1882. 8vo, pp. viii, 614; with two hand-coloured steel engraved full-page plates (including frontispiece), together with numerous text engravings; some occasional light marginal foxing and soiling, but otherwise clean and crisp; in contemporary half calf over marbled boards, all edges marbled, spine in compartments with raised bands, ruled and tooled in gilt, with blue morocco lettering label, head and tail of spine and joints lightly rubbed, with some minor rubbing to extremities; small ex-libris label on front paste-down; an attractive copy. First edition of this what is considered by herpetologists to be the first popular work on snakes in the English language, by Catherine Cooper Hopley (1817-1911), the English travel writer, artist and naturalist. The work is notable for her detailed research, and was an early advocacy of snake conservation, emphasizing the importance of a better understanding of the species. It was one of a number of important herpetological works published by Hopley, at a time when the field was predominantly male-dominated.
In addition to her scientific works, Hopley is also known for her works on the American Civil War under the pen name Sarah L. Jones, and based upon her own experiences having spent several years in the US prior to and during the war, her brother John (1821-1904) having emigrated to Ohio where he was a noted publisher and political figure. During her travels in the US Catherine met several Confederate leaders, including Jefferson Davies, Robert E. Lee and Stonewall Jackson. A personal friend of Mrs Lucretia Garfield, the widow of President James A. Garfield, and a governess to the children of Florida governor John Milton, she was clearly a determined character. Her frequent correspondence back home to the London press recounting her experiences, led some Virginians to accuse her of being a spy for the North. Whilst she opposed slavery, and was in theory neutral, her books relating to her experiences at the time do reflect racist attitudes towards slavery.
Hopley returned home to England in 1863, and having already undertaken some herpetological field work whilst in Ohio, became increasingly interested in reptiles and amphibians, working for a time in the Gardens of the London Zoological Society. The British Quarterly Review described the present work as ‘the most thorough, the most complete, and the most popularly readable that has been published in English on the subject.’ Snakes includes detailed observation of feeding behaviour in snakes, including the mechanism by which Xenodon snakes erect their teeth in a viper-like fashion, an observation that predates those by E. G. Boulenger (generally credited with the description) by over 30 years’ (see Kraig Adler, Kraig "Hopley, Catherine C. (1817–1911)" in Contributions to the History of Herpetology. Vol. 2. Society for the Study of Amphibians and Reptiles (2007), pp. 110–111). The work provides a comprehensive exploration of the natural history and cultural perceptions of snakes, and offers detailed descriptions of various species, their behaviours, and environments. It is notable for its thorough research and accessible presentation. She subsequently published a survey of British amphibians and reptiles in 1888.
Catherine had two other brothers: Edward Hopley (1816-1869) the noted painter and entomologist, and Thomas who was convicted of the manslaughter of a student.

1830. Lithograph trade card, 95 x 121mm, with attractive lithograph vignette of the pump room, with verses below; slightly soiled and spotted, with some minor edgewear and slight abrasions on verso, with evidence of previous label; a most appealing example. A most attractive lithograph promotional souvenir, giving a view of the Montpellier Pump Room at Cheltenham Spa in Gloucestershire. In the early 18th century, salt water springs had accidentally been discovered at Cheltenham and the spring was developed into a well by the entrepreneurial owner Henry Skillicorne. At the time, the benefits of salt water bathing as a new cure for ill health was being recognised and recommended by Georgian physicians, and it soon became a noted tourist destination for the great and the good, including such visitors as Handel, Johnson, and of course George III and his family, whose visit in 1788 really made Cheltenham fashionable.
To meet the growing demand, new wells were opened and rival spas established. In 1801 Henry Thompson, a London financier, bought a large estate and in 1809 opened the Montpellier Spa, originally a wooden structure, but later replaced by a far grander building, designed by the architect, artist and founding member of the Royal Institute of British Architects, John Buonarotti Papworth (1775-1847), whose classically designed building included a copper domed rotunda inspired by the Pantheon, and which can be seen in the present image. This was opened in around 1825, Papworth also redesigning the grounds for the Montpelier estate.
It seems probable that the card is the work of the British printmaker Christian Harttwieg, the Fitzwilliam Museum Collections recording a small valentine card of a similar style and which also includes verses within small oval medallions. That example includes the imprint ‘Harttwieg scr. & lith. 108 Hatton Garden’. The Yale Centre for British Art also notes a lithograph panorama of Gravesend from Windmill Hill, and which is signed by S. Schonberg, engraver, and which they date to 1830.

