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  • Laudatory collection celebrating the angelic voice of the first great Castrati singer
    IL PIANTO DE’ CIGNI IN MORTE DELLA FENICE DE’ MUSICI IL CAVALIER BALDASARRE FERRI. by [GUIDARELLI, Giovanni Angelo.]
    [GUIDARELLI, Giovanni Angelo.]
    IL PIANTO DE’ CIGNI IN MORTE DELLA FENICE DE’ MUSICI IL CAVALIER BALDASARRE FERRI. Dedicato All’ Eminentiss. Principe Federigo Cardinale Colonna. In Perugia, Nella Stampa Camerale, per il Zecchini,

    1680. 8vo, pp. 56; with appealing woodcut initial, and head- and tailpieces throughout; title-page a little dampstained, with some light foxing throughout; later ownership note at head of title-page in ms ‘Perugia, 23 Luglio 1894, Cant. 36’; recently bound to style using older marbled paper. Rare first edition of this collection of laudatory and elegiac compositions commemorating the death of the celebrated castrato singer Baldassare Ferri (1610-1680), considered to be one of the first great castrati singers. According to contemporary accounts he possessed a phenomenal voice and he performed at many of the Royal Courts across Europe. By the time of his death he had amassed a large fortune, and he was widely mourned, as the present compilation illustrates. (more)

    1680. 8vo, pp. 56; with appealing woodcut initial, and head- and tailpieces throughout; title-page a little dampstained, with some light foxing throughout; later ownership note at head of title-page in ms ‘Perugia, 23 Luglio 1894, Cant. 36’; recently bound to style using older marbled paper. Rare first edition of this collection of laudatory and elegiac compositions commemorating the death of the celebrated castrato singer Baldassare Ferri (1610-1680), considered to be one of the first great castrati singers. According to contemporary accounts he possessed a phenomenal voice and he performed at many of the Royal Courts across Europe. By the time of his death he had amassed a large fortune, and he was widely mourned, as the present compilation illustrates.
    The collection was compiled by Ferri’s nephew Giovanni Angelo Guidarelli (1647-1720), and includes 43 poems and sonnets in Latin and Italian by many leading writers of the time, including members of the Arcadia. The various poems in ‘The cry of the swans on the death of the phoenix of music’, whilst exhibiting many familiar tropes of the genre, also provides a chronicle of Ferri’s life, in an attempt to preserve a sense of his incomparable and angelic music for future generations. Contributors include Calo Sabbatini, Batolomeo Colonna, Antonio Cinaronio, Domenico Anselmo, Fioravante Lancellotto, Nicola Barsanti, Marco Antonio Farina, Antonio Ferri, Camillo Boccaccio, Carlo Amadio, Carlo Battisti, Carlo Doni, Carlo Vuetti, Domenico Antisari, Vincenzo Alvitreti, Girolamo Ammiani, Iacomo Rangoni, and Ottaviano Ercolani.

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    Bibliography: see Bonnie Gordon, Voice Machines, ff. 285; Vermiglioli, Biography of Perugia writers, p. 38; seemingly only a later reprint on OCLC, with two copies located on OPAC SBN in Perugia.

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  • With six large, folding, technical lithograph plates
    CONDENSATEURS DE LUMIÈRE, by HENRY, Louis d'.
    HENRY, Louis d'.
    CONDENSATEURS DE LUMIÈRE, ou appareils à projeter la lumière basés sur les propriétés de l'ellipsoïde de révolution allongé, de l'hyperboloïde de révolution à deux nappes, du plan et de la sphère. Lille, Imprimerie L. Danel.

    1865. 8vo, pp. 153; with seven large folding lithograph plates (plate 1 duplicated presumably in error); some foxing throughout, a little more prominent in places, with some marginal dust and finger-soiling, with neat tear at upper corner of p. 141, some occasional further minor marginal nicks due to rough opening, faint ink stain affecting fore-edge of Plate V, with a small ink stain affecting fore-edge of a few leaves; uncut in the original yellow printed wrappers, head and tail of spine worn, spine with some cracking at head, but holding firm, covers soiled, extremities a little nicked and warn; a presentation copy from the author inscribed on the upper wrapper ‘A Monsieur Desains, Hommage respectieuse L. D’Henry’. First edition in…

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    1865. 8vo, pp. 153; with seven large folding lithograph plates (plate 1 duplicated presumably in error); some foxing throughout, a little more prominent in places, with some marginal dust and finger-soiling, with neat tear at upper corner of p. 141, some occasional further minor marginal nicks due to rough opening, faint ink stain affecting fore-edge of Plate V, with a small ink stain affecting fore-edge of a few leaves; uncut in the original yellow printed wrappers, head and tail of spine worn, spine with some cracking at head, but holding firm, covers soiled, extremities a little nicked and warn; a presentation copy from the author inscribed on the upper wrapper ‘A Monsieur Desains, Hommage respectieuse L. D’Henry’. First edition in book form, and a presentation copy, of this uncommon optical treatise on the construction of projection devices, by the Lille chemist and physics tutor at the Faculty of Sciences, Louis d’Henry. A detailed and technical treatise, it is accompanied by six large folding lithograph plates (the present copy in fact including an duplicate of Plate I). The work had first been published in the ‘Memoirs of the Imperial Society of Sciences, Agriculture and Arts of Lille. D’Henry published a number of scientific articles in the Memoirs, with further contributions on spectroscopy, mathematical symbology and notation, and on stenography.
    The present copy has been inscribed by the author to Monsieur Desains. Paul Desains (1817-1885) was a physicist who taught for 32 years at the Faculty of Sciences in Paris.

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  • If it tastes bad it must be good for you!
    L’ACQUA DI HUNYADI JÁNOS ED IL SUO USO TERAPEUTICO. by [HYDROTHERAPY.] [SAXLEHNER, Andreas.] SCHIVARDI, Plinio.
    [HYDROTHERAPY.] [SAXLEHNER, Andreas.] SCHIVARDI, Plinio.
    L’ACQUA DI HUNYADI JÁNOS ED IL SUO USO TERAPEUTICO. Una serie di 12 Studi pubblicati nell’ Italia Termale. dal. Prof. Dr. Schivardi Plinio, Medico-Direttore dei Bagni di Recoaro. [n.p.]

    1890. 8vo, pp. 48; with additional loosely inserted pp. 4 pamphlet; with steel engraved image of the hydropathic establishment on final page; title page and final verso somewhat browned, with further light browning throughout due to paper quality; advertisement on rear inside cover; in the original green decorative wrappers, front wrapper with discrete tape and paper repairs visible on inside cover, rear joint with 4cm split at tail, covers a little browned; preserved within protective dust-jacket; a good copy. Scarce brochure promoting the various uses of the health drink ‘Hunyadi János’, a ‘bittersalzquelle’ tonic derived from a spring of bitter waters found in Budapest, Hungary. The spring been discovered by Andreas Saxlehner in 1862, and which he named the ‘Hunyadi…

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    1890. 8vo, pp. 48; with additional loosely inserted pp. 4 pamphlet; with steel engraved image of the hydropathic establishment on final page; title page and final verso somewhat browned, with further light browning throughout due to paper quality; advertisement on rear inside cover; in the original green decorative wrappers, front wrapper with discrete tape and paper repairs visible on inside cover, rear joint with 4cm split at tail, covers a little browned; preserved within protective dust-jacket; a good copy. Scarce brochure promoting the various uses of the health drink ‘Hunyadi János’, a ‘bittersalzquelle’ tonic derived from a spring of bitter waters found in Budapest, Hungary. The spring been discovered by Andreas Saxlehner in 1862, and which he named the ‘Hunyadi Spring’. He was given permission by the Municipal Council of Buda to bottle and sell the waters, creating the trading name of ‘Hunyadi János’ (after the renown 15th century General and Hungarian Governor). Other competitors soon began selling similar products, however, adopting the epithet ‘Hunyadi’, and which quickly became a generic term applied to bitter waters. Though Saxlehner died in 1889, his wife retained the business, and in 1895 the Hungarian courts granted him exclusive use of the word. The tonic was sold world-wide, and indeed in 1900 the firm brought a case before the U.S. Supreme Court in 1900, seeking compensation for a trade infringement against the wholesale importer Eisner & Mendelson Co.
    The present short treatise is the work of Plinio Schivardi (1833-1908), at the time the Medical Director of the Recoaro Thermal Spa in the Italian province of Vincenza. A pupil of Duchenne, Plinio is best known for having brought to Italy his knowledge of electrotherapy, collecting these experiences in his 1872 work Manuale teorico pratico di elettroterapia. Divided into twelve short chapters, Plinio discusses in turn the benefits of natural purgative water over those from pharmacies; the particular benefits of ‘Acqua di Hunyadi János’; provides general instructions on its appropriate use; the particular benefits for those suffering from constipation, obesity, for those with liver complaints, for tropical diseases, those suffering from nervous and mental complaints, and on use by women and children. Published only a year after Saxlehner’s death, and in the light of competition from other rivals, the work was no doubt an attempt to cement the tonic’s priority over those of other tonics.
    A small additional four page pamphlet is loosely inserted by Dr. Riccardo Curti, on Liver Diseases and Mineral Waters, and which had first appeared in ‘Italia Termale’ on March 16th 1890.

