1760. Later seemingly 19th century music box, the mechanism housed within hollowed out 8vo, with the winding key located at the rear of the book; in the original mottled calf, spine in compartments with raised bands, expertly repaired and rebacked, with attractive gilt floral endpapers; ex-libris bookplate on front pastedown, ‘Ex Bibliotheca Joseph-Claudii-Anthelmi Recamier, Doctoris magni Parisiensis nosocomii Medici’; a most appealing example. An unusual example of a faux book, ‘buch atrappe’, ‘faux livre’, or ‘blook’ (the term coined by Mindell Dubansky for her own collection of ‘things that look like a book, but aren’t’), in this case housing what we believe to be a 19th century music box mechanism, added to a hollowed out and customised volume of the 18th century French medical ‘Journal de Medecine, Chirurgie, Pharmacie’, from January 1760. The winding key is located in at the rear of the volume, and once turned, the music plays when the front cover is lifted. The tune is frustratingly familiar, and as yet unidentified, though possibly a Strauss Waltz.
The volume has an interesting provenance, having the bookplate on the front paste-down of Joseph Claude Anselme Recamier (1774-1852), the noted French gynaecologist and a pioneer in the study of cancer metastasis. A unique example.

1702. 12mo, pp. [iv] including first blank, 168, [8]; with engraved plan signed L. Loisel pasted to the margin of the final leaf as a throwout; plate shaved at top and bottom; some light marginal browning and soiling; in contemporary sprinkled calf, spine in compartments with raised bands, tolled in gilt with red morocco label, with marbled endpapers and red and brown sprinkled edges, head and tail of spine chipped and worn exposing headbands, joints rubbed with small nick to lower joint near tail, covers a little scuffed, corners worn; with the engraved armorial bookplate of the ‘Bibliotheca Reuterholmiana’ (Nils Esbjörnson Reuterholm 1676-1756) on front pastedown, and later 20th century bookplate of Evert Strokirk on front free endpaper. The very rare first edition of Félibien’s description of the new church for the Invalides by Jules Hardouin Mansart, replacing Bruant’s original church. Félibien’s illustrated folio Description de l'eglise royale des invalides was published when the church was consecrated in 1706. At the same time this 12mo was re-issued with a second part ‘Contenant les peinture, & divers autres ornements’ and the engravings from the folio.

1900. Two volumes, large 8vo; pp. [ii], iv, 48, [ii] explanatory leaf, 49-672, [ii] explanatory leaf, 673-1040; Vol II. pp. [ii], 1041-1584, [ii] explanatory leaf, 1585-1683, [i] blank, [ii] sectional title on thicker paper ‘Formes d’application de la médication naturelle’, [1685]-1712, [ii] explanatory leaf, 1713-1744, [ii] explanatory leaf, 1745-1808, [ii] explanatory leaf, 1809-1872, [ii] explanatory leaf, 1873-1904, [ii] explanatory leaf, 1905-2080; Vol I with multi-layered folding male mannikin with flaps together with accompanying folding explanatory leaf of text at beginning, a folding leaf containing 7 ‘flap’ anatomical illustrations of the nose, ear, eye, larynx, lungs, heart at the rear, a folding lithograph plate showing portraits of eminent holistic physicians, a double-page frontispiece chromolithograph of the Sanatorium embellished in gilt, and sepia lithograph frontispiece portrait of Bilz, Vol II with a multi-layered folding female mannikin with accompanying folding explanatory leaf at front and single chromolithograph plate with flaps depicting a foetus in the womb at rear, with 30 chromolithograph plates throughout the text, together with copious text diagrams and engravings; paper somewhat browned throughout due to quality, with a few small marginal nicks, sectional title-page in Vol II worn and chipped along fore-edge; neatly recased in the original decorative brown publishers cloth, embossed and stamped in black and gilt, though rather faded, head and tail of spines and joints rubbed and worn, covers a little soiled and spotted. A variant French edition, testimony to its enduring popularity, of Bilz’ ‘Das neue Naturheilverfahren’ (first German ca. 1888, first English 1898), and which was eventually translated into 12 languages. This French edition has a variant double-page frontispiece depiction of the Sanatorium to that found in the English edition, as well as containing variant plates, although the text is largely the same. Another French issue under the variant title of ‘La Santé à la portée de tous’ was published at a similar time - again with variant plates. A testimony, perhaps, to the entrepreneurial Bilz’ taking full advantage of the advances in popular publishing, and the demand for comprehensive domestic medical guides.