1870.]. Oblong 8vo, ff. 12 unnumbered leaves of engravings; without title-page as issued; first leaf lightly foxed and browned, with further minor dust-soiling, but otherwise clean and bright; with 20th pencil inscription on front free endpaper; in contemporary maroon publisher’s blind-stamped cloth, lettered in gilt, front inner hinge cracked but holding, head and tail of spine lightly worn, covers a little darkened with some staining to front cover, extremities lightly bumped; a good copy. One of a number of humorous mid Victorian souvenir publications taking a satirical swipe at the popular Victorian craze of hydrotherapy or ‘taking the water cure’. The present album recounts in a series of 12 amusing sketches, the ‘horrors’ endured by one poor patient, at the hands of the water cure practitioners. ‘The Doctor says I shall enjoy the Steam Box Bath. Does it look like Enjoyment’ he plaintively asks in the first illustration. The startled man is then seen being doused by a hose ‘as if we were garden shrubs’. Other cures endured are the rain bath, douches, ‘a cold running Sitz Bath at Six in the morning’, and as if the indignities suffered were not enough, one image shows the poor patient trapped in a steel bath ‘a wasp threatens to settle on my nose’.
The present souvenir has been issued by the London publisher and map engraver, Newman & Co, who were active at 48 Watling Street between 1845-1873. Six of the steel engravings are numbered (though not in order), six are dated May 1869, four May 1870 and the final two images are undated, and are slightly different stylistically. We have previously handled an anonymous, slightly smaller leporello on the same subject and bearing very similar images though in lithograph, and which we believed to have been issued slightly earlier - though could perhaps have been a pirate of this edition. Such was the interest in hydrotherapy however, that it had become the subject of attention for many contemporary satirists, including the noted Victorian illustrator Thomas Onwhyn (1814-86) who had produced a similar work ‘The Pleasures of the Water Cure’ in around 1855, in conjunction with the publishers Rock & Co. Whilst the present images are not those of Onwhyn, there were clearly a series of humorous images circulating amongst the various publishing houses, in all probability available for purchase as separate postcards, and which could be gathered together to form souvenir albums by the ever entrepreneurial publishing firms.
Hydropathy came to prominence in 1826, when Vincent Priessnitz established Gräfenberg in the Silesian Alps, as the first, and most famous, water cure. People flocked from all over Europe to experience the effectiveness of the treatment, with the therapy first making an impact upon Britain when Captain Claridge published his 1842 account of his visit to Gräfenberg. Though treated with suspicion by the medical profession, the public embraced the idea, thus affording plenty of commercial opportunities for the entrepreneur. Coinciding with the industrial revolution and the rapid development of the railway network, spa tourism soon took off, with numerous hydropathic hotels established across the United Kingdom, in places such as Tunbridge Wells, Cheltenham and Great Malvern, and which brought great wealth and prosperity to the towns.