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    Bibliography: Not on OCLC, though a small number of copies located on ICCU.

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  • KURANSTALT SCHÖNECK AM VIERWALDSTÄTTERSEE. by [HYDROTHERAPY.] WUNDERLICH, Dr. [Hermann.] and C. BORSINGER.
    [HYDROTHERAPY.] WUNDERLICH, Dr. [Hermann.] and C. BORSINGER.
    KURANSTALT SCHÖNECK AM VIERWALDSTÄTTERSEE. Wasserkur. Anwendung verdichteter und verdünter Luft, der Elektricität, Massage und Heilgymnastik. IV. vielfach vermehrte auflage. Eigenthümer: C. Borsinger. [Typ. Negeli-Weldmann, Zürich.]

    1891. 8vo, pp. 72; with three fine stipple engravings (each retaining tissue guard) and one map printed in red and black; text lightly browned due to paper quality, upper corner slightly furled throughout; stitched as issued in the original grey printed wrappers, spine somewhat chipped, with slight loss at head and tail, and central tear with 1 cm loss, with some cracking to upper joint but holding firm, covers slightly foxed and spotted; still a good copy. Scarce and attractively printed brochure promoting the noted sub-alpine hydropathic spa and health resort of Schöneck, beautifully situated close to Lake Lucerne in Switzerland. The spa was founded in 1863 by Herrn Kuhn-Munzinger, before being purchased by C. Borsinger from Baden in 1874.…

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    1891. 8vo, pp. 72; with three fine stipple engravings (each retaining tissue guard) and one map printed in red and black; text lightly browned due to paper quality, upper corner slightly furled throughout; stitched as issued in the original grey printed wrappers, spine somewhat chipped, with slight loss at head and tail, and central tear with 1 cm loss, with some cracking to upper joint but holding firm, covers slightly foxed and spotted; still a good copy. Scarce and attractively printed brochure promoting the noted sub-alpine hydropathic spa and health resort of Schöneck, beautifully situated close to Lake Lucerne in Switzerland. The spa was founded in 1863 by Herrn Kuhn-Munzinger, before being purchased by C. Borsinger from Baden in 1874. Dr Henri Pezet von Corval was for many years the Chief Medical Officer, but the role was taken on by Dr Hermann Wunderlich in about 1890. One of the most important Swiss hydropathic institutions, the spa was renowned for offering an array of therapeutic facilities for the chronically ill, including dietetic cures, water treatments, therapeutic gymnastics, compressed air cabinets, oxygen chambers, and electric treatments.
    This attractively produced brochure, includes three striking stipple engraved plates, and provides a brief outline of the location and view, the climate, a history and description of the institution, a discussion of the treatment and cure methods.

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    Bibliography: Not located on OCLC; for a brief discussion see Averbeck, Von der Kaltwasserkur bis zur physikalischen Therapie, p. 418

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  • Furniture to grace the most fashionable boudoirs
    ALBUM DE L'EXPOSITION 1849. AMEUBLEMENS by JANSEN Michel and Desiré GUILMART.
    JANSEN Michel and Desiré GUILMART.
    ALBUM DE L'EXPOSITION 1849. AMEUBLEMENS Publié par M. Jansen Boulevard, Beaumarchaid No 14 et D. Guilmard, 2, rue de Lancry. Paris, [n.d. but

    1850.]. Oblong folio, pp. [ii] elaborately engraved title-page, and 30 vibrant lithograph plates finished by hand; plate 26 detached and plate 29 loose, some light foxing and soiling throughout, and with evidence of dampstaining at gutters sporadically throughout, images generally clean and bright though with a few abrasions in places; contemporary sheep-backed red embossed paper boards, with red paper label lettered in gilt on upper cover (chipped with some loss), head of spine chipped with loss, tail of spine nicked and worn, rear joint cracked but holding though rear inner hinge therefore weak, boards somewhat scratched, scuffed and soiled with some loss of paper, extremities rubbed and worn; despite wear, still a striking and scarce album. A wonderful and rare…

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    1850.]. Oblong folio, pp. [ii] elaborately engraved title-page, and 30 vibrant lithograph plates finished by hand; plate 26 detached and plate 29 loose, some light foxing and soiling throughout, and with evidence of dampstaining at gutters sporadically throughout, images generally clean and bright though with a few abrasions in places; contemporary sheep-backed red embossed paper boards, with red paper label lettered in gilt on upper cover (chipped with some loss), head of spine chipped with loss, tail of spine nicked and worn, rear joint cracked but holding though rear inner hinge therefore weak, boards somewhat scratched, scuffed and soiled with some loss of paper, extremities rubbed and worn; despite wear, still a striking and scarce album. A wonderful and rare decorative arts album produced in celebration of the French Industrial Exhibition of 1849, comprised of thirty large coloured lithographic plates (divided into six fascicles), a number clearly finished by hand, depicting a selection of fine pieces of furniture made by some of the most noted makers of the day. As such it provides a fascinating glimpse into Parisian mid-19th century design trends and fashions, at the start of the Second Republic under the President Louis-Napoleon Bonaparte (three years before he overthrew the Republic and proclaimed himself Emperor Napoleon III). A wide range of items are vibrantly depicted which would have graced the finest salons and boudoirs, including fabric drapes for four poster beds by Krieger, armchairs, sideboards and marbled-topped tables by Jeanselme, ornate mirrored armoires by Tetard and also by Richtaedt, billiard tables by Guilelouvette, and dining room sideboards by Charmois and Munz.
    Désiré Guilmard (1810-1885), began his career as an engineer-surveyor, though soon developed an interest in the decorative arts. In 1839 he founded the illustrated periodical ‘Le Garde-meuble ancien et moderne’, which specialized in ornament and furniture, the drawings being executed by Guilmard himself. A key figure in the Parisian design community he became an influential purveyor of taste for over fifty years, in a period of economic growth and changing tastes. In conjunction with the first Paris industrial exposition in 1844 Guilmard produced ‘Gare-Meuble, Album de l’exposition de l’industrie, 1844. Ameublemens’, exhibiting in 30 plates the work of some 250 cabinet makers and other artisans.
    The present album, whilst standing alone, appears to have been the first in a series published by Jansen and Guilmard for the 1849 exhibition. The album has the ‘No. 1’ on the printed label on the front cover, and the Victoria and Albert Universal Catalogue of Books on Art notes further volumes under the title ‘Le Guide du Fabricant de Meubles et du Décorateur’. Jansen is described on the title page of the seventh part as ‘Profr de Dessin, lithphe, ancien fabnt de meubles’. Only a handful of these albums are now located on OCLC, and we have so far found no copy of a complete run. The pair worked together to produce an album for the 1855 Universal Exhibition.