1822. Large 4to, pp. 143; cancels 4/2 and 8/4; slip cancel pasted over the original imprint ‘De l’Imprimerie de Madame Huzard’; nineteen folding engraved plates (a little foxed as usual, with some occasional light marginal dampstaining though not touching image) containing 126 figures; aside from some occasional light foxing, and minor marginal dampstaining, a fresh, crisp copy; a most attractive copy bound in contemporary quarter sheep with embossed imitation green ribbed morocco, borders decoratively tooled in gilt, spine also in gilt with red morocco label, extremities a little bumped and worn. Scarce first edition, variant issue, and an attractive wide-margined copy, of "the most copious work ever published on artesian wells." (Sotheran 8275m 2nd ed. of 1826), intended for the use of miners, well-drillers, geologists and the like.
‘We owe the most complete and authentic information on Artesian wells to M. F. Garnier... his work... contains not only clear directions for boring these wells, with plans of the requisite instruments, but also such sound views regarding the origin of subterranean aqueous reservoirs, and so well founded on facts, that we cannot be far wrong in supposing everywhere the same.’ (Poggendorff, ‘On Artesian or Overflowing Wells’, The Edinburgh New Philosophical Journal 1830, 111–123.)
In Artesian wells, named after Artois in France, very pure water in limestone strata comes to the surface under its own pressure, without pumping. Such wells are obviously of great economic importance and for this reason a number of bodies in France offered prizes for the best essay on the subject. Garnier’s essay won the prize of 3000 francs offered by the Société d’encouragement pour l'industrie nationale, but the extent of his treatise and the number of plates made it impractical to print it in the Bulletin of the society as would normally have been done. Instead it was issued as this monograph, the publication of which was funded by the French government.
Garnier (1785-1865) was an engineer in the Corps Royal des Mines, and was at the time Ingénieur des Mines at Arras (see ‘Les Annales des Mines’, www.annales.org/archives/x/garnier.html). The excellent and highly detailed plates depict the various pieces of drilling equipment described in the text, as well as cross-sections of geological strata. The attractive binding is an attempt to make an expensive looking binding out of cheap materials.
The copies cited on OCLC have Madame Huzard as printer. On the present copy, the details of Chez Carilian have been pasted on to the title page, over this earlier imprint.
A second, enlarged edition, was published as Traité des puits in 1826, and was also translated into German in 1824.

1787. 8vo, pp. [xx], 484, [20] index and final verso publisher’s advertisement; a number of small paper flaws and marginal tears, notably at T8, Aa5, Aa8, Bb4, Ff8 (with loss of outer corner just touching text), and Bb6; somewhat foxed throughout, with quite prominent staining affecting upper margins sporadically throughout; in recent quarter calf over marbled boards with new endpapers, spine in compartments with raised bands, ruled in gilt with green morocco label. Later edition of this popular work, first published in 1773. Charlotte Mason was ‘a professional housekeeper, who had upwards of thirty years experience in families of the first fashion’. According to the preface for the first edition which is reprinted here, the book was the first ‘that contained any instructions for Regulating a Table’, and the present sixth edition includes a further encyclopaedic 117 pages of bills of fare.
The recipes are designed ‘for a servant... that... if she has a common genius and a good palate, she may be made capable of any cook’s place’. They include, for example, how to prepare a Pig Matelote: ‘Having gutted and scalded your pig, cut off the head and pettitoes, and cut your pig into four quarters; put them with the head and toes into cold water...’. A. W. Oxford remarks that The Ladies Assistant ‘seems an excellent and well-prepared book, but few people would care for Viper-Broth’. It does, however, include one of the earliest curry recipes calling for 'curree powder', and also one of the first descriptions on how to make a sandwich. The first edition of the work was favourably reviewed in both The Critical Review and The Monthly Review in 1775, and the revised second edition, to which Mrs. Mason affixed her name, was also mentioned, with The Critical Review saying that it was "considerably enlarged and forms a very complete system of cookery."
Most editions of The Lady's Assistant are uncommon, and form a valuable source-book for later 18th century English recipes.