1872.]. 4to, with four large folding charts, each 247 x 685mm, mounted on guards and with linen backed folds, each partially coloured; some occasional light soiling and staining, and with some minor creasing; in contemporary blue wrappers, with blue cloth back-strip, with printed paste downs, white printed label on upper cover, with a couple of small nicks to lower and outer margins, covers lightly soiled; with ownership signatures at head of upper wrapper; a good copy. A striking example of Victorian ‘infographics’. A later issue of this striking series of four engraved folding plates illustrating a chronology of British fossils: the tertiary division - pleistocene; the secondary division - cretaceous; Mesozoic; and palæozoic - permian. The final plates is the only one with an imprint, noting ‘Drawn by C. R. Bone, Compiled & Engraved by J. W. Lowry, London: Published by Edward Stanford, 12, 13, 14 Long Acre, W.C.’
According to the British Museum catalogue, the work first appeared in 1853 and was issued at that time by the CSPK, and were also available for purchase mounted on canvas and roller, varnished.
At some point, the noted map maker and seller Edward Stanford took over publication, possibly in 1872 based upon an advertisement from ‘The Teachers List’: ‘These diagrams, compiled by the eminent Scientific Men whose names are appended, and hitherto issued by the Society for Promoting Christian Knowledge, will in future be published by Edward Stanford, 6 and 6 Charing Cross, London’ (advert from 1872 ‘The Teacher’s List’ p. 59). Growing in prominence, Stanford's moved to their print works to Long Acre in 1873. According to a list on the inside rear pastedown, this was the first in a series of published ‘Diagrams of Natural History’ published by Stanford.

1884.]. Oblong small 4to, pp. 21, [3] advertisements; illustrated throughout with numerous wood engraved vignettes, and with woodcut Royal Coat of arms above colophon on inside rear wrapper; small tear to outer margin of p. 3 but not touching text, some occasional light foxing and marginal dust-soiling, but otherwise clean and bright; untrimmed and stitched as issued in the original pictorial brown card wrappers, vignettes and title in black, with Penny red postage stamp cancelled by postmark on rare wrapper illustration, some light edgewear, and corners a little furled, but otherwise a very good copy. First edition of this charming rhyming ABC for children by the noted Newcastle upon Tyne artist and author Joseph Crawhall (1821-1896), and illustrated with a series of distinctive woodcut vignettes. As the outer wrapper notes, copies could either be purchased uncoloured for one shilling, or ‘coloured throughout’ for two and six pence. The Aunt Elspa's books were named after a pet name for Joseph Crawhall's eldest daughter, Elspeth, who married Frederick Challoner in 1883.
A facsimile edition was produced of the present work by the Scolar Press in 1978. An introductory essay by Peter Stockham in that edition notes: "The partnership of the publisher Field & Tuer, and the Newcastle wood engraver Joseph Crawhall, produced some of the most striking illustrated books of the last half of the nineteenth century. The distinctive thick black lines of the cuts recall chapbook illustrations popular from the seventeenth until the earlier part of the nineteenth centuries; but Crawhill 'made it new' in a way which distinguishes him as a positive and real contributor to graphic art."
As the final colophon reveals, the Leadenhall Press clearly participated in some way at the International Health Exhibition held at South Kensington - presumably setting up a printing establishment in the street. They certainly printed keepsakes to mark the visit, as examples of a printed bifolium ‘Memento imprinted yn Ye Olde Street of London Towne ye greate attraction yn ye Health Exhibition’. Whether the present work was printed there, or back in Leadenhall Street is unclear.

1843.]. 12mo, pp. viii, 64; lightly browned with some minor soiling and creasing, gutters slightly starting in a couple of places, but otherwise clean and crisp; in the original green limp publisher’s cloth, decorated in blind, title in gilt on upper cover, hinges starting but holding firm, covers a little soiled, with some light wear to extremities; with inscription on front endpaper ‘Theodora A Helyar, from W. H. Helyar with affectionate regard, July 25 1846’ and later somewhat illegible inscription; a good copy. Presumed first edition of this short botantical work highlighting the wealth of flora to be found in the Malvern Hills, and the work of local botanist, geologist and antiquarian Edwin Lees (1800-1887) from Powick, near Worcester. The work is dedicated to fellow local resident, physician and hematologist William Addison (1802-1881), who was at the time practising in Malvern, and is dated at the end of the preface ‘May 12th 1843’.
Lees was an active and well-known figure in the West Midlands, for many years a printer and bookseller, he became the first Secretary of the new established Worcester Literary and Scientific Institution in 1829, and was appointed as one of the first members of the Council of the Worcestershire Natural History Society in 1833, also serving as Secretary of the Horticultural Society. He was elected to the Botanical Society of Edinburgh in 1836, and as a Fellow of the Geological Society in 1857. This is one of a number of published works and articles.
Provenance: Theodora Adelaide Helyar (née de Resnel, 1818-1909) was part of the long-standing Somerset family of Coker Court, East Coker. W. H. was presumably her husband William Hawker Helyar (1812-1880).
Henry Lamb (fl. 1826-1861) was an artist and lithographer, who opened his Fancy Repository Shop in Cheltenham in around 1824. Itself a burgeoning spa town, with good links to London, Lamb soon opened a second shop in the town, and in 1832 published a peepshow of the town, ‘Cheltenhamorama’, and then in 1833 ‘Views of Cheltenham and its Vicinity’ (printed in Malvern), having previously published ‘Sketches of Malvern and its Vicinity’ in 1830. His links with London brought him into contact with the noted lithographers Charles Joseph Hullmandel (1789-1850) and Godefroy Engelmann (1788-1839). At some point he opened his ‘Royal Library and Bazaar’ in Malvern itself, which sold fancy items, books, and stationery. It was visited by Darwin’s young family during one of their early visits to the town.