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    Bibliography: OCLC located only two examples at the University of Illinois and the British Library (listed under Michel Jansen); the Universal Catalogue of Books on Art: A to K (National Art Library Great Britain) p. 932; New York and Smithsonian have part 7 ‘dessiné en perspective et publié par M. Jansen’

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  • ‘Pregnancy without intercourse’ - through inhaling wind borne ‘animalcula’
    LUCINA SINE CONCUBITU. by [JOHNSON, Abraham, pseudonym John HILL.]
    [JOHNSON, Abraham, pseudonym John HILL.]
    LUCINA SINE CONCUBITU. Lettre addressée à la Societé Royale des Londres, dans laquelle on prouve, par une évidence incontestable, tirée de la raison & de la pratique, qu’une Femme peut concevoir, sans avoir de commerce avec aucun homme. Traduit sur la quatriéme Edition angloise, avec un Commentaire tre2s curieux, qui ne s’est past encore trouvé dans les Editions précedentes. D’Abraham Johnson. A Londres [but probably Holland or Germany]

    1750. Small 8vo, pp. [xvi], 72; each page within typographic border, and with numerous woodcut head- and tail pieces; with running headling ‘Lucine affranchie des loix du concours’; small stain affecting fore-edge of pp. 3-16 (possibly candle-wax) and ink stain to final verso, with some very minor and occasional soiling and staining, otherwise clean and crisp; an attractive copy in contemporary half-calf over block printed decorative boards, with red sprinkled edges, spine in compartments with raised bands, ruled in blind, with small paper label at head of spine numbered in manuscript, head of spine chipped with loss, covers a little soiled, extremities and corners lightly bumped. An charming copy of this translation, with substantial additions, by Etienne Sainte-Colombe, of Hill’s…

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    1750. Small 8vo, pp. [xvi], 72; each page within typographic border, and with numerous woodcut head- and tail pieces; with running headling ‘Lucine affranchie des loix du concours’; small stain affecting fore-edge of pp. 3-16 (possibly candle-wax) and ink stain to final verso, with some very minor and occasional soiling and staining, otherwise clean and crisp; an attractive copy in contemporary half-calf over block printed decorative boards, with red sprinkled edges, spine in compartments with raised bands, ruled in blind, with small paper label at head of spine numbered in manuscript, head of spine chipped with loss, covers a little soiled, extremities and corners lightly bumped. An charming copy of this translation, with substantial additions, by Etienne Sainte-Colombe, of Hill’s famous scientific spoof Lucina sine concubitu. A letter... to the Royal Society London 1750, 4th edition of the same year. The additions are not found in the earlier translation attributed to J. P. Moët of which several editions were printed in 1750.
    Written at the peak of philosophical discussions on generation and the preformation of eggs and spermatozoa, this amusing satire, “mockingly” addressed to the Royal Society is based on an idea first posed by William Wollaston in his ‘Religion of Nature Delineated’, “that human seed, or spermatozoa, floated everywhere in the air... [Hill] affected to have invented a machine for trapping the seminal animacules borne on the West wind. ‘Accordingly after much Exercise of my Invention, I contrived a wonderful cylindrical, caloptrical, rotundo-concavo-convex Machine... which, being hermetically sealed at one End, and electrified according to the nicest Laws of Electricity, I erected a convenient Attitude to the West, as a kind of Trap to intercept the floating Animaculae in that prolific quarter of the Heavens. The Event answered my Expectation; and when I had caught a sufficient number of these small original unexpanded Minims of Existence, I spread them out carefully like Silk-worm’s Eggs upon White-paper, and then applying my best Microscope, plainly discerned them to be little Men and Women, exact in all their Lineaments and Limbs, and ready to offer themselves little Candidates for Life, whenever they should happen to be imbibed with Air or Nutriment, and conveyed down into the Vessels of Generation’” (Needham, History of Embryology, pp. 186-87). Having trapped these airborne ‘minims of existence’ Hill offered to administer them ‘as a dose of physick’. His discovery he believes, that the world had been in error in the matter of conception for six thousand years, should be seen as being of more benefit than the discoveries of Newton. It could restore the honour of many women who throughout history had been unable to explain their pregnancy, remove guilt over fornication, the eradication of venereal disease, and even the need for marriage, a tie ‘inconsistent with all the Articles of modern pleasure’,.
    Composer, actor, author and botanist, Hill (1714-1775), wrote the work as a hoax on the Royal Society, apparently in revenge for his rejection as a candidate for membership, in recognition he hoped, for his botanical research. His susbsequent monumental 26 volume illustrated ‘The Vegetable System’ was one of the first to adopt the nomenclature of Carl Linnaeus, and indeed he was later created a knight of the Order of Vasa in 1774 by Gustav III of Sweden, after which he adopted the title of ‘Sir John Hill’. The work was quickly taken up as a piece of popular sexology, with a least four more English printings in 1750, and was immediately translated into other languages. ‘This French translation has a new commentary on the text and new material, such as the account of a widow made pregnant by a married woman; experiments on the semen of various animals; a dissertation on human semen and the prodigious numbers of tiny animals it contains; and the disputes and havoc that this wicked little book has begun to create among husbands and wives’ (Gaskell Catalogue 29, item 51).

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    Bibliography: ESTC T120326: ”The imprint is false; possibly printed in Germany”; cf. Weller, Die falslchen und fingirten Druckorte, v.2, p. 127 which suggests Holland; Blake p. 211; Wellcome III p. 264.

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  • MEMOIRES AUTHENTIQUES D’UNE SAGE-FEMME by [JULLEMIER, Alexandrine].
    [JULLEMIER, Alexandrine].
    MEMOIRES AUTHENTIQUES D’UNE SAGE-FEMME Tome Premier [- Second]. Paris, Dumont, Libraire-Éditeur, Palais-Royal, 88. Bonnaire... Delaunay... L’Auteur, Rue Bleue 19.

    1835. Two volumes in one, 8vo, pp. [iv], 386; [iv], 370, (p. 191 erroneously numbered 126); some foxing throughout, more prominent in a few gatherings, and with some very occasional light marginal dampstaining, otherwise generally clean and crisp; in contemporary calf-backed marbled boards, with marbled edges, one section of fore-edge in blue, spine attractively tooled and lettered in gilt, retaining two green silk markers, some light rubbing and wear to extremities, but otherwise a very good copy. Rare first edition of this curious, and somewhat scurrilous literary work edited by Touchard-Lafosse and based upon the manuscript notes of Alexandrine Jullimier. ‘This spicy work was written on the notes of Mademoiselle Jullemier [by Touchard-Lafosse]. The first volume, almost in its entirety,…

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    1835. Two volumes in one, 8vo, pp. [iv], 386; [iv], 370, (p. 191 erroneously numbered 126); some foxing throughout, more prominent in a few gatherings, and with some very occasional light marginal dampstaining, otherwise generally clean and crisp; in contemporary calf-backed marbled boards, with marbled edges, one section of fore-edge in blue, spine attractively tooled and lettered in gilt, retaining two green silk markers, some light rubbing and wear to extremities, but otherwise a very good copy. Rare first edition of this curious, and somewhat scurrilous literary work edited by Touchard-Lafosse and based upon the manuscript notes of Alexandrine Jullimier. ‘This spicy work was written on the notes of Mademoiselle Jullemier [by Touchard-Lafosse]. The first volume, almost in its entirety, contains little-known particulars on the obscure origin and elevation of the one of the most shameless industrialists of the time, the famous Giraudeau de Saint-Gervais, [charlatan and author of a treatise on venereal diseases]. The second volume contains anecdotes on the practice of Mademoiselle Jullemier, told with wit.’ (online translation of: Cet ouvrage piquant a été rédigé sur les notes de mademoiselle Jullemier [par Touchard-Lafosse]. Le premier volume, presque en entier, ne renferme que des particularités peu connues sur l'origine obscure et l'élévation de l'un des plus éhontés industriels de l'époque le fameux Giraudeau de Saint-Gervais, [charlatan et auteur d'un traité sur les maladies vénériennes]. Le second volume renferme des anecdotes sur la pratique de Mademoiselle Jullemier, racontée avec esprit.’ Quérard, Supercheries littéraires 2, 435).
    Alexandrine Jullemier was a pupil of Madame La Chapelle, and opened a clinic in the rue de l’Odéon, making a speciality of clandestine deliveries. She was closely involved with the noted ‘quack’ Doctor Giraudeau, and according to Quérard was largely responsible for his success. He is represented in the present account as a man without scruples, and it is interesting to note, that in the second edition which appeared in the same year, most of the names were changed, Giraudeau de Saint-Gervais renamed as ‘Duroche’.

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    Bibliography: Barbier 181; see Querard for both Giraudau and Jullemier; OCLC notes copies of this first edition at Yale, Bryn Mawr, Montreal, the British Library and BIUM, with the second edition held at Stanford, the National Library of Medicine, and the College of Physicians.

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  • Learning through games and puzzles
    LA MATHÉMATIQUE DES JEUX OU RÉCRÉATIONS MATHÉMATIQUES by KRAITCHIK, Maurice.
    KRAITCHIK, Maurice.
    LA MATHÉMATIQUE DES JEUX OU RÉCRÉATIONS MATHÉMATIQUES Bruxelles, Imprimerie Stevens Frères, 9, rue des Fortifications, 9.

