1877. 8vo, pp. ix, [i] blank, 388, [2] errata and blank; with seven folding lithograph plates, two in sepia, and four partially coloured in red and blue; text a little foxed and browned, though overall clean and crisp, final errata leaf creased; title-page fore-edge a little cropped clipping manuscript presentation inscription slightly affecting legibility; in contemporary vellum backed marbled boards, spine lettered and tooled in gilt, upper cover a little scratched with minor loss of paper, extremities lightly rubbed; a presentation copy with extensive and profuse inscription by the author of the title-page to ‘Dottre Antonio Barbõ-(Son[cin]? second named cropped) of Venice, dated ‘Roma 14.5.77’, and with later inscription in a second hand below (and somewhat illegible); and with later 20th book-stamp on front free endpaper ‘Ex-Libris dr Ivo Confontini’. First edition of this uncommon treatise on obstetric diagnosis, by the clinician Francesco Pajusco (also Paiusco, 1842-1881). Divided into three sections, this technical work highlighting physical methods of external and internal examination and diagnosis, deals in turn with the stages of pregnancy, childbirth, and finally ‘dello stato puerperale’. The work is accompanied by seven folding lithograph plates.
Pajusco, from Vincenza, graduated from Padua when he remained as an assistant for three years. He later became an extraordinary professor of obstetrics in Sassari on Sardinia, before becoming full professor at the University of Catania. He died at the age of 36 in 1881, whilst on a visit to Berlin as part of a scientific mission on behalf of the Ministry of Education. He was the author of a second work, ‘Fisiologia ed igiene del parto’ in 1878: both works were well received by his peers.
Pajusco has penned and an extensive and profuse presentation inscription on the title-page, to a colleague, whom we believe to be the fellow Paduan Antonio Barbo-Soncin, although the inscription has been cropped close a little. ‘All ‘Illustrissimo Signor Cav.re Dott.re Antoni Barbo-Son[cin] Direttore La Gazetta Medica delle Provincie Vene[te], Direttore del Civico Spedale d. Padova ece. In uqua di perfetto estima et di profonda consideraione l’Autore. Roma 14.5.77. 11 Via della Vi[?]’. A second shorter note in a second hand follows, but is sadly somewhat illegible, although suggests that the book was passed on once again in 1879.

1842. Large 8vo, pp. [vi] including initial blank, lxvi, [ii], 472, [ii] blank; with four full-page hand-coloured ornithological plates (retaining tissue guards), two wood-engraved portraits of Buffon and Cuvier by Karl Girardet, one folding aquatint plan (somewhat foxed and cropped close at head shaving title), 51 full-page wood engraved plates, and with coloured title-page vignette and a further 214 charming coloured wood engraved head and tail-pieces; small nick with loss at title-page gutter, and small dink at head of p. 373, some foxing and soiling throughout to both text and plates, the plates at p. 92, 313, 373 and 428 very browned being printed on different paper stock; with old accession numbers in ms at head of front paper, and also stamped at lower corner; small paper pocket mounted on front pastedown, to house original engraved entrance ticket for four people, and signed in a contemporary hand ‘P(?) D, de Blainville’; in contemporary green morocco backed pebble cloth, covers ruled in blind, spine attractively tooled and lettered in gilt depicting birds, flowers, trees, a bear, giraffe and monkeys, all edges gilt, with moiré endpapers,inner hinges starting but holding firm, both upper and lower joints cracked at head, with 6cm split to upper joint, surfaces a little rubbed, corners bumped with signs of previous minor repairs; housed within later red paperbacked card slip-case. Rare deluxe hand-coloured edition of this copiously illustrated guide to the menagerie within Paris Natural History Museum. The work of Pierre Boitard (1789-1858), with an extensive historical introduction by Jules Janin (1804-1874), the work appears to have been originally published in weekly parts in the magazine ‘Le Pantheon populaire illustre’ the previous year, before being published in book form in 1842.
A two volume companion work, under a similar title, was also published between 1842-43, and which described the plants within the famous gardens themselves, penned by Pierre Bernard, Emmanuel Le Maout, and published by L. Curmer (see Grolier 65 and 66).

1926. 8vo, pp. xii, 155, [1] blank, with an initial blank; title-page printed in red and orange, text printed on a pale yellow ground; with numerous photographic illustrations and diagrams in the text, and six tables on three folding card mounts with a total 107 small samples of developed film (some slight oxidation to a number of examples, but overall in good condition); small tear at tail of p. 100 & 105, with some soiling to outer margin of p. 60, and some light marginal browning throughout; a good copy in contemporary quarter maroon morocco and marbled boards, spine ruled and lettered in gilt, tail of spine slightly nicked with minor loss, with small hole at tail of lower joint, extremities a little rubbed and bumped. First edition of this important primary source book in the history of early cinema and film production. Published by Pathé, this extensive technical manual on the development of Pathé film for motion pictures was one of a small number of such manuals published during the 1920s by the leading producers of film stock, and contains not only technical information on the colouring systems used at the time by the motion picture industry, but is notable for including sets of illustrations made of actual pieces of original nitrate film. ‘These books, together with a handful of other primary sources, constitute the basis of our knowledge of a relatively neglected topic in the study of early cinema: the effects achieved by colouring film stock’ (Paolo Chechi Usai, 'The Color of Nitrate' p. 22, in Richard Abel, ed., Silent Film, 1996).
Four basic methods of producing coloured films existed before the introduction of technicolour. These were: hand colouring (the earliest and most basic), stencil-colouring (pathécolor was a refined version), tinting (staining the film uniformly) and toning (redeveloping in a chemical bath to tint the darker, developed portions of the film only). All are illustrated here, as is the combined use of tinting and toning; 'only a relatively small section of the Pathé text deals with film coloring, but the three foldout cardboard tables of illustrations with 107 individual nitrate frames are the most complete ever published' (Paolo Chechi Usai, 'The Color of Nitrate' in Richard Abel, ed., Silent Film, 1996). Samples show the influence of under- and over-exposure; the effect of temperature on development; films with a coloured base and/or chemically toned; mordanting (for intensification); pathécolor, etc. Also included are samples of the 9.5mm home-cinema film introduced by Pathé in 1922 as Pathé-Baby. The text includes details on the use of Pathé machinery and the chemical recipes for development.