1810-1824.]. 12mo, pp. [iv] including wood engraved frontispiece and title-page, [5] - 35, [3] blank; text including 7 full page wood engravings, with two small tail-pieces; clean and bright; stitched as issued in the original blue semi-stiff wrappers, with mounted etched engravings to both covers, spine and covers a little rubbed, else a very good copy. An appealing introduction to London for young readers, one of a number of small popular guide-books to the city produced by the publisher Thomas Tegg. Tegg (1776-1845) set up shop in 1805 at 111 Cheapside, where he quickly established a publisher’s list of best-selling sixpenny abridgements of popular works, song-books as well as dealing in publishers’ remainders. He is particularly noted for his ‘New Picture of London’ (1803, reissued in 1814), and had previously published ‘The curiosities of London: containing a descriptive and entertaining sketch of the British Metropolis’ (ca. 1810) also bound in blue card wrappers with mounted engravings on each cover. He became a highly respected figure in the City, and issued some 4000 publications during his lifetime.
The attractive engravings depict: The Tower of London (front cover), St Paul’s (rear cover), The Royal Exchange and Bank, Newgate, St. Bartholomew’s Hospital, Somerset House, Carlton House, The Horse Guards & Admiralty, House of Lords, Foundling Hospital

1883.]. Small folio, pp. [ii] title-page, with 12 engraved colour maps mounted on guards, of which 9 are in relief; fore-edge of title-page somewhat soiled and furled, lower corner of map 5 torn and missing, light foxing and browning throughout due to card and paper quality; a few neat ink and pencil annotations to maps visible; original red blind-stamped publisher’s cloth, upper cover lettered in gilt, head and tail of spine nicked and worn, joints rubbed, spine and vertical section of rear cover sunned, some light spotting and soiling to covers, extremities and corners bumped and lightly worn; still a good copy. Assumed first edition of this rare and innovative elementary atlas for young readers by the geographer and future politician Henri Mager, printed almost entirely in relief. The atlas includes 12 maps illustrating a planisphere (not in relief), physical Europe, political Europe (not in relief), physical France, political France (not in relief), the French colonies, the Asia, Africa, North America, South America, Australia and The Alps.
Mager was born on May 17, 1859 in Paris, and eventually became a member of the Superior Council of the Colonies and Chargé de Mission in Madagascar. He travelled extensively around the world, often on behalf of the government, and notably between July 1896 and September 1897. He is also remembered for his more extensive atlas of 28 maps, ‘Atlas Complet de géographie en relief’. Neither were dated, though contemporary advertisements suggest that they were published between 1880-1883.