    1930. Large 8vo, pp. pp. viii, 566, [2] publisher’s advertisement, with numerous illustrations and diagrams within the text, including a double-page diagram in red and black at pp. 472-3; some occasional light foxing and soiling, with a number of scrap paper inserts covered in calculations from a previous owner; with a number of ex-libris stamps from the ‘Commune de Saint-Gilles, Bibliothèque Centrale Pédagogique’ to half-title, and on pp. 1, 65, 93, 129, 205, 225, 273, 381, 533; uncut in the original printed red card wrappers, spine a little cracked and worn, with split to upper joint and some wear at tail, covers a little stained and soiled, with further faint library stamps visible; still a good copy. First edition of…

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    1930. Large 8vo, pp. pp. viii, 566, [2] publisher’s advertisement, with numerous illustrations and diagrams within the text, including a double-page diagram in red and black at pp. 472-3; some occasional light foxing and soiling, with a number of scrap paper inserts covered in calculations from a previous owner; with a number of ex-libris stamps from the ‘Commune de Saint-Gilles, Bibliothèque Centrale Pédagogique’ to half-title, and on pp. 1, 65, 93, 129, 205, 225, 273, 381, 533; uncut in the original printed red card wrappers, spine a little cracked and worn, with split to upper joint and some wear at tail, covers a little stained and soiled, with further faint library stamps visible; still a good copy. First edition of this noted collection of mathematical games and puzzles, by the Belgian mathematician Maurice Kraitchik. ‘With a patience very rare in our time, M. Kraitchik has brought together several hundred of these amusing problems of the most diverse nature and origin: some drawn from Greek, Arab, Hindu and Chinese authors and collections from the Middle Ages, others less ancient mentioned by Bachet de Méziriac, others finally treated or imagined by modern mathematicians and by the author himself. We can, with Mr. Kraitchik, divide these problems or games into two groups: calculation games, studied in the first part of the book, and positional games, treated in the second. (translation of a review by D. Mirimanoff, in L’Enseignement Mathématique, Band 29, pp. 370-1, 1930.) The games touch upon elementary arithmetic, algebra, geometry, probability theory, and magic squares, in so doing the reader gaining an understanding of important mathematical concepts in a fun and entertaining way. Mirimanoff highly recommended the book for all those interested in mathematical education.

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  • With large hand-coloured map of the river systems
    PIANO DELLA SEPARAZIONE, INALVEAZIONE, E SFOGO DE’ TRE TORRENTI DI TRADATE, by LECCHI, Antonio.
    LECCHI, Antonio.
    PIANO DELLA SEPARAZIONE, INALVEAZIONE, E SFOGO DE’ TRE TORRENTI DI TRADATE, del Gardaluso, e del Bozzente. A Sua Altezza Serenissim Il Sig. Duca di Modena ec. Amministratore del Governo, e Capitano Generale della Lombardia Austriaca ec. [n.p. but Milan, n.p., and n.d. but

    1762.]. 4to, pp. [viii] title-page without imprint as issued, with dedication signed and dated, 186, [4] index, with large folding engraved hand-coloured map printed on thicker paper engraved, and woodcut tail-pieces; gutter cracked exposing cords at p. 1 and first gathering a little loose, title-page somewhat soiled at lower corner, occasional light foxing and soiling and sporadic very faint marginal dampstaining; some neat ink underlining and marginal markings throughout; stitched as issued in contemporary carta rustica, with remains of green paper label on spine, head and tail of spine lightly worn, with minor splitting to joints but holding firm, covers a little scuffed and soiled, light rubbed and wear to extremities; a good copy. Rare first edition of this work…

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    1762.]. 4to, pp. [viii] title-page without imprint as issued, with dedication signed and dated, 186, [4] index, with large folding engraved hand-coloured map printed on thicker paper engraved, and woodcut tail-pieces; gutter cracked exposing cords at p. 1 and first gathering a little loose, title-page somewhat soiled at lower corner, occasional light foxing and soiling and sporadic very faint marginal dampstaining; some neat ink underlining and marginal markings throughout; stitched as issued in contemporary carta rustica, with remains of green paper label on spine, head and tail of spine lightly worn, with minor splitting to joints but holding firm, covers a little scuffed and soiled, light rubbed and wear to extremities; a good copy. Rare first edition of this work on hydraulic and river engineering, by the noted Italian Jesuit mathematician, physicist and engineer Antonio Giovanni Lecchi (1702-1776), one of his lesser known works. Dedicated to the Duke of Modena, the study looks in detail at plans to separate and channel three streams and rivers in Lombardy near Tradate (north of Milan), the Tradate, Gardaluso and Bozzente. Of particular note is the large folding, hand-coloured engraved ‘Carta Topografica del corso antico, e moderno de trè torrenti fontanile di Tradate, Gradeluso [sic] e Bozzente’.
    From 1738 to 1773 Lecchi taught mathematics and hydraulics at the Jesuit College of Brera in Milan, during which time he also worked as a technical consultant for the Senate of Milan on hydraulic matters. From 1757 he worked mainly as a hydraulic engineer, and was commissioned by both the Austrian Empress Maria Theresa and Pope Clement XIII. The author of numerous works, he is probably best remembered for his Trattato de’ canale navigabili of 1776, a detailed history of inland navigation in Italy and in particular Milan.

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    Bibliography: OCLC locates copies at Harvard, Leiden, the British Library, with a number of Italian and European holdings

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  • TRAITÉ DE CHIRURGIE D'URGENCE by LEJARS, Felix.
    LEJARS, Felix.
    TRAITÉ DE CHIRURGIE D'URGENCE 482 figures dont 193 dessinées d'après par le Dr E. Daleine et 103 photographies originales. Paris, Masson et Cie, Éditeurs Libraires de L'Académie de Médecine …

    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…

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    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.

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    Bibliography: Orr 832 (1909 sixth edition); OCLC: records locations at the National Library of Medicine, Harvard, New York Academy of Medicine, the College of Physicians, Yale, Oxford, with a number of European locations.

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  • Depicting the ‘Royal Flush’
    PAIR OF RARE NICKEL(?) AND SILVER ‘CLYSTER’ BUTTONS/CUFFLINKS by [MEDICAL SATIRE].
    [MEDICAL SATIRE].
    PAIR OF RARE NICKEL(?) AND SILVER ‘CLYSTER’ BUTTONS/CUFFLINKS depicting the administration of an enema to a patient, inspired by King Louis XIV’s obsession with the procedure. [n.p but presumably France, and n.d. but believed to be early 18th century,

    ca. 1715 but with later 20th century additions of cufflink]. Pair of round silver coloured metal disks (nickel?), 27 x 27mm, embossed with two different images showing the ‘treatment’ and ‘relief’, with cufflink attached on verso, one marked ‘sterling’ and so presumably added later (20th century?), both with some patination, a little soiled and darkened, with some minor scratching, otherwise good. A wonderful pair of cufflinks, inspired by, and indeed most probably depicting King Louis XIV of France (1638-1715) taking an enema, and vividly satirising the craze for ‘lavements’ which was prevalent amongst aristocratic circles in Paris, and indeed across Europe, at the time. Having handled a set previously, we believe that they were originally buttons which could be adapted,…

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    ca. 1715 but with later 20th century additions of cufflink]. Pair of round silver coloured metal disks (nickel?), 27 x 27mm, embossed with two different images showing the ‘treatment’ and ‘relief’, with cufflink attached on verso, one marked ‘sterling’ and so presumably added later (20th century?), both with some patination, a little soiled and darkened, with some minor scratching, otherwise good. A wonderful pair of cufflinks, inspired by, and indeed most probably depicting King Louis XIV of France (1638-1715) taking an enema, and vividly satirising the craze for ‘lavements’ which was prevalent amongst aristocratic circles in Paris, and indeed across Europe, at the time. Having handled a set previously, we believe that they were originally buttons which could be adapted, and have subsequently had added on cufflinks - possibly during the 20th century as one cufflink is lettered ‘sterling’.
    The present set is comprised of two different images: the first depicting the enema being administered to the prostrate patient - a chamber-pot close at hand. The administrator seems to be taking some delight in the discomfort being inflicted! The second image shows the ‘after-effects’: the patient now seated on said chamber-pot relieving themselves. A close inspection of the first button reveals very small ‘fleur-de-lis’ in the background, leading to our assumption that these were produced in France.
    The Sun King ruled from 1643 until his death, and was a particular devotee of the fashion for using enemas on a regular basis. Convinced that inner ‘lavements’ purified the complexion and produced good health, it was common amongst the fashionable to take as many as three or four enemas a day. Louis XIV is rumoured to have had over 2000 during his reign, sometimes holding court whilst the procedure was being carried out, and he was a fervent believer that the regular enemas were the reason behind his good health and long life. The phenomena became so ‘de rigeur’ that apparently during a court ball, whilst the Duchesse de Bourgogne was engaged in a conversation with Louis XIV himself, her maid slipped in under the Duchesses' elaborate ball gown and performed an enema right on the spot! Aristocratic enemas were often delicately tinted and scented with either rose, orange or angelica. Somewhat inevitably, the craze was often burlesqued on the stage, notably by Moliere, and it was a lively topic of elegant discourse in the salons.