1927. 8vo, pp. 469-480; with five text illustrations and halftones; paper a little soiled and browned; in the original orange printed wrappers, slightly soiled, fore-edge nicked and a little furled and frayed. Offprint of this important paper by the Austrian/US physicist Marietta Blau (1894-1970), published during her time as an unpaid researcher at the Institute of Radium Research, Vienna (1923-1938), a follow up to ‘Über die photographische Wirkung natürlicher H-Strahlen’ (1925) and outlining her pioneering work on the development of the photographic method of detecting and observing nuclear particles and reactions, a method which was to play a prominent role in nuclear physics in the following decades. Considered extraordinarily gifted by Albert Einstein, Blau was nominated three times for the Nobel prize in physics, twice by Erwin Schrodinger. ‘Blau began to explore the possibility of finding protons and smashed atoms using photographic emulsions. Finally, in 1925, she succeeded in detecting the fragments of atoms hit by alpha particles, including the thinner, harder-to-find tracks of protons. These experiments were followed in 1926 and 1927 by a series of experiments in which Blau bombarded aluminium with alpha particles in order to measure the nuclear fragments that would emerge. Unfortunately, with a week radioactive source (the only kind available to her), she had to settle for the very lowest energy particles. It was clear that is she was going to make fast protons visible (as opposed to the much more heavily ionizing nuclear fragments or slow-moving protons), she would have to improve both the emulsion and the development process that would bring out the narrow tracks’ (Galison, Image and Logic: A Material Culture of Microphysics, p. 150).
Blau received her Ph.D. in 1919 with a thesis on ray physics and the absorption of gamma rays. Following her doctorate she moved to Berlin in 1921, taking a position with a company that manufactured X-ray tubes. This was followed by a position at the Institute for Medical Physics at the University of Frankfurt where she worked and published papers on X-ray physics. ‘Blau’s sex and her Jewish background impeded her professional advancement in Austria... When the Nazis annexed Austria in 1938, Blau, who was out of the country at the time, did not return. She worked briefly in Oslo at the invitation of her friend Ellen Gleditsch, then relocated to Mexico City. In 1944 Blau moved to New York, where she worked on radioactivity and took out several patents. She then did research at Columbia University and at Brookhaven National Laboratory. Afterward she took a position at the University of Miami’. Due to the brevity of her employment in the United States, Blau’s retirement income was very low. In order to economize on expenses, she returned to Austria for an eye operation. Poor health caused in part by radiation exposure prevented her from returning to the United States, and she died impoverished in Vienna’ (Ogilvie I, 143).

1919. Large 4to, pp. 14; with four small text figures and graphs within text; some light marginal browning, and lower corner a little creased throughout; stitched as issued in the original green printed wrappers, covers somewhat browned, sunned and a little creased, with 6cm tear with loss to fore-edge of lower wrapper, front lower, and rear upper corners torn with small loss, with further small tear in upper margin of rear wrapper; presented by the author to ‘Herr Amanuens O. Arrhenius, vãnskapsfallt frain farf’. Scarce offprint, and a nice presentation copy to Olof Arrhenius (1896-1977), by the noted, though little-known Swedish physicist Eva Ramstedt (1879-1974). The article highlights her findings and observations on atmospheric electricity conducted whilst on the International expedition to study the 1914 total solar eclipse observed across many parts of northern Europe between August 20th and 21st. Her observations were part of a larger report ‘L'éclipse totale de soleil des 20-21 août 1914’ and appeared in Part V, No 1. Extensive preparations were made by various Scientific societies across Europe to observe the total eclipse of the sun, the track of which extended across Norway and Sweden, and across Russia from Riga through Minsk and Kiev to the Crimea. In addition to Swedish and Russian astronomers and scientists there were four British official expeditions and observers from Argentina, France, Germany, Italy, Spain and the US. Plans were severely curtailed, however, with the outbreak of war at the beginning of August, and which restricted in particular the movement of those expeditions hoping to view the eclipse near Kiev and Theodosia. For those fortunate to reach Sweden, and in particular Hernossand and Stromsund, conditions were particularly conducive for research and observation.
‘Eva Ramstedt grew up in a prominent and cultured family. She was educated in Stockholm... then at Uppsala University, where she presented a dissertation on behaviour of fluids. She studied radium decay products at Marie Curie’s laboratory during 1910-1911, finding that the behaviour of the solid products depended on the surface upon which they were collected, and that the solubility of radium emanation (radon) varied with the solvent used and the temperament. Also working at the Radium Institute was the Norwegian chemist Ellen Gleditsch, with whom Ramstedt later coauthored several works. Ramstedt returned to Sweden and worked at the Nobel Institute under Svante Arrhenius, published ‘On the activity of the undisassociated molecule in ester catalysis’. She also measured atmospheric electricity while on an expedition to study the 1914 solar eclipse’ (Ogilvie II, p. 1071). As Rayner-Canham notes, ‘Just as Gleditsch was known only in her native Norway, so Eva Julia Augusta Ramstedt remains unknown outside Sweden... Ramstedt was chair of the International Federation of University Women from 1920 until 1946 and vice-chair of the corresponding Swedish organisation from 1920-1939. In recognition of her contributions to the study of radioactivity, the University of Stockholm awarded her a DSC in 1942’ (Rayner-Canham, A Devotion to their Science, Pioneer Women in Radioactivity, p. 125-6).
Provenance: Rather overshadowed by his more famous Nobel laureate father Svante Arrhenius, the agricultural chemist, Olof Arrhenius, nevertheless made various important discoveries for which he continues to be known. In 1921 he published the results of an analysis in which he counted the number of species occurring in different-sized plots and then set the results to a mathematical formulation, thereby deriving the species-area relation (one of the many uses of which includes the design of protected areas). Arrhenius worked in other areas as well, publishing a total of over two hundred articles on subjects as widely varied as soil science, sugar beet cultivation, plant growth, history of science, and metals corrosion.