1870. 12mo, pp. [iv] additional engraved title-page and title, 280; lightly browned throughout with some occasional spotting, more prominent stain to pp. 77-81 seemingly caused by a previous pressed flower or leaf no longer present; original tan morocco backed Mauchline ware wooden boards, made from ‘the Breadalbane Woods, Aberfeldy’, all edges gilt, with gilt tooled turn ins, engraving of the Tay Bridge, Aberfeldy on upper cover together with a verse by Burns, and a view of Aberfeldy on rear cover, lower rear corner missing, with some minor scuffing to surfaces; an appealing copy. An appealing example of a Scottish souvenir Mauchline Ware binding. Mauchline, located 11 miles inland from the Scottish coastal resort of Ayr and for some time the home of Robert Burns, was the centre of the industry, which at its peak in the 1860s, employed over 400 people in the manufacture of small, but always beautifully made and invariably useful wooden souvenirs and gift ware. Views of Scotland dominated the transfer ware. "Burnsian" views, by far, formed the largest single grouping and views associated with Sir Walter Scott probably the second. In addition to virtually every town and village, producers immortalized a great number of beauty spots, country houses, churches, schools, ruins and even cottage hospitals in transfer ware. The Isle of Wight was particularly popular, probably due to Victoria's love of the place. The industry flourished for 160 years and during that period hundreds of thousands of high quality wood ware souvenirs were despatched around the world and were much favoured by affluent Victorian travellers.
The tail of the upper board is signed ‘John Harrower, Jeweller, Aberfeldy’.

1868. 12mo, pp. 188, [4] publisher’s advertisements; lightly browned throughout with some occasional foxing; original green morocco backed Mauchline ware wooden boards, ‘Made of Birman Wood’, all edges gilt, with gilt tooled turn ins and moiréd endpapers, transfer of the Pass of Killicrankie on upper cover, with verse from Macbeth on rear cover, head and tail of spine nicked with minor loss, both lower corners slightly chipped, with some minor surface scuffing; still an appealing copy. An appealing example of a Scottish souvenir Mauchline Ware binding. Mauchline, located 11 miles inland from the Scottish coastal resort of Ayr and for some time the home of Robert Burns, was the centre of the industry, which at its peak in the 1860s, employed over 400 people in the manufacture of small, but always beautifully made and invariably useful wooden souvenirs and gift ware. Views of Scotland dominated the transfer ware. "Burnsian" views, by far, formed the largest single grouping and views associated with Sir Walter Scott probably the second. In addition to virtually every town and village, producers immortalized a great number of beauty spots, country houses, churches, schools, ruins and even cottage hospitals in transfer ware. The Isle of Wight was particularly popular, probably due to Victoria's love of the place. The industry flourished for 160 years and during that period hundreds of thousands of high quality wood ware souvenirs were despatched around the world and were much favoured by affluent Victorian travellers.
The present example appeals to both lovers of music and Shakespeare - the binding apparently ‘made of Birnam Wood’, and includes three lines from Act 5 of Macbeth: ‘As I did stand my watch upon the hill, I looked towards Birnam, and anon me thought the wood began to more’. The cover is also signed ‘Anderson, Bookseller, Dunkeld’.

1904. 8vo, pp. xiv, with frontispiece, then random sample pages to 542, [3] index, [8] printed testimonials, [1] advertisement in half broadside giving descriptions and price of the bindings available, [16] blank ruled order book for subscribers (first page partially completed in pencil in a contemporary hand); the present example containing 31 full page plates, and numerous steel engravings (some also full page); paper a little browned due to quality; sampler in contemporary brown cloth, upper cover elaborately lettered in gilt (though faded) with title in blind on rear cover, matching spine sample hinged to fore-edge, with variant cloth sample mounted to hinged spine’s verso, variant maroon cloth sample as front paste down, with alternative blue cloth sample lettered in gilt and mounted on rear paste-down, with two alternate endpapers provided; head of spine worn, with further light wear and rubbing at tail, slight rubbing and wear to some of the other cloth samples, with some minor staining to rear cover; a good example. An appealing and variant issue of a salesman’s sampler of this popular, if perhaps slightly eccentric, work for the young on technology and science. Such sampler’s or canvassing books, previously little studied, are now being recognised as useful and important sources for the study of book publication and history. The 1898 work in full eventually spanned 535 pages with 25 leaves of plates, including the portrait frontispiece, as well as copious woodcut illustrations, many of which are also full-page.
The work is written in the form of a series of questions and answers, and is fairly wide-ranging in scope, although in the face of the rapid growth of technology, McGovern struggles at times with his explanations, clearly not fully comprehending himself, the principles that he is endeavouring to explain to his students. For example when attempting to define in common language the units of ohms, amperes, volts, joules, or watts, he simply answers, that ‘no’ they cannot be simply defined. In the chapter on ‘Life’, he asks ‘What three cardinal things may be named in the Universe?’. His answer: ‘Motion (Light and Heat), Matter and Life... Wherein does Life differ from Motion? Life is a Motion that is eccentric, jerky or suspended. It has no regularity or period. If we see a speck of Life in a drop or water, it may go here or there, or it may stand still’ (p. 316).
Chapters are devoted to electricity, x-rays, compressed air, ‘bread, cake and pastry’, cheese, nuts, coffee, salt, the spectroscope, chemistry, the bicycle, soap, ice, our clothes, india rubber, paper, glass and concluding with astronomy. An eclectic mix indeed, and whilst perhaps not the most erudite of home companions, McGovern’s work, copiously illustrated with striking engravings, nevertheless went through a number of editions and proved extremely popular.