(1801). 12mo, pp. [viii] including first blank, 192, [2] errata and blank; errata leaf laid down with repair at lower gutter (no loss of text), title-page a little browned with minor abrasion causing loss of a couple of letters, text lightly browned; in nineteenth century green morocco backed marbled boards, spine ruled and lettered in gilt, head of spine nicked slightly at upper joint, lower joint starting, extremities lightly rubbed and bumped. First edition of this thoughtful essay on tombs and the influence of funeral institutions over manners and morals, providing a comparative study of funeral rites and ceremonies, including discussion of China, Canada, Tahiti and Guyana.
Girard’s work was one of a number compositions entered for a competition set by the L’Institut National. As with so many areas of public life in the aftermath of the Revolution, there was a growing widespread concern over a lack of respect for the dead and their burial, the preceding decade having borne witness to a prevalence of what were considered by many to be indecent and at times almost inhumane modes of interment. Girard therefore presents his ideas and plan for ‘d’Institutions funèbres simple et moral, et j'y mêlai toutes les idées consolantes qui peuvent adoucir la dernière et douloureuse séparation’ (p. 4), in which he looks at such issues as ‘proclamation des décès, l’inscription sur les tables funéraires et l’eloge des morts’.

1738. Two volumes, folio 430 x 270mm, text and plates; I. pp. [18], 400, [38] (last page blank), title-page printed in red and black, with engraved vignette by Mynde at head of dedication, and woodcut initials and tailpieces; II. pp. [ii] title-page printed in red and black, and 130 full page engraved plates by James Mynde printed on full sheets and bound as bifolia so that each plate preceded by a blank leaf; text volume title-page somewhat browned and soiled, the second leaf of the table of contents Aa2 crumpled and torn at head with loss of a few words, text somewhat browned throughout being on different paper stock to plate volume, with some dampstaining to inner and outer margins throughout, and with some dampstaining to plates, extending over the engraved surface in a few places; uncut, in contemporary bright blue pastepaper wrappers, lined with printer’s waste from Soyecourt, Plaidoyer pour le marquis de Soyecourt (Paris, 1788) and and unidentified Chinese grammar in French with Chinese characters, spines considerably frayed and worn, with back of plate volume broken, with some creasing and light soiling to covers; preserved in a blue cloth slipcase; despite the faults, a good unsophisticated copy. First edition of this important treatise on perspective, inspired by Brook Taylor’s Linear perspective (1715) but taking the subject much further in its mathematical analysis. Though not a professional mathematician, Hamilton advanced the mathematical basis of perspective which had been played down by Taylor in addressing his short treatise to artists rather than mathematicians. ‘Hamilton combined his presentation of perspective with a study of projections of conic sections and harmonic division. By including these objects he produced a work that more than any other pre-1800 book on perspective belongs to the prehistory of projective geometry.’ (Andersen p. 542). ‘Hamilton aimed at much more than Taylor, namely at a complete study of projections following - as he himself claimed - the line which Philippe de la Hire laid down in his work on conic sections. Hamilton spent 400 pages on his project and took up many interesting themes as projections of conic sections and of sets of harmonic points. He also investigated what could be called the curve of foreshortening... Hamilton addressed his book to readers with some mathematical knowledge, and for them he wrote a book which is remarkable because it unifies some of the continental ideas concerning synthetic geometry with Taylor’s approach of perspective’ (Anderson, Brook Taylor’s work on Linear Perpsective, p. 54). It is only in the last section that Hamilton addresses topics in practical perspective. Hamilton influenced Kirby and Malton and some of his ideas can be found in Lambert’s work, though Andersen does not think that Lambert was familiar with Hamilton’s work (Andersen p. 547).
Little is known of Hamilton’s life. He was a fellow of the Royal Society and may have begun a career in the law, but in his dedication he thanks Joseph Jekyll for placing him ‘in a more easy Station in Life’. This not only allowed him to finish his book, but also to publish it on a lavish scale, employing the best printer and the best engraver of the time. The engraver, James Mynde (1702–1771) had quite recently made a name for himself engraving most of the celestial charts for Flamsteed’s Atlas coelestis (1729). The plates in the present work are however largely diagrammatic and hardly required Mynde’s skill. The extravagance of the printing is also shown by the fact that each plate is printed on the right hand side of a full sheet of paper, so that as bound in this copy in a separate volume, a blank leaf occurs between each plate. They were intended to be bound as throwouts interspersed in the text when the book is bound in two volumes, breaking after p. 208.
Hamilton issued 750 copies of a prospectus for the book on 9 August 1738, but the list of subscribers shows that he managed to garner only 79 names. He nonetheless went ahead with a grossly ambitious print-run of 750 copies. In 1749, two years after Hamilton’s death, the book was re-issued with a new titlepage.
This copy of the original 1738 issue with wrappers lined with printer’s waste from a French publication of 1788 suggests that it comes from stock shipped to France before it was re-issued in London. Out of the print run of 750 copies, 22 are now recorded in ESTC, a low survival rate for a folio; it is possible that a large part of the edition was pulped.