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  • GUERRIERS ET GRANDS SEIGNEURS by [MILITARY CUT-OUT COSTUME BOOK.] JOB (Onfroy de Breville, Jacques Marie Gaston) and Aristide FABRE.
    [MILITARY CUT-OUT COSTUME BOOK.] JOB (Onfroy de Breville, Jacques Marie Gaston) and Aristide FABRE.
    GUERRIERS ET GRANDS SEIGNEURS Musée du Costume. Série de Découpages. Texte par Aristide Fabre. Illustrations de Job. Hachette et Cie. [colophon Corbeil. Imprimerie Éd. Crété] [n.p. but Paris, n.d.

    but 1904.]. Oblong 4to, pp. [3]-59, [3], including 14 pages of chromolithograph figures to be cut out (with blank versos); small neat tear at bottom of p. 11, head of p. 46 with tear just touching border, pp. 44 and 47 with larger nicks with some loss, though not touching text; paper somewhat browned throughout, due to quality, but in the original green linen backed pictorial boards, with polychrome illustration on upper cover, head and tail of spine slightly worn, rear cover cracked with neat paper repair, some minor soiling and staining to boards, corners a little worn; a good copy. First edition, and unusual in that the present copy has been unused. One of a series of cut-out costume…

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    but 1904.]. Oblong 4to, pp. [3]-59, [3], including 14 pages of chromolithograph figures to be cut out (with blank versos); small neat tear at bottom of p. 11, head of p. 46 with tear just touching border, pp. 44 and 47 with larger nicks with some loss, though not touching text; paper somewhat browned throughout, due to quality, but in the original green linen backed pictorial boards, with polychrome illustration on upper cover, head and tail of spine slightly worn, rear cover cracked with neat paper repair, some minor soiling and staining to boards, corners a little worn; a good copy. First edition, and unusual in that the present copy has been unused. One of a series of cut-out costume books illustrated by the noted French artist and children’s illustrator ‘Job’, with text by Aristide Fabre (180-1936) the present volume describes and illustrates ‘Warriors and Great Lords’ throughout French history, from the Gauls to the students of Saint-Cyr.
    Jacques Marie Gaston Onfroy de Bréville (1858-1931) known by the pen name ‘Job’ after his initials contributed to numerous works, though is best remembered for his illustrations for children’s books. Having served for some time in the French army, during his artistic career he maintained a keen interest in military, patriotic, and nationalistic subjects, as reflected here, which displays his keen eye for detail, reproducing the uniforms with great precision.

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  • Computer Scientist Phyllis Fox’s copy.
    THE CALCULUS OF FINITE DIFFERENCES. by MILNE-THOMSON, Louis Melville.
    MILNE-THOMSON, Louis Melville.
    THE CALCULUS OF FINITE DIFFERENCES. Macmillan and Co., Limited. St Martin’s Street, London.

    1951. 8vo, pp. xxiii, [i], 558; with a number of diagrams within text; pp. 224-5 creased with small tear at lower margin, p. 258 creased, gutter exposed at p. 383, lightly toned throughout; in the original blue publisher’s cloth, spine lettered in gilt, lower corner of upper board bumped, with the original grey price-clipped dust-jacket, spine somewhat browned with a few small chips and splits, preserved within protective glycine jacket; with the signature of Phyllis Fox and the date ‘Jan 31, 1956’ on front free endpaper; a very good copy. Second edition, and a nice association copy, of this classic textbook on applied mathematics, originally published in 1933, once belonging to the noted American mathematician and computer scientist Phyllis Fox…

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    1951. 8vo, pp. xxiii, [i], 558; with a number of diagrams within text; pp. 224-5 creased with small tear at lower margin, p. 258 creased, gutter exposed at p. 383, lightly toned throughout; in the original blue publisher’s cloth, spine lettered in gilt, lower corner of upper board bumped, with the original grey price-clipped dust-jacket, spine somewhat browned with a few small chips and splits, preserved within protective glycine jacket; with the signature of Phyllis Fox and the date ‘Jan 31, 1956’ on front free endpaper; a very good copy. Second edition, and a nice association copy, of this classic textbook on applied mathematics, originally published in 1933, once belonging to the noted American mathematician and computer scientist Phyllis Fox (1923-2017), with her signature on the front free endpaper. The signature is dated January 31, 1956, Fox purchasing the volume while working on the numerical solution of partial differential equations for UNIVAC for the Computing Center of the United States Atomic Energy Commission at the Courant Institute of Mathematical Sciences of New York University.
    In addition to the present work, the English applied mathematician Louis Melville Milne-Thomson CBE FRSE RAS (1891–1974), is best remembered for his works on Theoretical Hydrodynamics (1938), and Theoretical Aerodynamics (1948), as well as for his work developing mathematical tables such as the Jacobian Elliptic Function Tables (1932). The Milne-Thomson circle theorem and the Milne-Thomson method for finding a holomorphic function are named after him. His works proved popular and went through several editions.

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  • Too anatomical for artists
    PLASTISCHE ANATOMIE: by MOLLIER, Siegfried.
    MOLLIER, Siegfried.
    PLASTISCHE ANATOMIE: Die Konstruktive form des menschlichen körpers. Mit bildern von Hermann Sachs. München verlag von J. F. Bergmann.

    1924. Large 4to, pp. [ii], [x], 296; with over 468 illustrations within the text including photographs (some enhanced with additional colouring) and colour diagrams; some occasional minor foxing and soiling but otherwise clean and crisp; in the original black cloth, ruled in gilt and blind, spine lettered in gilt, head and tail a little nicked and worn, spine slightly faced, with light wear to surfaces and extremities, book block a little shaken, without the original dust-jacket; still a good copy. First Edition of this contribution to ‘a new genre of artistic anatomies originated in modern teaching methods for students of medicine whose main emphasis lies in the function of and correlation's between osteology and myology’ (Röhrl p. 278). ‘Perhaps the…

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    1924. Large 4to, pp. [ii], [x], 296; with over 468 illustrations within the text including photographs (some enhanced with additional colouring) and colour diagrams; some occasional minor foxing and soiling but otherwise clean and crisp; in the original black cloth, ruled in gilt and blind, spine lettered in gilt, head and tail a little nicked and worn, spine slightly faced, with light wear to surfaces and extremities, book block a little shaken, without the original dust-jacket; still a good copy. First Edition of this contribution to ‘a new genre of artistic anatomies originated in modern teaching methods for students of medicine whose main emphasis lies in the function of and correlation's between osteology and myology’ (Röhrl p. 278). ‘Perhaps the first scientific textbook in which an experiment was undertaken to expound the body’s functions and to explain the surface form for art students. In all chapters of the book, osteology and myology are explained in connection with each other. The work was developed from modern teaching methods for medical students. The complex structure is not understandable to readers without deeper medical knowledge’ (ibid, p. 424).
    The physician Mollier (1866-1954) trained at the Munich Anatomical Institute, eventually becoming its director. In this role he taught anatomy courses for artists for over four decades, and in 1924 published the present work, considered by the Deutsche Biographie to be ‘a sophisticated and ground-breaking work’ of particular note for his precise functional analyses of movement. ‘The explanations begin with the foot and leg and a subdivision into functional areas is made so that the lower extremities, for example, are divided up in this order: foot, lower leg, ankle, thigh, knee joint, pelvis and hip joint. In this way, an arrangement into small parts which could all be explained separately was effected. The conception has several advantages, as the changes of the surface form during movement could be illustrated, for example, photographs of changes in the abdomen during respiration and of the visible parts of the skeletal framework during movement illustrate the text’ (ibid p. 279). Röhrl is however a little critical of the photographic material, which he notes ‘does not produce a very engaging effect. The models were photographed in unnatural and cramped poses that remind one of a circus. These stance might have been intended to demonstrate changes in the body’s surface in an extreme stretch of the joints and to show to what extent joints can be strained; yet, motion studies like these are not related to the depiction of the human figure in art’ (ibid). Some of the photographic poses are certainly reminiscent of those of the pioneering German bodybuilder Eugen Sandow (born Friedrich Wilhelm Müller 1867-1925), who travelled the world displaying his strongman prowess, establishing an institute of physical culture, and was highly influential in promoting and encouraging popular physical fitness. The present work clearly reflects this recent focus upon physicality, but to the modern eye, a number of the images make for uncomfortable viewing, redolent of the eugenics movement somehow. In subsequent years, however, Mollier was one of a few anatomists in the professional society the Anatomische Gesselschaft who challenged the measures demanded by the National Socialists in 1934 to transform the traditionally international society into a purely German entity and exclude “non-Aryan” members.
    Hermann Sachs, the illustrator of Mollier’s work, was one of the leading German Expressionist artists of the first half of the 20th century. He spent the 1910s in Munich, where he founded the Munich School of Expressionists and no doubt became acquainted with Mollier. He moved to Los Angeles in 1925 and designed the interiors of many landmark Los Angeles buildings, including Union Station and the Los Angeles City Hall.