1885. Large 8vo, ff. [6] including wrappers; in lithograph throughout reproducing a manuscript text in facsimile; with small vignette of Senefelder in red on upper wrapper, full page lithograph in red entitled ‘Estudo a pincel’ (brush study), a double page lithograph of Granada, full page lithograph in blue on rear wrapper of entitled ‘Orapar dos jornaes’ (Newspaper Seller), and with further vignettes incorporated into three page borders; lightly browned and soiled throughout due to paper quality; unbound in the original printed wrappers, spine expertly repaired, with some minor edge wear; a good copy of a scarce and ephemeral item. A scarce and appealing pamphlet, seemingly privately printed, and executed entirely in lithograph: we have so far been unable to locate any other copies or mentions of it. It is our belief, however, that it was one of a small number of similar items produced by various leading Portuguese lithographers in order to raise funds for victims of the devastating Andalusian earthquake which had killed over 1200 near Granada on December 25th 1884.
Although the present example has so far been unlocated, the Portuguese National Library record a collaborative work on the same theme ‘Senefelder: numero unico collaborado pelos lithographos da Imprensa Nacional e offerecido á Commissão executiva da imprensa em auxilio dos povos da Andaluzia’ published by the ‘Imprensa Nacional’ in Lisbon in 1885. For this title, five lithographers of the Imprensa, David Corarri, Zephirino Brandão, José Miguel dos Santos, Cypriano Jardim, and João Augusto Barata, jointly produced a work commemorating the work work of Alois Senefelder (1771-1834) to raise funds for the earthquake victims. At the time, chromolithography was still relatively uncommon in Portugal.
The present anonymous example certainly follows the same theme, the text being in the form of a lithographic reproduction of a cursive hand in Portuguese and accompanied by a number of vignettes and illustrations. The text begins with a section in praise of Senefelder, explaining the impetus for his creation of lithography and the process by which it was created. The rest of the text is devoted to the region of Granada, the anonymous author quoting a poem by Rodrigues Cordeiro of 1856, before then providing details of the recent disaster in Andalusia. The author concludes by applauding the ‘brilliant idea’ of the ‘members of the journalists’ association’ for having organised a fund raising initiative to help assist those families and children struggling in the face of such misery.
The work includes printed borders of various designs on 7 pages, full-page illustrations on ff. 2v (a landscape, in red entitled ‘Estudo a pincel’ or brush study) and on ff. 6v (Orapar dos jornaes - a distributor of newsletters, in purple), a double-page illustration on ff. 3v-4r (Granada, in green), and smaller images on ff. 1r (Senefelder) and 4v (an allegory, in green).
As to whether the present example was intended to be part of the collaborative work, and is by one of the lithographers cited by the Portuguese National Library we have so far been unable to establish. Our belief is that it is a separately produced work, although inspired by the wider initiative. An interesting piece of printing history.

1842. Bound manuscript in German, 4to; pp. [ii], xii, 128; with three folding illustrations and two double-sided folding tables; some occasional light browning and soiling, but otherwise clean and crisp; in contemporary green publisher’s decorative moired cloth, spine lettered in gilt, light wear to head and tail of spine with minor loss, covers very slightly soiled and scratched; a most attractive copy. A unique and finely written author’s fair copy, ready, and intended for printing as is shown by the note on the title page which refers to the plates as lithographs. The work was published in the same year (we have located only two copies), and it describes in detail a sophisticated surveyor’s table which, through a mirror system and sliding rules, enables topographical features to be directly plotted and reduced or enlarged to any desired scale. This ingenious device, was available for purchase from Dobner himself, and indeed he subsequently patented his invention (a photo-copy of the abridgement is included with the work), and which was duly recorded in the 1844 ‘Sammlung der Gesetze für das Erzherzogthum Oesterreich unter der Ens’ (Collections of laws for the Archduchy of Austria)’ (Vol. 53, pp. 460-461). According to the patent specification, the instrument was designed for copying, enlarging or reducing maps, plans or charts, with greater accuracy than with the use of a pantograph, and would enable the user to produce a permanent record of a surveyed area, and can be used without having to puncture existing maps with a compass. A contemporary review in the Oekonomische Neuigkeiten und Verhandlungen, whilst deploring the clunkiness of the author’s writing style, which he attributes to Dobner’s Hungarian origin, nevertheless recommends the benefits of the invention.
In his preface, Dobner cites the work of Georg Winckler of Mariabrunn, who in 1809 devised and publicised his ‘Spiegel-lineals’ instrument, and which may well have inspired Dobner to create his own direct plotting topographical instrument, with the aim of reducing the need for manual drawing and calculation when surveying.
The work is dedicated to Anton Karl, Count Pallfy von Erdol (1793-1879), a member of a notable Austro-Hungarian family, with estates at Malaczka. Dobner describes himself on the title page as an ‘Engineer’, and indeed the ‘Sammlung’ notes that Dobner, a noble from ‘Dettendorf und Rantenhof’ was engineer to the Pallfy family. We have been able to find little further biographical information about him, but it seems possible that he was born János Dobner de Rantenhof et Dettendorf in Győr in Hungary 1807, only 70 miles from Malaczka.