[ca. 1840-45]. Single sheet, 23 cm x 13 cm, printed on silk on one side; some very minor fraying to edges, and very slightly darkened, but otherwise in fine condition. A celebrated pianist, composer and inventor, Henri Herz (1803-1888), Austrian by birth but French by nationality and domicile, travelled world-wide, including tours in Europe, Russia, Mexico, South America, and the United States. In 1839 he founded his own piano factory where he made many important developments in piano design.
This luxuriously produced announcement, printed on silk, seems to be for a performance by some sort of mechanical musical instrument, using cylinders which were "changed through the medium of the patent dials." According to the flier, the two cylinders were capable of performing "8 operatic airs," and "5 quadrilles and 3 waltzes." We have so far been able to identify the machine in question, although Herz made improvements, and patented designs for various sostenente (or sostinente) pianos - the name given to keyboard instruments on which the duration of sounds is artificially lengthened by methods such as compressed air, the quick striking of hammers, free sounding reeds, or by other clockwork or mechanical devices. The first known example was invented by Henry Robert Mott of Brighton in 1817. Herz worked upon sostenente piano mechanisms using both compressed air (obtained by means of bellows moved by pedals or a motor and which is directed upon already vibrating strings in order to prolong the vibration), notably his ‘pianoeolique’, as well as a ‘melopiano’, a method of sustaining tones through the repeated and quick striking of hammers. Fast rotating cylinders were one way of achieving this.
This appealing silk promotional flier has been printed by the artist and engraver George Phillips Johnson (1807?-1848).

1880. Single sheet of thick artist paper, 315 x 245mm, with central oval view of Bad Schoenbrunn done in watercolour, surrounded by a series of satirical black and white silhouette sketches and vignettes seemingly engraved, though possibly executed in pen and ink; print mounted on card 435 x 345mm; small correction made to the lower central silhouette, with what appears to be a very small photograph image of the head of Peter Joseph Hegglin, pasted on to replace original image; some light spotting and browning, otherwise very striking. An enchanting and unique ‘souvenir’ from the famous health resort of Bad Schönbrunn in Menzingen. Sadly anonymous, and seemingly executed at the turn of the century, the striking broadside comprises an appealing central watercolour vignette of the Spa buildings, set against an idyllic background of rolling hills, woodland and distant snow-capped mountains. This vignette is surrounded by a series of black and white silhouette vignettes, seemingly engraved, though resembling pen and ink drawings. Through this series of enchanting scenes, we are shown a number of the diversions, healthy activities, and treatments, on offer at the Spa. Those at the head of the broadside represent some of the outdoor and leisure activities available to patrons, including gentle walks in the countryside, a game of skittles, three men enjoying a game of billiards, musical soirees, painting, and nature watching. The silhouettes below the central oval focus more upon the treatments, a rather startled looking figure enduring various cold showers, towel wraps, and cold water hosing.
Two figures can be seen at the tail of the image - one seemingly taking the pulse of the other, as he is holding a pocket watch in his hand. Above the two figures flies a wreath-bearing dove. Of added appeal, the head of the ‘doctor’ has been replaced with what appears to be a very small original photograph image. We presume this to be that of Peter Joseph Hegglin (1832-1893) himself, the founder of the Spa in 1857, although it could also be his son Joseph Hegglin-Kerckhoffs (1862-1920) who appears to have taken over the running of the establishment. It eventually closed in 1926.
Sadly anonymous, the impression is that this wonderful ‘souvenir’ has been created by a previous patient ‘now on the mend’, and who has perhaps had a small number of these engravings published to give as gifts to his fellow patients and the good Doctor. A unique and most charming depiction.
Two further attractive watercolour depiction's of the Spa are included with this image.