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    Bibliography: Garrison-Morton.com 13680; Röhrl, History and Bibliography of Artistic Anatomy, pp. 278-279 and 424; see also https://www.deutsche-biographie.de/sfz64939.html; OCLC locates copies at Columbia, NYAM, Yale, Harvard, Smith College, McGill, the Metropolitan Museum of Art, with a number of microfilm copies.

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  • Mystify your friends!
    THE AMAZING DANCING CHARLIE ILLUSION. by [OPTICAL TOY.] [CHAPLIN, Charlie.]
    [OPTICAL TOY.] [CHAPLIN, Charlie.]
    THE AMAZING DANCING CHARLIE ILLUSION. Can be made to Dance on floor, table or chair. No electricity. No Strings. It will mystify your friends for hours... Confidential instructions enclosed. Simple to operate, once you know the secret. World Copyright. British Made. 6111_FL. [n.p., and n.d. but ca. late

    1920s - 1930s.]. 4to blue printed glazed/waxed enveloped, 236 x 195 mm, containing a single sheet of instructions, again printed in blue 212 x 97mm, and with articulated chromolithograph card figure of Charlie Chaplin, legs hinged at the hip and knees with four metal pins; some creasing visible to figure though complete and with no loss, envelope and instructions a little creased and soiled; a good example. An appealing example of this popular optical card toy, an articulated cardboard cut out of Charlie Chaplin (1889-1977), that can be made to ‘dance’ through the discreet and ‘magical’ use of black cotton, stretched across a room, and which when pulled, will make Charlie move.
    The present example has no note of…

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    1920s - 1930s.]. 4to blue printed glazed/waxed enveloped, 236 x 195 mm, containing a single sheet of instructions, again printed in blue 212 x 97mm, and with articulated chromolithograph card figure of Charlie Chaplin, legs hinged at the hip and knees with four metal pins; some creasing visible to figure though complete and with no loss, envelope and instructions a little creased and soiled; a good example. An appealing example of this popular optical card toy, an articulated cardboard cut out of Charlie Chaplin (1889-1977), that can be made to ‘dance’ through the discreet and ‘magical’ use of black cotton, stretched across a room, and which when pulled, will make Charlie move.
    The present example has no note of manufacturer or place of issue. It appears that a number of firms produced similar toys, including one by ‘The Lightning Company’ in London, and which came in a box, rather than as here in just a simple envelope, and also appears to have had jointed shoulders in addition to the jointed hips and knees.

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  • Considered to be Sweden’s first vernacular zoological handbook
    INLEDNING TIL DJUR=KÄNNINGEN, by ORRELIUS, Magnus.
    ORRELIUS, Magnus.
    INLEDNING TIL DJUR=KÄNNINGEN, eller redig beskrifning på härtils bekanta fyrfotade eller däggande djur; til allmänhetens nöje och nytta författad, och med nödiga figurer försedd. Stockholm, Tryck hos Lars Wennberg, pä bekostnad,

    1776. 8vo, pp. [xxiv], 594, [14]; without the four page dedication, which is sometimes present; with 109 naive woodcuts within text, and large woodcut vignette on final verso; lower corner of page 84 torn with loss of paper not text, and with neat discrete paper repairs to pp. 341-42, 359-60, 413-14 and 541-42, stain affecting pp. 433-437, the whole text lightly foxed and browned, with some occasional minor marginal dampstaining, otherwise clean; in contemporary half calf over marbled boards, spine in compartments with raised bands, ruled in gilt, with orange paper lettering label, spine slightly cracked, with both joints starting but holding firm, with slight loss to rear joint, covers a little scuffed, and recornered to style; with the bookplate…

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    1776. 8vo, pp. [xxiv], 594, [14]; without the four page dedication, which is sometimes present; with 109 naive woodcuts within text, and large woodcut vignette on final verso; lower corner of page 84 torn with loss of paper not text, and with neat discrete paper repairs to pp. 341-42, 359-60, 413-14 and 541-42, stain affecting pp. 433-437, the whole text lightly foxed and browned, with some occasional minor marginal dampstaining, otherwise clean; in contemporary half calf over marbled boards, spine in compartments with raised bands, ruled in gilt, with orange paper lettering label, spine slightly cracked, with both joints starting but holding firm, with slight loss to rear joint, covers a little scuffed, and recornered to style; with the bookplate of Lennart Ragnemark on front pastedown; a good copy. Second edition of this ‘introduction to the knowledge of animals’ by Magnus Orrelius (1717-1794), of particular appeal for the numerous charming woodcuts, which though perhaps not all original, are believed to have been done by the author himself. The work was first published anonymously in 1750-1751 in weekly parts as Historia animalium, and is considered to be Sweden’s first vernacular zoological handbook.
    The Royal Swedish Academy was founded in 1739, on the initiative of Linnaeus amongst others. One of the aims was to promote the economic benefits of the natural sciences, a principle which naturally favoured botanical and zoological research, with the hope that the discovery of new animal and plant species could be of use to man. Up to this time, little had been written about the plant and animal kingdom, with most published being in Latin, and so a number of manuals and textbooks were published to fill this void, and disseminate knowledge more widely. Linnaeus himself, famously published his Fauna Svecica, the first Swedish natural fauna, in 1746, though this was once again published in Latin, and whilst ground-breaking, was not really a handbook for general use.
    In October 1749, advertisements appeared in Stockholm for a work on the history of animals written ‘in the Swedish tongue’, to be published by subscription in parts to make it more affordable and cheaper to print. The anonymous author borrowed the title Historia Animalium from Conrad Gessner’s famous work. According to Martin Biinsow, when Linnaeus saw the advertisement he was greatly perturbed, fearing plagiarism of his popular lecture notes. ‘In a letter to the Academy of Sciences' secretary, Wargentin, Linné writes that, if there is plagiarism, he will withdraw not only from the fauna, but from all work. However, the great man could breathe a sigh of relief when the work started to come out. There was no question of any plagiarism, even if the author had picked up a lot of facts from Linné’ (Biinsow, I Var Herres Hage, Svensk zoologi i Kunskapskallan, p. 5 a google translation). Indeed, for this second edition, a letter of recommendation by Wargentin himself is included on the verso of the title-page – a sign of Academy approval no doubt.
    The author, in fact, was Magnus Orrelius (1717-94), a member of the Moravian Brethren in Sweden, active as a writer, translator and woodcutter, though not part of traditional academic circles. From an impoverished background, and born as Mans Fanberg, he funded himself to study at Uppsala, at which point he changed his name. His poor financial situation meant that his studies were fragmented and he never took his degree. He worked as a personal tutor, and then as an accountant, but made most of his living as a writer, as well as penning a number of pamphlets and articles on social issues such as child-rearing, and population decline.
    The Historia Animalium was his first work, and whilst it claimed to describe all animals existing on the globe, was confined principally to mammals, including man, Orrelius adopting Linnaeus’ classification and system. This second edition has been substantially revised and enlarged when it comes to the number of species described, but for cost reasons the descriptions were kept shorter and are limited, as previously, to mammals. As acknowledged in the preface, the work draws upon a number of sources, including Pliny, Aristotle, Olaus Magnus, as well Linnaeus. Whilst clearly aiming to be a serious scientific treatise, Orrelius often trying to distance himself from some earlier myths and legends, (notably the unicorn an Aristotelian invention according to Orrelius), the information provided is often of varying reliability. Far from being an objective commentator, his own moral judgements and opinions pervade the work, which often make for entertaining reading. His theological leanings ensure too, that in line with fellow 18th century scholars, his work very much recognises and celebrates the wonders of Creation, stressing how an appreciation of the beauties of nature can lead to a greater understanding of God.
    Focusing more upon behavioural traits than anatomical descriptions, Orrelius often imparts human qualities to the animals under discussion, seeing animals as images of human characteristics. About the ‘natt-människan, homo nocturnus, troglodytes’ (the orangutan, p. 41), Orrelius notes that ‘they speak in a whispering manner, think and draw conclusions like rational creatures, imagining that the whole globe was created for their sake, and that they once will come to his former power over the inhabitants of the earth’. He describes the ‘lurfwige bawianen’ of Sumatra (p. 51), as whilst not ugly, ‘is nevertheless terrifying in appearance, after that he always grinds his teeth, and gives signs of anger. It is sometimes the meanest and rudest of all animals’. Mammals from all corners of the globe are described, from Africa to America, including elephants, rhinocerus, whales, lions, camels, sloths, porcupines, domestic beasts such as dogs and cattle, as well as the walrus (p. 94) and the racoon (p. 262). The animals are frequently described as being greedy, or ferocious, or blood-thirsty, and though perhaps not believing in unicorns, he does subscribe to various traditional ‘forest’ myths, superstitions and beliefs.
    The work includes 109 charming if somewhat naive woodcuts of mammals, believed to be the work of Orrelius himself. In discussing the first edition, Biinsow notes that a number of the woodcuts appear to have been copied for earlier works by Olaus Magnus, as well as Albrecht Dürer (notably his 1515 woodcut of a rhinocerus), and some from Johnston’s Historiae naturalis (1650-1654). It is interesting to note that all appear to have been revised and re-engraved for the present second edition, the similarities not nearly so obvious. Much less refined, they have a charming, naive quality. An important, if less well known contribution, to the zoological canon.