1863. Large 4to, pp. 17, [1] blank; with four large folding lithograph plates; title-page and plates a little foxed, with some minor dust-soiling; stitched as issued in the original plain wrappers, head and tail of spine chipped, covers a little foxed and soiled, extremities a little furled with a couple of small nicks. A detailed offprint of a paper discussing a traumatic dislocation of the humerus, accompanied by four fine lithographs, by Francesco Rizzoli (1809-80), professor of surgery and obstetrics at Bologna, and considered ‘the father of Italian orthopedics’ (Castiglioni, p. 716). It was first presented before the Bologna Institute of Sciences and printed in their Memoirs. ‘Italy has contributed illustrious figures to orthopaedic surgery. F. Rizzoli of Bologna, one of the first to recognize the need for the systematic study of diseases of motor apparatus, founded the institute which now bears his name, from which have come many valuable studies’ (ibid, p. 878). An outstanding operative surgeon, ‘he introduced a compressor for aneurysms, a tracheotomy, cystotomy, lithotrite, enterotome, osteoclast and performed acupressure as early as 1854’ (GM 5610 for his two volume Collezione della memorie chirurgische ed ostetriche, 1869, in which the present account was considered worthy and important enough for consideration in Vol I). A contemporary of, and indeed relation by marriage to, Paolo Baroni, Rizzoli was an integral part of a thriving scientific and medical community in Bologna, and which was at the heart of much medical advancement in Italy at the time.

1807. Hand-coloured etched broadside with engraved text, sheet size 404 x 260mm; plate mark 280 x 215mm; image with 20 lines of lettering below including title and imprint; with the number ‘118’ in manuscript in upper right corner; some light browning and soiling; an appealing example. Striking hand-coloured etching by Thomas Rowlandson (1757-1827), after a drawing by his friend and drinking companion, George Moutard Woodward (1795-1809), depicting an itinerant doctor, who by a subterfuge, cures an undergraduate hoaxer of his supposed maladies of lying and bad memory.
The etched image shows ‘the interior of an apothecary's room: jars on shelves; a counter with drawers, pestle and mortar, &c. A bust of Galen stands on the lintel of the door (r.). An alarmed undergraduate in cap and gown stands clasping his stomach. The doctor faces him triumphantly, with raised arms and holding a pill-box. His man, who wears an apron, walks off with a large box inscribed 'Anti-Fibbibus'. The (prose) inscription below the title relates that a 'College Wag' called on a 'travelling Empiric' and asked to be cured of a bad memory, and a habit of lying. He is cured by the 'gilded pill called - Pillula Memoria - Anti Fibbibus!!' The youth complains that he is poisoned with Asafœtida, the doctor answers that he speaks the truth and will never forget the medicine, so is cured’ (British Museum online).
Along with Hogarth, Gillray and Cruikshank, Thomas Rowlandson is at the uppermost peak of English satirical art. Amongst these masters, however, Rowlandson was the most gifted artist and his compositions always seemed the closest to the truth for he often lived the dissipated style of life he so memorably satirized. After studying in both Paris and London, Rowlandson began his career as a portrait painter. By 1782, however, he devoted himself almost exclusively to his first love; caricature and satirical art. After receiving a large inheritance, Thomas Rowlandson quickly gambled it away. After losing his fortune at a thirty-six hour card game he is known to have exclaimed, "I've played the fool, but (holding up his pencils) here is my resource." Working with such British publishers as Flores and Thomas Tegg, Thomas Rowlandson designed many memorable satires. Indeed this is one of a number of prints by Rowlandson published by Tegg in 1807 which are numbered in either top corner with a capital letter followed by a number, and occasionally another number in the opposite corner, each sheet with an illustration above either a song or prose text.
Rowlandson’s is best remembered however, for his collaboration with the famous London publisher, Rudolph Ackermann, to produce some of the finest satirical series in the history of art. These included The Microcosm of London (1808), the Tour of Dr. Syntax in Search of the Picturesque (1812) and The English Dance of Death, published in two volumes in 1815 and 1816.

1776. 4to, pp. [2] 27 [1] (blank); with small woodcut decoration on title, woodcut headpiece, and seven engraved plates; gathering D a little browned, with some light foxing, marginal browning and dustsoiling throughout; uncut in the contemporary blue boards, spine darkened and soiled, surfaces a little soiled and scuffed, extremities and corners somewhat rubbed and lightly worn. An uncommon offprint or separate edition of a memoir which appeared in François Rozier's Journal de physique, de chemie, d'histoire naturelle et des arts, and providing an analysis of the olive oil industry in Languedoc, Provence and Italy The mills and presses in use are described and illustrated with a discussion of their potential improvement. Rozier (1734–1793) proposes that the type of windmill in use in Flanders for crushing oil-seeds could be adapted for crushing olives; these mills are illustrated on the last two plates. The text includes up-to-date information such as the price of olives and three grades of oil in January 1776. The plates are dated December 1776.

