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 18^th 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.

1823. 8vo, pp. [iv], ii, 248; with woodcut publisher’s monogram on title-page; small tear at head of half-title and front free endpaper but without loss, text lightly browned and foxed throughout, but generally clean and crisp; in publisher’s full red morocco, spine ruled and lettered in gilt, with gilt monogram on upper cover, and tooled floral border, inner gilt dentelles, all edges gilt, marbled endpapers, some light wear to head and tail of spine, some minor surface wear; an attractive copy. First edition, and a most attractive copy, of this work intended to help students prepare for their philosophy examinations, the study of which was a required component of the Bachelor of Arts degree in France at the time. The ‘Bachelier ès-lettres’ was the first ‘grade’ available to students upon leaving school, and included the study of Latin and Greek, rhetoric, history, and philosophy (divided into logic and metaphysics). The passing of this largely oral exam was a condition for all further study in subjects such as theology, law, science and medicine.
We have so far found very little biographical information about the author, though he wrote a number of similar works aimed at aspiring students. He divides his work into two sections dealing in term with logic and metaphysics, each further subdivided into numbered ‘thèses’. These are presented in dialogue form, comprised of a series of questions and answers and thus resembling an oral examination.

1941. 8vo, pp. [2] blank, 36, [2] blank; pp. 3-34 anaglyph plates printed in red and green for 3-D viewing together; aside from some very light browning, clean and bright; with two pairs of 3-D glasses housed within a printed cream paper pocket on inside front cover; in the original cloth backed orange printed boards, head and tail of spine a little worn, light soiling to boards, extremities a little rubbed and worn; a very good copy. First edition of this striking optical work, and one of a number of innovative educational textbooks by Rudolf Pruner that incorporated stereoscopic anaglyphs, used here by Pruner to help secondary school pupils visualise and understand complex geometrical figures more easily.
An anaglyph consists of two differently filtered coloured images, one for each eye, and drawn in chromatically opposite colours (usually red and cyan). When viewed through the stereoscopic glasses, the picture revealed is an amalgamation of the two images, and gives the impression of a black figure in three dimensions. Two early proponents in France were Josepeh d’Almeida (1822-1880), and Louis Ducos du Hauron (1837-1920) who produced the first printed anaglyphs in 1891.
The introductory preface by the educationalist Dr. Josef Klíma, cites the influential work of Henry Vuibert (1847-1945), who had published ‘Les Anaglyphes Geometriques’ in 1912, as well as the 1938 work ‘Mathematische Raumbiler’ by the publishing firm Köhler-Graf-Cavlov. He believes, however, that Pruner’s work published specifically as an educational text book for school students. ‘Let these images not only enliven, but also facilitate the study of descriptive geometry’ (p. 2, google translation).

1911. Five volumes, large 8vo: I. pp. [ii] ‘legende’ to plate, [ii] half-title, [ii] cancel title-page including ‘Turin 1911’, viii, 782, [ii] blank, [iv] explanatory leaves to movable plates, copiously illustrated throughout with half-tone illustrations and diagrams and with three chromolithograph plates incorporating movable flaps (one bound at the front and two at the rear including one on rear pastedown), and with 29 of 30 plates in all comprising 2 double-page chromolithograph astronomical plates, one chromolithograph double-page map, three chromolithograph plates, and 23 black and white plates on 19 leaves (four leaves with plates on recto and verso, and three with text on verso); missing one chromolithograph plate at p. 208 depicting volcanic activity; II. [ii] ‘legende’ to plate, [iv], 771, [1], with one chromolithograph plate incorporating movable flaps, three chromolithograph plates, four double-page chromolithograph plates, and 25 black and white plates (one double-page); III. [ii] explanatory leaf to plate, [iv], 739, [1], copiously illustrated throughout, and with one chromolithograph plate incorporating movable flaps, six double-page chromolithograph maps, three chromolithograph plates and 17 black and white plates (two double-page; IV. pp. [ii] explanatory leaf to movable plate, [iv], 746, copiously illustrated throughout, with one chromolithograph