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.

1839. Miniature 64mo, 20 x 14mm; ff. [30]; engraved throughout with wood-engraved frontispiece of Victoria, and six wood-engraved portraits and laudatory verse by Letitia Landon; in the original green gilt decorated stiff paper wrappers, all edges gilt, joints rubbed with some loss, with original matching slipcase, possible loss at tail; despite wear an appealing example of a scarce ephemeral item. A charming and exceptionally tiny miniature or ‘bijou’ almanac. ‘Albert Schloss’s English Bijou Almanac series was published for the years 1836-1843, and then continued as the Bijou Almanac by T. Goode for 1845-46, 1851-52. Bondy, (p. 42) praises the original series for its ‘true miracles of engraving illustration, binding and presentation. Each of them has six miniscule engravings, almost all portraits of famous writers, musicians, painters or stage performers. These portraits are accompanied by poems in praise of the personalities they depict’. The 8 issues are surprisingly elusive’ (Joffe and Neelands, Miniature Books). The portraits included for this 1839 edition are of the Duke of Wellington, Lady Blessington, Sir Thomas Lawrence, Beethoven & the soprano Giuditta Pasta, soprano, together with accompanying verse by the English poet and novelist Letitia Elizabeth Landon (1802-1838), as well as a historical calendar and information on royal and noble families. According to Bromer and Edison, Schloss had engaged the specialist engraver Benjamin Rees Davies for the series, who engraved each work on a single steel plate. The type is less than 3-point.
‘In the presentation of miniature books Albert Schloss in London reached a high degree of sophistication. The English Bijou Almanacks... were issued in delicately coloured and gilt-stamped flexible boards, in elegant and splendidly decorated morocco or vellum bindings, always protected by matching slipcases’ (Bondy). Elegantly fitted cases, with accompanying miniature magnifying glasses, could also be acquired to keep such vulnerable treasures safe - though is no longer present here, making it’s survival even more remarkable.

1770. 12mo in 6s, pp. [iv], 125, [15] publisher’s advertisements for Carnan and Newbery; with copper-engraved frontispiece and five full-page copper-engravings (with with slight stain at tail), and a number of charming woodcut figures within text; some occasional light soiling, with some minor edgewear to a few leaves due to rough opening, but otherwise good; an attractive copy in original Dutch floral boards, sometime expertly and sympathetically rebacked; recto of frontispiece inscribed ‘Constance R. E. Cooper, Nov 1st 1834’ and then ‘Charlotte Maria Janetta Cooper’; with Sydney Roscoe’s General catalogue plate tipped on to front endpaper with hand-written no ‘172’; housed within folding cloth box, spine lettered in gilt; a very good copy. An attractive and nice association copy in original Dutch floral boards, of the fourth edition (first 1761) of this famous children’s book, the first attempt to teach Newtonian science to a young readership. Authorship has most often been ascribed to John Newbery, the printer of the first edition, with Oliver Goldsmith as a more glamorous alternative (Welsh 314 and the Yale Goldsmith exhibition in 1928).
‘In 1761 the first of a series of books was published written by John Newbery (1713–1767) attributed to the pseudonymous Tom Telescope, the most famous being The Newtonian System of Philosophy Adapted to the Capacities of Young Gentlemen and Ladies. These books featured a young boy (Tom) lecturing his friends on the Newtonian System of Natural Philosophy. Tom Telescope books were so popular that they ran into many editions over the subsequent eighty years. All aspects of natural knowledge were incorporated under this 'Newtonian' designation because, in popular science, Newtonianism became synonymous with natural science, and the reputation of Newton sold books’ (Whipple Library). The work is well-illustrated with a number of simple woodcuts, whilst the plates show a domestic science lesson, an observatory, the moon and eclipses, an air-pump, a volcano, a ‘chariot fired by motion’. The work was to go through several revisions over the years, with the first three editions having a frontispiece and 8 plates.
Provenance: With the label of Newbery’s bibliographer, Sydney Roscoe.