-1870s.]. 8vo, carte de visite photograph album, ff. 15 leaves of thick card, with images on both recto and verso, and comprising a lithograph introductory text within a garland border, followed by 28 numbered albumen print photographs of comical drawings, also within matching garland borders, each with lithographed text mounted below, the ‘windows for each surrounded by chromolithograph triple gilt ruled border; somewhat dust-soiled throughout with some marginal staining, first window previously torn but now repaired, the photographs all a little faded, more so towards the end, top corners of each card clipped for easier insertion into windows, small tear at tail of ff. 2, with further light wear and occasional minor tears to each, and cards a little awkward to remove; bound within the original elaborate blindstamped red morocco album, though now considerably darkened appearing almost brown, upper cover lettered in gilt 'The Club Adventures of Alderman Akeinside', sympathetically newly rebacked to style with new endpapers and later morocco label, spine with raised bands, all edges gilt and with inner gilt dentelles, with remains of brass clasps; a most unusual and appealing ephemeral item. A wonderful and somewhat curious piece of mid to late Victoriana, and seemingly a rare production. We have so far been unable to find any record of ‘B & Co. London (Wholesale), and have only found two copies held by Institutions, and none in the UK.
Presented as a carte de visite photograph album, the work contains 29 ‘cartes’, the first of which is a lithograph introductory text, followed by 28 numbered albumen print photographs of comical drawings illustrating the gluttonous night-out of Alderman Akeinside at his club, his inebriated return home, and his final consultation with Dr. Sloe and Mrs. Akeinside. Though slightly hard to remove from their ‘windows’ (each framed by a gilt ruled border), each card has the imprint 'Published by B. & Co. London (Wholesale)', within a circle on the verso, though undated. Harvard hold what is presumably the original manuscript version, and which they date to 1850, and which contains ‘pen, pencil and watercolour’ drawings, each signed ‘GB’ or ‘GBR’. Toronto holds a copy of the present later version including the albumen carte-de-visite prints, most probably photographs of the original album held at the Houghton, and which they date to 1860.
From the Introduction: 'August ye 12th. 18-- Dine at the Club tomorrow ? Of course I shall, whoever heard of such a thing ? Mrs. A. wont eat turtle, never did: I dont like Ice: because I once fell into the Serpentine: no wonder she dont know the difference between Turtle and boiled Goose!! Some people dont know the difference between a sheeps head and a Carrot!'.

1906. Small folio, pp. 8; with 40 leaves of printed diagnostic charts, illustrating the same two images of a rear and front image of the body, each leaf serrated at gutter and designed to be torn off and completed by the physician, with blank lines are tail of each leaf for notes; in modern grey paper wrappers, stab sewn, retaining the original front printed grey wrapper and bound in, and with facsimile of original title-page mounted on upper cover; ex-libris for the Royal College of Surgeons, with stamp on original wrapper, title-page, and with two stamps on verso of each leaf of plates, dated 1906. Rare second edition of this unusual practical neurological aid, intended to be used ‘at the hospital bedside’ to help the segmental diagnosis of spinal column diseases for individual cases, and thus form part of a patients case notes file. After a brief introduction, the pamphlet is made up of 20 identical sets of detachable anterior and posterior outline sketches of the body, upon which the practitioner could mark the particular areas of sensitivity on the body. As the introduction notes: ‘The present scheme is intended to fill a gap in the series of schemes available so far. The latter dealt only with the boundaries of the peripheral nerve districts, which are known to be totally different from those of the spinal or root areas on the skin. These and other disadvantages, in particular the lack of sufficiently marked fixed points on the sink and the bone system, make the peripheral sensitivity schemes unsuitable for spinal purposes’ (google translation). Designed to be used and effectively destroyed, the survival of complete copies is therefore rare.
The work was first published in 1901, seemingly both separately, and as a journal article in the Archiv für Psychiatrie und Nervenkrankheiten. It was to prove popular with both a third and fourth editions appearing in 1911 and 1917.
Friedrich Wilhelm Seiffer (1872-1917) was a noted German neurologist and psychiatrist. He received his medical doctorate from Strasbourg in 1895 and subsequently worked at a private mental health institution in Pankow-Berlin. He subsequently worked at the psychiatric clinic of the Berlin-Charité. He was the author of further works on the general diagnosis and treatment of nervous diseases in 1902, and ‘Studies on the sense of vibration or the so-called ‘bone-sensitivity’’ in 1903, together with Rydel.