plate incorporating movable flaps, 15 chromolithograph plates, 9 double-page chromolithograph maps, and 20 uncoloured plates on 15 leaves; V. pp. [ii] explanatory leaf, [iv], 829, [3] blank, xxvii general index, [1] blank, copiously illustrated throughout and with one chromolithograph plate incorporating movable flaps, 26 chromolithograph plates (two with printed overlays), 6 chromolithograph maps, and 10 black and white plates; uniformly bound in half brown morocco over tan cloth, spines ruled and lettered in gilt, upper covers with gilt vignette, lettering in white, and with blind-stamped decoration, all volumes with some light scuffing, rubbing and surface wear, and due to weight, all a little shaken; a good sound copy. DUE TO WEIGHT ADDITIONAL SHIPPING COSTS LIKELY. Seemingly the second edition, second issue with cancel title page reflecting the additional Gold Medal awarded at ‘Turin 1911’ (first 1907). A comprehensive and copiously illustrated home encyclopaedia which presents the state of knowledge at the beginning of the twentieth century. The French publisher Aristide Quillet was well-known at the time as a specialist in the publishing of detailed and richly illustrated scientific, medical and educational encyclopaedias, and ‘Mon Professeur’ is another striking example of his prolific output, as well as being a further collaboration with Philippe Hettinger, Professor at the University of Paris and ‘Directeur de la Collaboration Scientifique et Professionnelle’. Hettinger was himself the author of a number of popular works, several of which adopted the use of movable parts. Indeed ‘Mon Professeur’ includes a number of chromolithograph ‘flap’ plates, illustrating a large telescope, a colliery, an extracting machine, a dog rose, a frog, a diplodocus, and a telegraph machine.
Aristide Quillet was a passionate educator, and firmly believed that social advancement and ‘liberation’ was only possible through access to knowledge and culture. His published works, therefore, were aimed in particular at the general populace, and those who may not have had access to extensive schooling. ‘Mon Professeur’ provides a systematic introduction to a number of general topics, including astronomy, physics, chemistry, geology, botany, anatomy and physiology, geography, history, mathematics, art and design, and language and literature. Including numerous black and white, half-tone, and chromolithograph illustrations and maps, it provides an invaluable resource. It was later reprinted in 1932 in three volumes.
The present set is lacking one chromolithograph plate in volume one, and is without the separately published supplementary volume sometimes found.

1841-1843. Two text volumes, 8vo, (Vol. II a wide-margined copy, 257mm x 175mm and 280mm x 182mm) and folio atlas in two parts; pp. xxx, 302; pp. 361, [3] blank, [364] -368; ATLAS: pp. [74] and with 66 large and finely engraved plates, in two parts, pp. [39-40] second title-page ‘Parte Artificiali, dated 1843; sporadic faint dampstaining affecting upper margins of Vol. I, a little more prominent from pp. 290 to the end, but otherwise crisp and bright, with two loosely inserted contemporary notes, Vol. II with some occasional foxing and marginal soiling, atlas some text offsetting visible on title-page from other title-pages, with evidence of previous attempts to remove, text and plates with some offsetting, foxing and light soiling throughout, but generally bright, outer margins of plates 10, 26 and 63 with some more prominent dust-soiling and some marginal tearing; a mixed set, Vol. I in contemporary green half cloth over pink marbled boards, spine ruled and lettered in gilt, spine a little rubbed and scuffed with further light surface wear, corners bumped and worn, Vol. II a wide-margined copy, uncut and partially unopened in contemporary sheep-bakced marbled boards, spine ruled and lettered in gilt, inner hinge cracked but holding, head of spine torn with small loss, spine and joints worn and scuffed with small hole at tail of upper joint, corners bumped and worn, atlas in contemporary half morocco over blue paper boards, spine lettered and decorated in gilt, inner hinges repaired, boards somewhat stained and spotted, with some minor loss in places, paper splitting along tail of upper cover, corners bumped and worn. First edition, though a made up mixed set, of a scarce and little known yet comprehensive and most attractively illustrated theoretical and practical obstetrical textbook, by the Sicilian obstetrician Giovanni Raffaele (1804-1882), and probably the most important and exhaustive Italian work on the subject of the day.