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    Bibliography: Copies located at the British Library, the Royal Danish Library, and Kansas (which collates are the present copy); only the Royal Swedish Library copy appears to have the four page dedication; for a detailed discussion of the first edition see Malin Biinsow, I Var Herres Hage, Svensk zoologi i Kunskapskallan, 2013 https://www.vastervik.se/globalassets/vasterviksgymnasium/kunskapskallan/kunskapskallanskriftserienr14.pdf; for a full list of his writings see Gunnar Broberg, Magnus Orrelius en frihetstida moralist och skribent.

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  • MARTIN MONTE À L’ARBRE by [PARIS - JARDIN DU ROI.]
    [PARIS - JARDIN DU ROI.]
    MARTIN MONTE À L’ARBRE Jeu de Société. L. Saussine. [n.d. but

    ca. 1880-1900.]. Chromolithograph decorative lidded box, 405 x 320 x 50mm; interior divided into three compartments, the larger containing three large chromolithograph playing boards, each with a sliding graduating scale on which the bear can slide, the two side compartments containing a pink cotton drawstring bag of bone tokens, two card ‘faux crocodile skin’ die shakers and two bone die; some signs of wear to all three playing boards, with some minor loss of paper in places, all three somewhat browned and aged; with mounted rules on the inside lid; in the original decorative box, with chromolithograph scene mounted on upper lid depicting the Jardin de Plantes, with a large group of spectators looking down into bear pit, lid a…

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    ca. 1880-1900.]. Chromolithograph decorative lidded box, 405 x 320 x 50mm; interior divided into three compartments, the larger containing three large chromolithograph playing boards, each with a sliding graduating scale on which the bear can slide, the two side compartments containing a pink cotton drawstring bag of bone tokens, two card ‘faux crocodile skin’ die shakers and two bone die; some signs of wear to all three playing boards, with some minor loss of paper in places, all three somewhat browned and aged; with mounted rules on the inside lid; in the original decorative box, with chromolithograph scene mounted on upper lid depicting the Jardin de Plantes, with a large group of spectators looking down into bear pit, lid a little darkened and soiled, with some darkening and soiling around the edges, some slight scuffing and loss of paper to base, some edge-wear as to be expected; an appealing complete example of a rare and fragile item. A striking game of chance, though very much of its time, ‘celebrating’ the famous bears of the Paris Jardin du Roi. A speed race comprised of three playing boards, each player chooses a bear - either Martin, Coco, or Lebernois, and taking turns to throw the dice moves their bear up the graduated ‘pole’ according to the numbers thrown. Like all games of chance, players risk landing on forfeit squares, printed in red and green, which will force either a return to the start, or to slide several places back down the pole. The first to the top (40) wins and claims the stake pot.
    The game is similar in style to another Saussine production, ‘Jeu du Mat de Cocagne’ another race game, this time carnival based and racing three male climbers up a greased pole. The present game was reissued during the 1920s.
    The Muséum d’Histoire Naturelle in Paris was famed not only for its collections, but for its ménagerie located within the botanical gardens of the Jardin du Roi. Formalised in 1794 after the revolution, guide books for the museum and the gardens soon became popular, published regularly, and which took visitors on a walking tour of the various notable attractions, including cages of ‘ferocious beasts’, an aviary, a monkey gallery, the famous rotunda housing large herbivores, including giraffes and elephants. Bear pits were first created in 1805, and early residents were confiscated from bear trainers, and soon gained a reputation for their ferocity, after two visitors (in 1814 and 1820) were killed having rashly entered the enclosure. Indeed the latter incident prompted something of a public outcry, the first ‘Martin Bear’ (‘L’ours Martin’ so named after Saint-Martin, protector of the poor and ‘bear hunter’) effectively put on trial for his crime. This ‘homicide’, whilst treated by some as a legitimate crime, also became the focus of various parodic pamphlets, putting humanity itself on defence for wrongly ‘oppressing’ others of Martin’s kind, who were only acting according to nature. These tragic incidents nevertheless helped to create public sympathy for the bears, and they became a popular attraction, entertaining generations of families through both their antics and ferociousness. As the present end of the century games suggests, they were still a major attraction, the animal collection seen as a positive way to broaden the horizons of Parisians and those from further afield.

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    Bibliography: See Paula Young Lee ‘The Curious Affair of Monsieur Martin the bear’, Journal for Eighteenth-Century Studies Vol. 33 (no. 4) 2010.

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  • Luxurious Art Deco commemorative album produced for the Colonial Exhibition of 1931
    METRO - LE CHEMIN DE FER METROPOLITAN DE PARIS by [PARIS METRO.]
    [PARIS METRO.]
    METRO - LE CHEMIN DE FER METROPOLITAN DE PARIS [Cet ouvrage a été édite par Les Ateliers A.B.C. 52, rue Mathurin-Régnier Paris (15o) en Avril

    1931.]. Large 4to, pp. 60; with four ‘faux’ mounted colour paintings on dark green paper, 13 vibrant chromolithographs on seven leaves (including one double-page), and numerous heliogravures and graphs within the text; paper somewhat browned throughout, with occasional light soiling, though otherwise clean and crisp, gutters exposed in a couple of places but holding firm; with a number of later related newspaper cuttings loosely inserted; in the original striking silver gilt boards, lettered in black, and with depiction of the Paris Metro system in red, black, white and blue, with notable Art Deco inspired paste downs by Débatier, front inner hinge a little split and cracked but holding firm, with small tear to fore-edge of front endpaper, head and tail…

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    1931.]. Large 4to, pp. 60; with four ‘faux’ mounted colour paintings on dark green paper, 13 vibrant chromolithographs on seven leaves (including one double-page), and numerous heliogravures and graphs within the text; paper somewhat browned throughout, with occasional light soiling, though otherwise clean and crisp, gutters exposed in a couple of places but holding firm; with a number of later related newspaper cuttings loosely inserted; in the original striking silver gilt boards, lettered in black, and with depiction of the Paris Metro system in red, black, white and blue, with notable Art Deco inspired paste downs by Débatier, front inner hinge a little split and cracked but holding firm, with small tear to fore-edge of front endpaper, head and tail of spine rubbed and worn with loss of silver gilt, with further rubbing to joints, covers and scratched in places, extremities bumped and lightly rubbed; overall a good copy. Surprisingly uncommon and beautifully produced commemorative work, issued by the ‘Compagnie du chemin de fer Métropolitain de Paris’ (CMP) to coincide with the Colonial Exhibition of 1931. Clearly taking inspiration from the iconic 1927 film ‘Metropolis’, this vibrantly illustrated work provides a history of the Parisian underground railway from its inception in 1855, through the inauguration of the first line in 1900, up until the present day, with a look at the current state of the system and a glimpse of future developments. Copiously illustrated with black and white heliogravure photographs, vibrant colour maps and graphs, and with a further four ‘faux’ mounted artworks illustrating the ‘Viaduct d’Austerlitz’; the Viaduct B. Auguste Blanquè’; the ‘Station “Madeleine”’; and ‘une station de Métro’.
    The atmospheric front paste-down, signed by Debadier, is very redolent of the time and most effective.