ca. 1968?.]. Offered together, 8vo pamphlet with tall broadside; 8vo, pp. 40; stapled as issued in the original printed wrappers in red and black; tall broadside, 354 x 215mm; printed in blue typescript on both sides; first side a little browned and sunned, more prominently along left margin, less prominent marginal browning on verso; good examples. Offered together, both the pamphlet and an accompanying broadsheet, of what was a controversial campaign denouncing sex education in schools as an anti-Christian Communist conspiracy. Written by Gordon V. Drake, the pamphlet was originally distributed as part of a direct mail campaign to drum up support to lobby against sex education in schools, and is considered to be one of the most widely circulated attacks on sex education in the 1960s. Apparently described by Time Magazine as ‘an angry little pamphlet’ (Time, July 25, 1969), the accompanying broadside also spares no punches. ‘And don’t kid yourself...it is a fact, that this over-all scheme to demoralize youth, repudiate the so-called ‘antiquated morals’ of Christianity, drive a cleavage between student and parents, and introduce to curious youth the abnormal in sex, is All part of a giant communist conspiracy’.
The broadside, as with the pamphlet, targets in particular the Sexuality Information and Education Council of the United States (SIECUS), and Dr. Mary Calderone, its National Director. A number of other physicians are cited, accused of being Communist sympathisers, namely Dr. Isadore Rubin of New York, and Elizabeth D. Koontz, President of the National Education Association. Schools in Anaheim, California, and in Jefferson County, Colorado, are single-out for criticism, as is Sweden - where sex education has been compulsory since 1956. ‘Today, the “venereal diseases” are running rampant through the school’.

1910. Large 8vo, pp. viii, 1160; with frontispiece sepia portrait of Jenny Springer, three Art Nouveau designed sepia part titles, 48 plates (nos 1-47 including 19a and b) all but six of which are chromolithograph and one is folding and all retaining original tissue guards, together with three additional loosely inserted chromolithograph plates (as called for in the plate list), and folding chromolithograph model of the female body incorporating flaps (all seemingly present) mounted on rear pastedown, with explanatory leaf; pp. iii-vi detached; paper somewhat browned throughout due to paper quality; in the original tan publisher’s cloth, with chromolithograph vignette mounted on upper cover, decorated and ruled in gilt, black and blue, covers a little foxed and soiled; preserved in the original buff card mailing box, with riveted edges, box rather spotted and foxed, edges torn and worn with splits along two long side joints, though still sound; a good copy. Seemingly the first edition, and a nice bright copy retaining the original card slip case, of this popular guide to home health, which was to go through numerous editions and translations, and includes some attractive Art Nouveau styled illustrations.
A contemporary of the radical public health reformer Anna Fischer-Dückelmann (1856-1917), Jenny Springer (1860-1917) gained similar renown for her pioneering work in health education and reform, and was an active campaigner in the women’s movement. After studying in Berlin, Springer became a doctor in 1898, and was one of the first women to appear as a medical expert in a German court. The present work, gained huge popularity and success.
Of interest, the present edition is in one large volume, and includes three loosely inserted plates relating to venereal disease. These plates are listed in the plate list at the end of the work and referred to within the text - from which we gather they were originally housed within a separate envelope, which is no longer present in the present example.
The work was later published in two volumes, with later editions including additional printed supplements, although we have not been able to establish what year these were included. A later German edition handled from 1925 included an ‘Album der anatomisch-zerlegbaren Modelle des männlichen und weiblichen Körpers’, ff. [iv] comprised of eight folding chromolithograph plates depicting the male and female anatomy, two of the images incorporating flaps, together with ‘Die Entwicklung des Menschen bis zur Geburt’, ff. [iv[ comprised of eight chromolithograph plates. At some point also, A. Kühner’s ‘Geschlechtskrankheiten, deren Wesen, Ursache, Schutzmassregeln und Ratschläge zur Behandlung’ was added as a further supplement, and which was also translated into Italian. This appears to be an abridgement of a larger work written by Kühner in 1911.

1898. 8vo, pp. [xiv] ‘Commendations from Eminent persons’ and advertisement, [iii]-264, [20] advertisements; frontispiece portrait of Wood-Allen; lightly browned throughout, with some occasional minor soiling, and small insignificant ink staining to outer margins between pp. 89-120; in the original plum publisher’s cloth, upper cover lettered in blind, spine lettered in gilt, head and tail of spine a little bumped and worn, light surface wear and rubbing, extremities lightly bumped and worn. First edition, seemingly later issue, of this popular advice manual, the work of the noted educationalist Mary Wood-Allen, and published as part of the ‘Self and Sex Series’ commissioned by Sylvanus Stall (1847-1915), the proprietor of the Vir Publishing Company, and who authored a number of volumes in the series aimed at a male readership.
‘Its Self and Sex series commenced publication in 1897 and included not only Stall’s several contributions to this genre, but the works of such authors as Emma Drake, Mrs. Adolphe Hoffman, Frederick A. Rupp, Hans Wegener and Mary Wood-Allen’ (Atwater 3312).
‘Wood-Allen divides her treatise into three parts. The first is devoted to topics typical of women’s physiologies of the 19th century, i.e., food, sleep, “tight clothing,” exercise, bathing, etc. Part II is devoted to the diseases of women, e.g., those arising from the “artificialities of civilized life”, menstruation disorders, the “solitary vice,”, poor posture, etc. Part III discusses love, courtship, “the gospel of heredity”, etc. What a young woman ought to know is the companion volume to Slyvanus Stall’s What a young man ought to know’ (Atwater 3859).
In her work ‘The diseases of virgins: green sickness, chlorosis and the problems of puberty’, Helen King highlights one particular area of concern for the social purity movement - that of dancing. Wood-Allen notes that it is ‘a pleasant and graceful exercise’ (p. 187), but that it should be done only in the correct social locations and circumstances. ‘If dancing could be conducted in the daytime, out of doors, among well-known home friends and companions, in proper dress, and with no round dances, there would be much to commend, and little to condemn’ (p. 74).
In the present issue, the work begins with a series of commendations for the work by leading social reformers, each accompanied by a portrait. This issue has a more extensive list of commendations, that other variants previously handled. Of the 10 figures cites, eight are leading female commentators: Lady Henry Somerset; Mrs Laura Ormiston Chant; Mrs Mary Lowe Dickinson; Mrs Matilda B. Carse; Mrs Elizabeth Cady Stanton; Mrs May Wright Sewall; Mrs Helen Campbell; and Mrs Lillian M. N. Stevens, and with further testimony given by Margaret Warner Morley and Elisabeth Robinson Scovil. The present issue includes additional advertisements at the end of the work.