1804. Small folio, pp. [iv], 22, 28; pp. 21-22 bound upside down; title-page with light dampstain, with some light browning and soiling throughout, but generally clean and crisp; old library stamp on verso of title-page, crossed out with crayon and which has caused a small paper tear; in contemporary tan paste-paper boards, paper label on spine lettered in black, label slightly chipped, head and tail of spine a little worn, with further light scuffing and wear to spine and covers, some light spotting and soiling, extremities a little bumped and worn; still a good copy. Scarce and attractively printed work of factors and prime numbers, published by the noted educator and philosopher Karl Christian Krause (1781-1832). In this, one of his first works, Krause presents a table of 22 pages showing all products <100 000 of two primes, a table of primes <100 000 with letters for 01, 03,..., 99, and (pp. 25-28) a factor table to 10000 by use of letters for numbers <100.
‘In his introduction, Krause mentions the tables of Lambert [10] and Felkel [2,3,4,5], and he understands the objections towards the use of letters for numbers which was favoured by Felkel. He nevertheless decided to provide his two short tables, in order to show that letters can be used more conveniently than in Felkel’s table. The main tables in Krause’s book, however, do not use letters. Krause wrote that his tables were computed (neuberechnet), and presumably not copied, although he certainly compared his tables with earlier ones.’ (Roegel, A reconstruction of Krause’s table of factors, p. 3).
Krause studied philosophy and mathematics at the University of Jena under Fichte and Schelling. He later went to Berlin, Göttingen (where he was one of Schopenhauer’s teachers), and Munich. One of the early natural philosophers, his “Krausismo” philosophical system influenced the theories of Kant and Hegel, and during the 19th century he was regarded as one of the most important of the German philosophers, his system attracting particular attention in France and Spain.

1899. Large 8vo, pp. vi, 751; with numerous diagrams and half-tone illustrations; a little minor soiling, but otherwise clean and crisp; in contemporary grey publisher's cloth, lettered and ruled in black and gilt, with red skivver label on spine (chipped with some loss), a little shaken but holding, extremities a little rubbed, worn and bumped; still a good copy. Uncommon first edition of this detailed and comprehensive guide to emergency surgery, for both surgeons and general practitioners alike. Deliberately devoid of theoretical discussion, Lejars instead provides clear and practical advice on the various emergency procedures, and instruments to be used, the whole work copiously illustrated to aid the practitioner. The work proved extremely popular, going through several editions, and indeed Lejars became a renowned surgeon during the first World War.

1883. 4to, pp. [iv], [204]; copiously illustrated throughout, each of the 100 chapters illustrated with one full page steel engraving facing the text, and usually a further small engraving within text page; with some occasional light foxing throughout and some faint marginal browning, but otherwise clean and bright; in the original blindstamped decorative green cloth, upper cover lettered in gilt with title within round floral wreath, boards with bevelled edges, head and tail of spine a little bumped and knocked, covers and spine with some minor spotting and scuffing, extremities a little bumped; a very good copy. First edition of this little-known and most attractively produced, late 19th century popular work of science, copiously illustrated with finely executed steel engravings.
Lévy devotes two pages to each of his chosen one hundred scientific ‘tableaux’, with a page of descriptive text to the left (often with inserted engraving), opposite a striking full-page steel engraving. Somewhat informally organised, he breaks up the volume as it were, into the twelve months of the year, devoting two pates to each month and providing the reader with an insight facts such average temperatures, hours of day-light, associated traditions, festivals, saint’s-day, together with an appealing allegorical plate.
The work includes for discussion scientific discoveries such as the diffraction of light, those of Torricelli and Archimedes, hot-air balloon flight, and the telescope. Lévy also describes the work of great scientists such as Aristotle, Galileo, Papin, Newton, Pythagoras, Euclid, Copernicus and Descartes. Rather portentously, the penultimate ‘tableaux’ addresses the question whether the end of the world is nigh - though as Lévy notes, various prognostications throughout history have so far come to nothing, and he concludes with the exhortation to ‘banish chimerical fears, leave aside these vain terrors, and let us only occupy ourselves with living well and with dignity’.
The BnF describe Albert Lévy (1844-1907) as ‘Physicien. - Directeur du service chimique à l'Observatoire de Montsouris (en 1894)’. From 1887 he ran a chemistry course at the Faculty of Science in Clermont, and later worked as a meteorologist at the Montsouris observatory and then in the Central Meteorological Office. He published a number of educational works.