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    Bibliography: OCLC locates only one copy at the Danish National Library.

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  • THE GAPING, WIDE-MOUTHED FROG. by [PARLOUR GAME.]
    [PARLOUR GAME.]
    THE GAPING, WIDE-MOUTHED FROG. A new and entertaining game of Questions and Commands. With proper directions for playing the game and crying the forfeits. Embellished with sixteen colored engravings. London: Printed for A. K. Newman & Co. Leadenhall-Street. [Dean & Munday, Printers, Threadneedle-street.]

    [n.d. but ca. 1821-1823.]. 8vo, ff. [18] leaves, printed on one side only, with hand-coloured engraved frontispiece and a further 14 hand-coloured engraved illustrations in the text to make a total of 15 not 16 illustrations as stated by title (other editions make a similar error); all slightly crudely coloured; lightly browned and soiled throughout, with some occasional offsetting and bleed through from ink and colour; stitched, as issued, in original publisher's printed pictorial salmon wrappers, spine rubbed and worn with some loss, with 5cm split at tail but still holding firm, wrappers rubbed and dust-soiled, with some surface loss notably at lower rear corner; though a little dog-eared, overall an appealing copy. Uncommon and attractively illustrated late Regency rhyming…

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    [n.d. but ca. 1821-1823.]. 8vo, ff. [18] leaves, printed on one side only, with hand-coloured engraved frontispiece and a further 14 hand-coloured engraved illustrations in the text to make a total of 15 not 16 illustrations as stated by title (other editions make a similar error); all slightly crudely coloured; lightly browned and soiled throughout, with some occasional offsetting and bleed through from ink and colour; stitched, as issued, in original publisher's printed pictorial salmon wrappers, spine rubbed and worn with some loss, with 5cm split at tail but still holding firm, wrappers rubbed and dust-soiled, with some surface loss notably at lower rear corner; though a little dog-eared, overall an appealing copy. Uncommon and attractively illustrated late Regency rhyming riddle game for children, and seemingly an early edition with the A.K. Newman & Co. Dean & Munday imprint. A test of both memory and counting, the format is akin to that of the ‘Twelve Days of Christmas’, and indeed its appear to date back to a similar time. Of the party who intend on playing one is appointed Treasurer who begins the game by passing an item, 'a penknife, pocket-book, or thimble' are among the suggestions to the person sat next to him stating 'Take this', the player responds 'What's this?', to which the Treasurer replies 'A gaping, wide-mouthed, waddling Frog'. The sequence is repeated, a line added to the nonsense verse with each turn. If a player misremembers a part of the increasingly complex rhyme he or she forfeits and must enact a penalty. Suggested penalties include 'Submit to be tickled by the company for five minutes', and 'Spell and pronounce this word twice within ten minutes, without a blunder - Al-di-bo-ron-ti-phos-ky-phor-ni-os-ti-kus'.
    As with many similar chapbooks of the time, dating of the first edition seems unclear. As far as we have been able to establish, one of the earliest appearances of the rhyme in print was in ‘Mirth without Mischief. Containing the Twelve Days of Christmas, the play of the Gaping-wide-mouthed waddling frog, love and hatred, the art of talking with fingers, and Nimble-Ned’s alphabet and figures’ published by Davenport in 1780. It seems likely that, was in the case of the French inspired Twelve Days of Christmas, that the recited rhyme in various forms was already popular. In 1817 E. and J. Wallis issued ‘The Gaping Wide-mouthed Waddling Frog, adapted to a Game of Forfeits, coloured Plates’. The Osborne copy, and which appears to compare to the present copy, is dated to 1822 - from an manuscript inscription. A watermark date can be seen on [f.6] of 1821. A copy which sold at Christies in 2003, and which they suggested was 1822, had a variant title-page correcting the number of embellished engravings from sixteen to 15 as is in fact the case. Interestingly, that copy had ‘just 13 illustrations which are fully paginated’ (Christies, Dr Nigel Temple Collection of Children’s Books, 2003, lot 53).

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    Bibliography: Osborne I:220 (suggesting first edition 1822); Muir, Children’s Books of Yesterday, 931 (and which they date to 1823); the 1817 Wallis edition held by UCLA, Indiana, Princeton, Bryn Mawr, and Toronto, with copies of the Newman imprint at UCLA, Indiana, Cambridge, the Morgan Library, Philadelphia, Princeton (who suggest 1821 from the watermark) and Toronto.

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  • ‘My first supplies equality, my second inferiority, and my whole superiority’
    CHARMING HANDMADE PARLOUR GAME by [PARLOUR GAME.] [ANON.]
    [PARLOUR GAME.] [ANON.]
    CHARMING HANDMADE PARLOUR GAME consisting of nine oval die-cut ‘lace’ cards, upon which have been neatly penned 18 riddles. n.p. but English, and n.d. but ca.

    1820-30. Series of nine oval die-cut ‘lace’ cards, 64 x 88mm, alternately cream and blue, tied together with blue silk, with 18 riddles neatly penned in a single hand (1-9 on recto, 10-18 on verso); some occasional light foxing and soiling, but otherwise clean and bright; now housed within custom made box. A charming, seemingly late Regency or early Victorian handmade parlour game, consisting of a series of 18 quite fiendish enigmas, charades and riddles - sadly without the answers - though attesting to the popularity of such games during the 19th century! Neatly written on nine oval die-cut cards, redolent of papers which became synonymous with Victorian Valentine’s Day card, this attractively produced set may perhaps have been given…

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    1820-30. Series of nine oval die-cut ‘lace’ cards, 64 x 88mm, alternately cream and blue, tied together with blue silk, with 18 riddles neatly penned in a single hand (1-9 on recto, 10-18 on verso); some occasional light foxing and soiling, but otherwise clean and bright; now housed within custom made box. A charming, seemingly late Regency or early Victorian handmade parlour game, consisting of a series of 18 quite fiendish enigmas, charades and riddles - sadly without the answers - though attesting to the popularity of such games during the 19th century! Neatly written on nine oval die-cut cards, redolent of papers which became synonymous with Victorian Valentine’s Day card, this attractively produced set may perhaps have been given as a love token, although none of the riddles are on the theme of love. The riddles are as follows:
    1. ‘Why is the famous Mr McAdam like one of the seven wonders of the World’; 2. ‘What colour are the winds and storms?’; 3. ‘My first is a prop, my second is a prop and my third is a prop’; 4. ‘My first I do, my second I do not and my third is what you are’; 5. ‘My first is a story, my second a story and my whole are(?) number of innocence’; 6. ‘Spell the archipelago in three letters’; 7. ‘My first supplies equality, my second inferiority, and my whole superiority’; 8. ‘Why are a pair of skates like an apple’; 9. ‘Why are fixed(?) stars like pen ink and paper?’; 10. ‘Name me and you break me?’; 11. ‘What word of ten letters can be spelt with five?’; 12. ‘Take a noun of plural number, to it add the letter ‘S’, plural’s plural now no more, sweet’s what bitter was before’; 13. ‘A letter in the Dutch alphabet named makes a lady of the third rank’; 14. ‘Why is grass like a mouse?’; 15. ‘If a pair of spectacles could speak, what ancient historian would they name?’; 16. ‘What sea would make a good sleeping room?’; 17. ‘What is majesty without it’s extremes?’; and finally 18. ‘My first is a proposition, my second is a composition and my third an acquisition’ (the answer we have worked out is fortune).
    McAdam (1756-1836) became famous in the 1820s, question 1 being written in the present tense suggests the date of composition to be before his death in 1836.

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