1808. 4to, 234 x 180mm, bound French manuscript on heavy paper, neatly penned in a single formal and legible hand, pp. [iv], 203 (with 122 omitted, 186 repeated, 193 repeated three times), followed by 21 pages with ruled borders but without text but several leaves cut out; followed by 18 blank leaves; with calligraphic title-page and headings, ruled page borders, and one elaborate calligraphic tail-piece flourish; some occasional ink smudges, some light browning and occasional soiling, with some ink burn seemingly affecting a few of the inner ruled borders which now appeared to be ‘sliced’, but otherwise clean and crisp; in contemporary vellum boards, with remains of blue silk ties, covers a little spotted and soiled, extremities lightly bumped. An elegantly written elementary course in arithmetic undertaken by Antoine Paulet of a Nîmes, under the tutorship of the provincial French master, one M. Reumon. The usual topics are covered, including the basic arithmetical operations of addition, subtraction, multiplication, division, the rule of three, some accountancy and business methods, ending with ‘Regle de compagnie’ (fellowship). The manuscript is well organised into sections, often with a brief introduction to the mathematical process or problem, followed by examples and exercises. The blank pages with ruled borders at the end, however, suggest that Paulet failed to finish writing out his lessons.
Cyphering was the main approach to teaching and learning mathematics, and in particular arithmetic, in the 18th and 19th century. Printed books were rarely used, and teachers had manuscript sum books, which they used as teaching aids and which the students copied, often embellished with calligraphic flourishes, ink and wash sketches etc. Whilst attractively and elegantly penned, Paulet has refrained from any additional embellishments in the present volume.

1803. 8vo, two parts in one volume; pp. [vi] engraved title-page, preface and table, [ii] ‘Avis du libraire’ letterpress leaf, 1-88 engraved text, 89-92 ‘Instruction sur les nouvelles mesures’ cancel leaves printed in letterpress, [2] letterpress table ; ‘Le Spectacle de la Campagne’, pp. [ii], 54 engraved text throughout; first part with three small engravings within text at p. 17, 61, 86, with full page frontispiece engraving on verso of the title-page and facing the dedication to the Prince of Condé, two further engravings (recto and verso) at p. 88, and with 8 folding engraved plates containing several figures; second work with engraved vignette on title-page and one folding engraved plate (uncoloured); with loosely inserted double-sided leaf of manuscript tables and neat marginal annotations in ink on title-page and at p. 79; first title-page, preface and first few leaves lightly dampstaining, with further dampstaining affecting the upper margins until p. 21, further occasional light dampstaining and some minor spotting and soiling throughout, final plate with brown stain at gutter though not adversely affecting image; uncut in later red morocco backed marbled boards to style, spine attractively tooled and lettered in gilt, with vellum corners; an attractive copy. An attractive copy of this scarce handbook on surveying, by the geometer, military topographer and tactician, Louis Charles Dupain de Montesson (c.1720 -1790).
Entirely engraved throughout in an attractive italic cursive hand, together with a number of charming illustrations, this practical and popular manual was first published in 1766, originally etched with 13 charming illustrations, with a new edition appearing in 1775 now including ‘Le Spectacle de la Campagne’, and the third edition first printed in 1777. The present copy appears to be the third issue of the third edition, the second issue having appeared in 1800. The variants in this 1803 issue are found within the letterpress inclusions: the ‘Avis du Libraire’ is a cancel with the publisher’s advertisements revised; similarly the letterpress ‘Instructions sur les nouvelles mesures’ found at pp.89-92 and dealing with the metric system recently introduced, have been revised and reset for this issue. Otherwise, the engraved text for both sections, and the engravings, remain unchanged.
The work includes a frontispiece, three full-page engravings, four small etchings (that at p. 61 and on the ‘Spectacle’ title-page are signed Chevalier and dated 1776), and nine folding engraved plates - one of which relates to ‘Le Spectacle de la Campagne’. A number of the images show surveyors at work, or rustic scenes. The two full-page engravings found at p. 88 appear to show the surveyor having put aside his instruments and relaxing, the first showing him dancing with the farmer’s young daughter, and the second leaning against a tree and reading a book.
Dupain de Montesson was active during the various military campaigns of Louis XV, the role of military topographers having become increasingly important during the later half of the 18th century. It was their job to reconnoitre and survey the land in advance of the army, checking out possible battlefields, noting enemy fortifications and natural obstacles, and planning suitable marching routes for the army. The teacher of the Duc of Berry, he was the author of other works on military architecture, perspective and mathematics, including a useful manual on shadows for artists and draughtsman, ‘Le science des ombres’ (1750), a number of which were translated.