As a Mark of Esteem and gratitude for her devotion to the Queen’s Brave Soldiers’. by J. Pinches, London, [1855-6]. Round white metal medallion with plain edge, 41mm in diametre, pierced for suspension,with some slight tarnishing and discolouration and some minor edgewear; without the original box; good. Uncommon and attractive medal by Pinches of London which was struck in 1856 and sold at the Crystal Palace in May of that year to commemorate the unveiling of the Scutari Monument by Queen Victoria in the presence of Crimean veterans. As contemporary reviews reveal, Baron Marochetti’s monument of four weeping angels was greeted with considerable disdain and indeed was quite unpopular, many aggrieved that he had won the commission without a preliminary public competition. The Crystal Palace statue was a facsimile in imitation granite of the actual monument erected at Scutari. Known as the "Lady with the Lamp," Florence Nightingale is considered by many to be the founder of modern nursing, revolutionizing the practice during her role as a managing nurse during the Crimean War. Her skills as a statistician aided in her preparation of visual data, further allowing vital information to be disseminated and better care thus administered.

ca. 1895]. 8vo, pp. [ii] front paste-down advertisement, iii-xiii, [i] blank, 209; with frontispiece portrait of Nightingale (included in pagination) and numerous illustrations; some light browning marginal soiling; in the original blue cloth backed pictorial glazed boards, head and tail of spine a little bumped, spine a little sunned with some soiling to boards, extremities and corners somewhat bumped and lightly worn; still an appealing copy. Uncommon fourth edition (first seemingly 1892) of this most appealing guide. ‘It must be remembered, in noting the tremendous number of applications refused - reaching nearly two thousand a year at one Hospital - that, so far, would-be nurses have had no book to guide them in making their choice of suitable institutions, and have had to apply, again and again, till they at last hit on some Hospital whose rules did not exclude them on account of age, and whose terms, course, etc., met their wishes’ (preface). Chapters provide advice on the application process, give an alphabetical list of training schools, outline the various branches of nursing from midwifery to asylum attendants, as well as including ‘the lives of some eminent nurses’, and an attractively illustrated chapter on ‘uniforms, medals and certificates’. A bibliography is also found at the rear, with a number of advertisements found on the paste-downs and endpapers. A useful text summarising the state of the profession, and its training regimen, in the late 19th century.
The third edition was published in the same year, and all editions appear scarce.

2018. Celebrating the 500th Anniversary of the College and the 400th Anniversary of the College’s Pharmacopoea Londinensis – the first pharmacopoeia to be manadatory for the whole country.
This book contains specially commissioned paintings and drawings, and late medieval woodcuts, of nearly 200 plants growing in the Medicinal Garden of the Royal College of Physicians of London which were ingredients in the College’s Pharmacopoea Londinensis of 1618. Their contemporary uses are given from the publications of Nicholas Culpeper in 1649 and John Parkinson in 1640. The 17th century names of the 634 medicinal plants used in the Pharmacopoea have been painstakingly identified and listed with their modern botanical names – an invaluable resource for all interested in the history of plant-based medicine. The artists directory is included for all who seek commissions from them.
Hardback, 224 pages, 325 x 230mm. ISBN: 978-0-9521461-7-9