1835. Small 8vo, pp. viii, 86, with a number of small woodcuts; title page a little soiled with some light paper abrasion at upper margin, lightly browned throughout, particularly at margins; uncut in the original green pebble-grained cloth, with printed paper label on upper cover (somewhat soiled), and remains of paper label along spine, joints and head and tail of spine neatly repaired. First edition of this uncommon introduction to the fibrous structures in particular, by Alexander M’Nab, Jun ‘Member of the Royal College of Surgeons, London’. According to the preface, Macnab has drawn upon more ‘voluminous works’, and hopes that his abridged compilation will provide a more accessible work for those ‘unable to conveniently to peruse more elaborate productions’. The woodcuts are apparently by ‘Mr Berryman’, and although as far as we can tell, Macnab makes no direction citation from other works, he does refer to case histories as described by physicians both in England, Europe and America, including ‘Dr. Kirkbride, resident physician of the Pennsylvania Hospital’, (p. 22) ‘Dr. Warren of Boston’ (p. 23), Dupuytren (p. 23), Bichat (p. 56) Delpech (p. 65) and ‘Mr. Hunter’ (p. 62) as well as a number of cases highlighted in the Medical Gazette.

1818. 8vo, pp. 48 [5] 52–178, (pp. 15/16 and 135/136 are cancels); with eight engraved plates bound at the end (nos 2–4 signed ‘Adam sct.’, pl. 6 signed ‘Giraldon et Lale sct.’); some light dust-soiling throughout, otherwise clean and fresh; uncut in the original pink paste-paper wrappers, head and tail of spine nicked and a little worn with some loss, spine and joints rubbed, covers a little scratched, extremities with some edgewear and nicks, with lower rear corner torn, and nick to rear fore-edge. First edition, re-issue (first 1817) of this well illustrated description of the construction and use of an improved theodolite and other surveying and drawing instruments, by the military engineer Michel Maissait (1770-1822), and including a short history of the mariner's compass. A note at the end of the text advertises that the two grammomètres described are manufactured by Lenoir, the leading French scientific instrument maker of the time. Maissiat is described as ‘Chef d’Escadron au Corps Royal des Ingénieurs-Géographes Militaires, et Cheavlier de l’ordre Royal de la Légion-D’Honneur’, and served with distinction in a number of campaigns during the Revolution, and subsequently under Napoleon, before taking part in a number of surveying projects, notably Jean Tranchot’s topographic mapping of the four recently unified departments in the Rhineland. In the year of the present publication he was named professor of topography at the at military academy for the Royal Staff Corps.

