers Bridge, Lambeth, where scouring, milling, dressing, brushing, napping and finishing of cloths, is carried on in all it branches, on improved principles; which will be of the utmost importance to the trade in general’. For those gentlemen ‘who reside in the country, agents will be appointed in all the principal towns in England to forward their orders concerning wearing apparel, to the manufactory at Chelsea’.
It is the charming stipple engraved image that is particularly captivating, however, and is the work of the renowned artist, musician, friend and rumoured one time lover of Thomas Jefferson, Maria Hadfield Cosway (1742-1821). A small cherub is seen squeezing rain from out of a cloud, hovering above a second cherub who is sheltering beneath a large piece of waterproof material, the water running safely down away from him and falling upon a benign looking sea-creature below. Cosway became a close friend of Thomas Jefferson during his time in France, some even believing them to have been romantically linked, and they remained in correspondence until his death. Born of English parents in Italy, where she spent her childhood, Cosway studied drawing, music, and languages, furthering her study of drawing in Florence and Rome. She was elected to the Academy of Fine Arts in Florence at nineteen. Maria met her mentor Angelica Kauffmann when she returned to England after her father’s death, and in 1781 she married the celebrated miniature portrait painter Richard Cosway, a member of the Royal Academy. The Cosways frequently hosted members of London’s literary and artistic circles at fashionable salons, or musical evenings, at Schomberg House in Pall Mall, which was filled with their eclectic collection. Thomas Jefferson met the Cosways in August 1786 at the Halle aux Bleds in Paris, through a connection with the American artist John Trumbull.
This close relationship, may therefore explain why in 1801 Jefferson had indeed himself received the 27pp pamphlet published by the company, together with a sample of Ackermann’s waterproof cloth, and which he then apparently forwarded on to Thomas Mann Randolph, according to records found on the site Founders Online at National Archives. The archives reveal that he was also alerted to the invention in 1802 by John Ponsonby, who sent to him the pamphlet together with an accompanying Royal declaration of approval by the Prince of Wales, giving the invention his ‘fullest approbation’.
This charming image (though seemingly a slightly variant issue) was deemed worthy of review by Sir Richard Phillips in the Monthly Magazine, Vol 12, Part II for 1801, p. 42: ‘While we are on the subjects designed by Mrs Cosway, we cannot resist noticing a design which Agar has lately engraved, as a vignette to a bill of Ackermann, Suardy amd Cos. Water-proof Manufactory at Chelsea. The process which cloth or wearing-apparel undergoes at this place, renders it impenetrable to rain, and Mrs. Cosway has well described this by a whimsical and poetical concetto. A figure, which by the courtesy of allegory, and the practice of allegorical painters, must we believe be called a dolphin, is represented swimming in the ocean, and spouting water to a considerable height from each of his nostrils. Upon the animal’s back, stands a little Cupid holding a piece of light drapery, which the wind very complacently blows a little higher than his head. It is inscribed ‘Rain defied – Health Preserved’. Partly enveloped in a cloud immediately above it, is a little Genius pressing between his hands somewhat that must be considered to be a sort of sponge, charged with water, til it descends in a violent torrent upon the waterproof canopy – under which the little Cupid, perfectly secure, ‘Rides in the Whirlwind, and defies the Storm’. This is all very prettily imagined, but it would have had a lighter and more airy effect, if the figure in the clouds had been raised higher, so as to have been more above the canopy’. The Wellcome Library hold another advertising leaflet from 1801 with that same caption ‘Rain Denied, Health Preserved: Royal Patent Waterproof Manufactories, Upper Belgrave Place, Formerly New Spring Gardens, Chelsea, for All Kinds of Wearing Apparel’, but is does not include the image.
An informal WWII paralympic ‘games’ in action at a Hungarian Rehabilitation Hospital
[WWII – ORTHOPAEDICS/PROSTHETICS]. [RADULESCU, Alexandru]. ROMANIAN/HUNGARIAN OBLONG ALBUM CONTAINING 143 PHOTOGRAPHS OF AMPUTEES AND MEDICAL STAFFtogether with other images of visiting dignitaries and the local environs, seemingly compiled by a member of staff at the ‘Insititutui Ortopedie’, established by Dr Alexandru Radulescu in the Romanian city of town of Cluj (or Kolozsvár as it was during WWII being under Hungarian control at the time), and possibly to coincide with a visit/inspection by General der Artillerie Fritz Brand. n.d. but ca. 1943-1944.