1883. 8vo, pp. 47, [1] blank, [2] publisher’s advertisement and blank, including 10 full page plates (some partially coloured in red); some occasional light foxing and marginal browning, with neat repair to gutter of p. 33; with contemporary newspaper review pasted on to front paste down, and contemporary manuscript note giving an ‘epitome of a paper given by Teale’; in the original burnt sienna publisher’s cloth, neatly recased, upper cover ruled and decorated in black, head and tail of spine a little rubbed, spine and upper cover somewhat soiled and darkened, a good copy. First edition of this instructive work by the noted surgeon to the General Infirmary at Leeds, and renowned domestic sanitarian Thomas Pridgin Teale, junior (1831 - 1923). According to the preface, Economy of Coal is an expansion of ‘a lecture delivered on November 22nd, 1882, before the Leeds Philosophical and Literary Society’ and was published ‘in the hope that it may contribute to the diminution of soot and smoke throughout the Kingdom, and so further one great aim of the sanitary reformers, the improvement of the atmosphere of towns; that it may effect a large reduction in the amount of cinders and ashes, and so lessen municipal rates; that it may enhance the comfort of the sick room by rendering a fire more free from noise and dust and more lasting; and that it may induce many persons, including the delicate, the invalid, and the hard worked family doctor, to look upon a fire in the bedroom, not as a superfluous extravagance, but as a much needed comfort, nay, as a profitable investment towards the maintenance of health’ (Preface).
Teale describes his new device for controlling the draft of a fireplace from below, the “Economiser” in full, showing how effective it is in contrast to ordinary fireplaces, which he illustrates with graphic captions. It soon became standard and was known as the “Teale Grate”, and was ‘the result of several years' experience and of a number of experiments to determine the best means of obtaining an open fireplace with slow combustion and a maximum of heating power. It abolished the old iron grate, placed high up in the fireplace, with black bars for winter and polished steel bars for summer use. The idea, however, was not wholly new, as Teale discovered to his great delight one day when, visiting Hatfield House, he found the principles he advocated were embodied there in grates of the sixteenth century’ (Plarrs Lives Online - Royal College of Surgeons).
By 1890, the Teale Fireplace Company had been established in Woodhouse Lane, Leeds, with works in Kelsall Street, run by Lionel Teale, presumably the son of the inventor, and Richard Somers. It manufactured every kind of heating apparatus.

1889.]. Boxed set containing 12 albumen print stereographs, backed with hand-coloured paper sheets, creating a transparency effect, each paired image set within a thick card frames, laid down with ornately decorated pink glazed paper; a number of cards perforated with pin-pricks to allow for lighting effects, one set with more prominent deliberate tissue excision; housed within the original blue card box with wallet lid, with chromolithograph label mounted on upper cover, extremities lightly rubbed and worn; box a little delicate, but otherwise very good. A rare and most attractive set, retaining the original printed box, of this stereoscopic adaptation of Cinderella. A fine example of tissue stereographs, or French Tissues as they were more commonly known, this technique was a creative twist on the more typical albumen stereoviews, and became a popular novelty during the late 1850s and which draw inspiration from the transparency tricks of earlier peep shows.
The set consists of 12 stereo-albumen prints (of paired images) taken from a wet collodian negative. The verso of each photograph has been delicately enhanced with a thin layer of hand-coloured tissue sheets, with a further thin layer of tissue then laid down to control the backlighting, and thus creating drama and depth of field. When viewed without a light source, the images appear flat and uninteresting, but once placed in front of a light they create atmospheric and enchanting scenes. As was typical of the genre, the thick card frame is elaborately decorated, and printed with the series title, and the name of the publisher, in this case B. K. of Paris - who produced a number of such works. Additional lighting effects could be created with the addition of pin-holes, and indeed one card in the present set has had some of the tissue neatly excised to create a beam of light, with others including pin-pricks.
The present most appealing example is part of the collection series ‘Les Théatres de Paris’, and presents a theatrical production of the famous fairy-story ‘Cinderella’, very much in vogue during the 19th century, and which formed the basis for a number of ballets, operas, and theatrical productions. We believe these photographs to be drawn from the 1866 production ‘ Cendrillon ou la Pantoufle merveilleuse, grande féerie en cinq actes et trente tableaux par MM. Clairville, Albert Monnier et Ernest Blum, musique nouvelle de M.Victor Chéri’, and performed at the Théâtre impérial du Châtelet.
The publisher ‘B.K.’ is in fact the photographer Adolphe Block (1829-1918), actor, studio photographer, and publisher, who from 1863 became known for his stereoscopic views. The inside lid of the box retains a printed catalogue, though somewhat scratched and partially erased, which lists other sets available for purchase, and includes reference to a set of views of the 1889 exhibition, which suggests this to be a later issue of the set.

1940.]. Oblong 4to, 192 x 270mm; pp. 16; text printed in red and black; illustrated throughout including some chromolithograph; some light browning and soiling, with faint hint of previous dampstaining though insignificant; stapled as issued in the original brown card wrappers, embossed and printed in red and green, upper wrapper with window, staples slightly rusted, covers a little soiled and creased, with small tear at tail of upper cover; a good copy. A scarce and striking trade catalogue issued by the New Jersey Heidritter Lumber Company and which extols the virtues of using hardwood over softwood in the construction of a house. The embossed upper cover proclaims ‘400% profit on “The House that Jack Built”’, and states that though hardwood may initially be more expensive, that the long term rewards will be significant. In particular it focuses upon the use of ‘Wisconsin Birch - the American Mahogany’. The catalogue also includes "Korelock" doors, patented in 1923, and manufactured by the Paine Lumber Company of Oshkosh, Wisconsin. The Heidritter Co., at one time operated seven saw mills and owned over two hundred and twenty-five square miles of timber lands at Quebec, Canada. This trade catalogue is seemingly unrecorded.