1825. Two volumes, 12mo; pp. vi, 248, with five hand-coloured engraved plates; pp. 250 (though 248 as no pp. 156-7 through pagination error), with seven uncoloured engraved plates; some light foxing and spotting throughout, with some occasional marginal tears, lower corner of p. 141 in Vol. I torn with loss; in the original green printed paper wrappers, with waste-paper pastedowns, head and tail of both spines lightly worn with slight loss, upper joint of Vol. 1 split and a little fragile but holding, with further light cracking to spine, some light spotting and soiling to covers, extremities a little dog-eared, but overall an appealing, unsophisticated copy. Second expanded edition (first 1821) in the original printed wrappers, of this attractively illustrated work for young children, introducing them to the manners, customs, wonders, and curiosities of the nations of the world - an uncommon contribution to what was an extremely popular genre at the beginning of the 19th century, which saw many such elementary illustrated works introducing readers to the geographical world.
Very much of its time, the racial stereotyping and fascination with foreign civilisations makes for somewhat uncomfortable reading today, but nevertheless highlights early 19th European perceptions of the world. Tome I deals with Europe and the Far East, and includes five hand-coloured plates. Tome II, in this instance uncoloured, points the reader towards Asia, Africa, and with a detailed section on North and South America, and including depictions’ of Native Americans, Native Canadians, and Native Californians.
The work first appeared in 1821, and according to the copy at the BnF was ascribed on the title-page ‘Par P.C.’ - though they give no suggestion as to the author’s identity. Of interest, the imprint for the 1821 edition was ‘Chez Lécrivain’. No initials are given in this second, revised edition, here published by Salmon. The BnF also hold another variant copy, undated and with the publisher imprint of Roret, but bearing the same collation.

1873. 8vo, pp. 32; with a blank temperature chart loosely inserted; with printer’s device on title-page; somewhat browned and foxed throughout due to paper quality, gutters exposed in a couple of places, notably between pp. 4-5, lower gutter chipped with some loss, corners a little furled; in the original printed wrappers, spine with old tape repair, though with loss at tail, upper lower corner repaired with tape, covers quite foxed and soiled with two ring marks on upper cover, two labels along spine, and accession number? in blue crayon on upper cover; a little fragile, but sound. An unusual and scarce insight into the attempted regulation of medical fees in Turin at the end of the nineteenth century. A suggested tariff for the services of physicians, surgeons, phlebotomists, midwives and veterinarians was first compiled by the Consiglio Superiore di Sanità in 1852. The preface notes, however, that in the intervening period the prices of most necessary things have more than doubled, in line with an increased general prosperity throughout all walks and classes of society. It is therefore deemed fair and necessary that professional medical fees should also increase, and thus the present guide has been issued. In no way a legal document, the tariff is merely a guideline, showing an average of what one might expect to pay. An extensive list of common medical consultations and procedures then follows.
Also of interest is the Obstetrical Calendar that is included from pp. 24 onwards. Compiled by Professor Domenico of the Turin Obstetrical Clinic, the year long calendar gives two columns for each month showing the date of last menstruation and corresponding expected date of delivery. Loosely inserted is also a blank temperature chart to be filled in.

1892. Drawn and printed on card in the shape of a skull, ff. 4; front cover seemingly in manuscript in pen and ink, followed by two leaves of printed text including menu, lists of toasts, and ‘In Memoriam’, with final blank leaf signed on both sides by all participants in pencil or ink; evidence of previous mount on back cover, with some minor staining and creasing in places, otherwise very good; held together by mauve and yellow ribbon. A wonderful piece of medical ephemera, relating to one of the early fraternities at the University of Pennsylvania. Founded in January 1891, this striking privately printed menu card was produced for the second annual dinner of the ‘Alpha Mu Pi Omega’ medical fraternity. The front cover appears to have been executed by hand in pen and ink (possibly by a member of the Art Club?), and is followed by the printed menu, list of toasts, and brief list of ‘Our departed Members’.
Participating members at the banquet include: Samuel D. Risley (toast master, signed); William E. Robertson (one of the founding members and a speaker, signed); Frederick Wilson (one of the founding members, signed); Aaron M. Billstein (one of the founding members, signed); Harrison Allen (speaker, signed); James F. Leys (speaker, signed); James B. Walker (speaker, signed); Sydney M. Cone (speaker, signed); with a further 22 signatures, including those of other founding members such as Arthur J. Patek.