Oblong album, 235 x 325mm, ff. 20 leaves of brown card, each retaining the original tissue guards, and containing 143 photographs of varying sizes, all but five good strong images (those five rather faded and over exposed); tissue guards with some chipping and wear, a couple of the photographs coming loose; in black pseudo snake-skin calf, bound together with silk ties through two eyelets, tail of spine torn with 1cm loss, with minor nicking and loss at head, small nick to lower margin of rear cover, covers and extremities a little scuffed, bumped and lightly worn. £2,800
A most striking personal compilation, seemingly taken by a member of staff and recording the work of the ‘Intitutui Ortopedie’, a rehabilitation Institute which we strongly believe to be that established by the distinguished Romanian orthopaedic surgeon Professor Alexandru Radulescu in the city of Cluj (now Cluj-Napoca) or Kolozsvár as it was during WWII being under Hungarian control at the time.
Radulescu, can be seen in more than one of the photographs, and which appear to have been taken to record the visit of a number of both local female and male dignitaries, together with that of a high-ranking German military official, leading us to believe that it may therefore date from between 1943 and late 1944. With thanks to assistance by enthusiasts on the WW2talk forum, we believe the officer to be General der Artillerie Fritz Brand, who was awarded the Order of the Crown of Romania on 23rd September 1943 and which can be seen at his neck. We think also visible is the Ritterkreuze des Kriegsverdienstkreuzes mit Schwerten, awarded to Brand on December 24th 1944.
Whether in honour of the General’s visit, or merely an organised event to celebrate the work of the Institute, over 46 of the photographs show either large groups or individual amputees taking part in what appears to be an informal ‘games’, with some group gymnastic exercises in action on a parade-ground, various field events shown including the high-jump and long-jump, with others recording a game of handball. Several of these ‘games’ are being watched by an appreciative looking crowd, of both nurses, staff, local citizens and other German (and presumably some Hungarian) officers. The album then moves indoors as it were, with two photographs showing men receiving physiotherapy, and others making use of therapeutical equipment to help in their recovery. A number also show the men being put through exercises within a gymnasium. We see nurses at work, as well as a number near the end of the album showing some of the less mobile patients, still bedridden, being visited by a female dignitary.
Radulescu was a strong advocate of ensuring that the men were provided with work to help in their rehabilitation and recuperation, and in conjunction with this he established a prosthetic making centre at the Institute. In some ways the most evocative of the whole album, nineteen of the photographs thus record the men at work making wooden articulated legs, with others at work making wooden toys. One of the most striking photographs is that of two rows of wooden legs standing neatly to attention.
Radulescu established the ‘Institutui’ in 1921, the first orthopaedic hospital in the country, and it remains today as a leading specialist hospital in orthopaedics and traumatology. He later establish the Romanian Society of Orthopaedics and Traumatology, based in Cluj, in 1935. It was during March and October 1944 that the German presence was most active in the town, regarded as the historical capital of Transylvania. Indeed their occupation bore witness to the creation of one of the lesser known Jewish Ghettos. Some 18,000 were interred there, the Ghetto being liquidated in six transports to Auschwitz, with the first deportation occurring on 25 May and the last on 9 June. Though not welcomed by all, the arrival of the allied German Army into Hungary at the time was met with little resistance, the Wehrmacht being seen as the only power with the ability to stop the threat of the advancing Soviet Army and Communism. The extraordinary album thus provides a fascinating insight into this particular localised theatre of action, both from a medical point of view and the treatment methods and equipment used at the time to help those soldiers suffering the loss of limbs (both arms and legs), as well as shining a light upon the political situation there, and the ‘united front’ between the town and occupying army.
For a fascinating account see The German Occupation of Cluj – Kolozsvár and its Consequences on the History of the City in 1944, by Kristóf János Murádin, http://www.slu.cz/fvp/cz/web-cep/archiv-casopisu/2014-vol-2-no-1/20140201-muradin.