Professor of obstetrics at Napoli, the work was published over two years, and covers ‘Dei parti naturali e dell’ igiene loro conveniente’, and ‘Dei travagli laboriosi e delle cure che loro convengono’. The 66 fine and precise engravings have been executed by a number of engravers, and in addition to highlighting various pelvises, numerous different presentations, also illustrate a variety of gynaecological and obstetrical instruments, with the final five plates also depicting the use of forceps.
The work is scarce, and of three complete sets previously handled, two were also mixed sets.

1849. 4to; with 12 engraved plates, four incorporating transparencies, one with accompanying die-cut ‘movable’ card disc, one with two volvelles attached by thread; all quite vibrantly coloured both mechanically and by hand, one card with printed text on verso; all cards somewhat soiled and browned due to use and paper quality, with signs of use and a few small marginal nicks with more prominent wear to the ‘Chart of the Heavens’, with the accompanying card overlay torn with slight loss ; loosely inserted within contemporary black cloth portfolio, ruled in blind, with title in gilt on upper cover, head and tail of spine neatly repaired, covers lightly stained and scuffed; with contemporary signature on front pastedown ‘12 diagrams, Mary Lucy Shee’; a good set. An appealing, though presumed mixed set, of this elementary introduction to astronomy, one of several series of affordable, vibrantly coloured educational aids for children, to be used at home, in the class-room and elsewhere: a striking example of Victorian ‘infographics’, from the publishing firm widely acknowledged to have mastered the genre, that of James Reynolds. Perhaps his most famous and iconic series, this set of 'Astronomical Diagrams' is bound in a black cloth portfolio, and includes the less common ‘Geographical diagram of the earth adapted for illustrating its movement’ which includes to partially coloured volvelles. Finding complete portfolios is increasingly uncommon, and it would perhaps be slightly naïve to assume that what appears to be a complete set, in fact contain the cards as originally purchased, and one can well imagine that some ‘judicious’ swapping may have gone on over time. Having handled a number of sets over recent years, the present set appears to include earlier issue of the cards.
The plates are: 1. The Chart of the Heavens (transparent) together with the accompanying card overlay ‘Movable Horizon arranged for the chart of the heavens’ (though overlay worn with slight loss; 2. Geographical diagram of the earth adapted for illustrating its movement, (with two partially coloured volvelles). 3. Transparent Solar System; 4. Transparent Diagram of the Phases of the Moon; 5. Comparative Magnitudes of the Planets (particularly striking) 6. The Sun and Solar Phenomena (earlier imprint without the line ‘diameter of the sun 853000 miles distance from the earth 91000000 miles and imprint reading J. Reynolds as opposed to James Reynolds and Sons seen on later versions); 7. Comets (earlier issue - later variants included aerolites); 8. The Earth and its Atmosphere (earlier issue dated March 10th 1849); 9. The Seasons (variant issue printed in sepia); 10. Eclipses (variant issue printed in sepioa); 11. The Earth's Annual Revolution round the Sun; 12. Diagram of Meteorology (with explanatory text on verso).