1677. 12mo, pp. [xii], 370, [2]; with small printer’s device on title-page signed ‘DF’, and woodcut head-pieces and initials; small wormhole in lower outer margin running from title-page to p. 190, with some occasional minor spotting and soiling; contemporary calf, spine in compartments with raised bands, ruled and lettered in gilt, with red sprinkled edges, head and tail of spine chipped and worn, exposing headbands at head, upper joint split at tail, covers a little scuffed, corners worn; contemporary bookseller’s ticket of Laurent d’Houry, Paris, on front pastedown, contemporary ownership inscription on front free endpaper, and later bookplate of Dr. J. Pyenneville, Rouen. First edition of this series of philosophical dialogues between Cariste, a cleric and advocate, Cleante, a gentleman, and Sosandre, a well-known doctor. Inspired by, and indeed citing the works of Molière, most notably ‘Tartuffe’ and his ‘Malade Imaginaire’ (during a performance of which in 1673 Moliere fell ill and later died), the three main protagonists partake in a series of satirical exchanges during which Sosandre defends his profession. The author Bezancon, himself a physician and the author of two further works, insists that he is no apologist for medicine, however, and that the reader must decide for themselves whether Sosandre’s replies are reasonable. A number of philosophers, both ancient and modern, are cites throughout including Montaigne and de Thou.
The work was translated into Italian in the following year.

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. 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.

1847. Oblong folio, 282 x 391mm; ff. [vi], title-page, dedication to Queen Victoria, and list of illustrations, followed by four leaves of thin card on which have been steel engraved title card, blank presentation card, and 26 steel engraved letters of the alphabet; each leaf, including text leaves, retaining original tissue guard, though somewhat creased and foxed in places, with a number of marginal tears; title-page with some marginal browning and soiling, with further light soiling, foxing and spotting throughout, the first blank leaf considerable creased nicked and torn with loss along upper margin; in the original limp dark green thin card wrappers, with possibly later green cloth spine back, inner hinges cracked but holding, head and tail of spine lightly worn, some light surface and extremities wear; The scarce landscape folio edition of a previously issued set of attractively steel engraved alphabet cards, and which first appeared in 1835. Each letter of the alphabet has been hidden within an ornately designed classical or mythological scene, and designed by Charles Osbourne when he was sixteen years of age, and were then engraved by Henry Wallis (c. 1805-1890).
Sold originally as a small boxed set of cards 76 x 76mm, together with an accompanying booklet providing a description together with some poetic extracts, the engravings are here printed on four sheets, and include the original title-card, a blank ‘Presentation Card’. For ‘A’ we see ‘Cupid in the Act of bending his Bow’; ‘G - A Greek Galley, on the River Tiber, with Troops on Board’; ‘I - Ancient Forum at Rome, Trojans Column’; ‘N - A Bearer of the Imperial Roman Eagle, wounded, leaning on his Spear’; ‘U - A View of Tivoli’; and ‘Z - Death’. The edition is once again dedicated to Queen Victoria (though who had in 1835 still been Princess Alexandrina Victoria).
Another issue of the boxed cards was released in 1839 (and previously handled by us), and auction records note a further version of 1843 in which the letters had been mounted on thin card of different colours within wide embossed borders, and with a dedication to Prince Albert and bound in velvet covered boards (and now at Toronto). Other copies cited note the booklet having been printed in a variety of colours. Clearly an entrepreneurial man, or perhaps out of necessity, the present landscape folio version appeared four years later, although only we have so far located only one other copy at the V & A.
The London Gazette of 1838 (p. 778) gives some clue as to the possible explanation for Osbourne’s dogged attempts to sell his work. It transpires that he had recently appeared before the Warwick County Court and had ended up in the debtor’s prison. He is described as being formerly: 'General Dealer and Manager of the Magna Charta Steam Packet' in Hull, 'General Merchant' in Liverpool, 'Vendor of the Pictorial Alphabet',elsewhere in Liverpool, 'General Dealer' while lodging at multiple addresses in Middlesex, and most recently a lodger in Leamington, and 'out of business'. The imprint on this edition adds the suffix ‘Sen.’ after ‘C. Osbourne’ - though whether this means that he had now become a father himself, or that perhaps his own father was helping him to clear his debts, we have no way of knowing.
The engravings are by Henry Wallis (c.1805-1890): brother to Robert and William Wallis, both also engravers (Robert particularly associated with Turner), he suffered attacks of paralysis and had to give up engraving, becoming a picture dealer instead and running a successful gallery in Pall Mall.