1998. Large 8vo, pp. xiii, [i], 152, [10] templates; clean and bright; in the original black publisher’s cloth, spine lettered in gilt, with the original dust-jacket, unclipped with only minor edgewear; a presentation copy from the author ‘To Michael and Vivien just to “see”. This is what brought the “fame” (see page 89). Kathleen, 15 July 2005’; a very good copy. First edition and a presentation copy, with a charming self-deprecating inscription, of this important work by the leading British mathematician and politician, Dame Kathleen Mary Ollerenshaw (1912-2014), written when she was 85, and published to international acclaim, providing for the first time an algorithm for constructing a whole class of magic squares as well as a formula for counting their number.
‘Ollerenshaw's interest in the mathematical theory of magic squares also began in the early 1980s. A magic square of order 4 is one in which in the numbers from 1 to 16 are arranged in a 4x4 array in such a way that the sum of each row, each column, and the two main diagonals add to the same total. Perhaps the most well known 4x4 magic square is the one depicted in the painting Melancholia by Albrecht Dürer. The 17th century amateur mathematician, Bernard Frénicle de Bessey, determined that there are exactly 880 essentially different 4x4 magic squares, i.e. squares that cannot be obtained from one another by rotations or reflections. He did this by an exhaustive search, listing all 880 possibilities. Ollerenshaw and Hermann Bondi, a prominent cosmologist and mathematician, developed an analytical construction of the squares, thereby verifying the number 880. They published their results in a 1982 paper in the Philosophical Transactions of the Royal Society... which was reprinted a year later as a book... Ollerenshaw worked on most-perfect pandiagonal magic squares for over eight years. In a 1986 paper she made use of symmetries to determine that there are 368,340 essentially different such squares of order 8. Slowly she figured out how to construct and how to count the total number of squares, first for those whose order is a power of 2, then for squares who order is a multiple of a power of 2, and finally, after another four years of work, for all most-perfect pandiagonal magic squares with order a multiple of 4. Professor David Brée, the head of Artificial Intelligence in the Department of Computer Science at the University of Manchester, assisted Ollerenshaw in organizing, proof-reading, and putting her research notes into an appropriate form to be published as a book. Most-Perfect Pandiagonal Magic Squares: Their Construction and Enumeration was published in 1998 to international acclaim and provided for the first time an algorithm for constructing a whole class of magic squares as well as a formula for counting their number, a remarkable accomplishment for a woman of age 85. In her "personal perspective" at the end of the book, Ollerenshaw writes:
"Only now, with the work complete, is it possible for me to look back and see the process as it developed, savouring in retrospect the challenge presented when proof was first attempted, and recalling each step of the astonishing mathematical adventure that it has been...The manner in which each successive application of the properties of the binomial coefficients that characterize the Pascal triangle led to the solution will always remain one of the most magical revelations that I have been fortunate enough to experience. That this should have been afforded to someone who had, with a few exceptions, been out of active mathematics research for over 40 years will, I hope, encourage others. The delight of discovery is not a privilege reserved solely for the young."’ (Larry Riddle, Agnes Scott College, Atlanta, online biography).
Ollerenshaw (née Timpson) studied mathematics at Somerville College, Oxford, and completed her doctorate in 1945. She was President of the Institute of Mathematics and its Applications from 1978 to 1979. Ollerenshaw published at least 26 mathematical papers, her best-known contribution being to most-perfect pandiagonal magic squares. Upon her death, she left a legacy in trust to support distinguished research visitors and public engagement activities at the School of Mathematics, University of Manchester. An annual public lecture at the University is named in her honour.
An amateur astronomer, Ollerenshaw donated her telescope to Lancaster University, and an observatory there bears her name. She was an honorary member of the Manchester Astronomical Society and held the post of Vice-President for a number of years. Dame Kathleen was Lord Mayor of Manchester from 1975 to 1976, and was an advisor on educational matters to the Thatcher government during the 1980s.

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.