Born in Islington, and the son of a printer, James Reynolds seems to have started business in around 1825, setting up in the Strand. The firm went on to produce a vast array of instructive and educational material over many years, in a variety of large and smaller formats, ranging from standard maps and atlases, thematic maps on topics such as astronomy, geology, zoology and botany, tidal charts, physical maps, meteorological maps and much more. Very much an innovator in his field, though operating at the cheaper end of the market, his work was always reliable and accurate, and he routinely employed distinguished geographers such as Ernest George Ravenstein (1834-1913) and the geologist Professor John Morris (1810-1886) to advise on his diagrams. These could be purchased either in portfolio sets (usually of 12 cards, though that could vary), or individually for 1s. to enable the user to compile their own personal collection on subjects of their choice. Issued on stiff card, the majority of the diagrams were coloured (either by hand or later mechanically), and several cleverly incorporated transparencies. All beautifully executed, they were predominantly engraved by John Emslie, with whom Reynolds formed a productive, successful and enduring partnership. Their first joint production was the set of astronomical cards, issued sometime around 1846, and which proved so popular it was reprinted for decades. Reynolds was an adept and re-active publisher, who constantly revised his various publications, and provided them in a number of different and flexible formats to meet demand. Emslie went on to win a prize medal for his educational diagrams at the International Exhibition of 1862. Their publications captured the interest of the burgeoning middle classes of Victorian England, with many more parents interested in buying educational books for their children. The drive for worker’s and women’s education no doubt also fuelled demand. Reynold’s works vividly reflect the growing flowering of ‘infographics’ that emerged during the Victorian era, as the industrialisation of printing made it easier and cheaper to create books with detailed colour illustrations.

but ca. 1785]. Folio, [iv], 111, [1]; with one large folding engraved plate; entirely engraved throughout; quality of impressions varies throughout, with some engravings a little faint, and some staining visible around plate marks; without front free endpaper or half-title; occasional light staining and soiling, mainly marginal, a little more prominent in a couple of places; in contemporary green vellum, title in ms on upper cover, head and tail of spine bumped and lightly worn, joints lightly rubbed, covers somewhat soiled and darkened, extremities lightly bumped and worn; signed by the publisher Blondeau at the tail of title-page. First edition, variant issue, of an attractively printed introduction to harmony and composition, entirely engraved throughout, and intended for the use of students at the École Royale de Musique, founded in 1783, and which was subsequently to become the famous Paris Conservatoire. ‘The lessons, arranged in terms of fundamental bass theory, each introduce a different harmony from Rameau’s chord catalog, first treating so-called ‘harmonies naturelles,’... followed by a discussion of ‘harmonies artificielles’ or ‘composées’ that is, dissonant harmonies derived through various ‘artificial’ or compositional procedures for prepared chordal dissonances. Among his natural harmonies, Rodolphe, following Rameau, includes major and minor triads, the dominant seventh chord, major and minor seventh chords, the sous-dominante, as well as half-diminished and fully diminished seventh chords... Rodolphe presents each lesson in two parts: an initial dialogue describing the construction of the specific chord under consideration and its inversions... followed by a figured bass exercise demonstrationg the harmony’s standard use in one or two familiar cadential patterns’ (Masci, Charles-Simon Catel’s Treatise on Harmony and the disciplining of harmony at the early Paris Conservatory, p. 22-23).
Though described on the title-page as ‘Oeuvre 2me’, the present work is complete in itself, as noted in RISM Écrits. Rodolphe had previously published Solfège ou nouvelle méthode de musique divisée en deux parties in 1784, and the present work appears to be a separately published companion volume - in effect this being his second ‘opus’. An amendment has been made to the imprint, with a new engraved label by Blondeau posted over the original imprint ‘Gravée par F. P. Le Roy, Graveur de l’Ecole Royale de Musique; A Paris Chez le Même, Marchand de Musique Place du Palais Royal, aux Neuf-Souers, Maison du Cassé de la Régence et aux adresse Ordinaires’. Indeed the present copy has been signed by Blondeau. A second edition, with a re-engraved title-page and an imprint of ‘Chez M. Nadermann’ was published in ca. 1799. Both works were to prove immensely popular and influential at the time.
Jean Joseph Rodolphe (1730-1812) had a distinguished career as a violinist, horn player and composer during the second half of the 18th century. After studying in Paris, his early years were spent performing in Italy and Stuttgart, where he was a student Italian composer Niccolò Jommeli. Upon returning to Paris he had a successful career as a virtuoso horn player, and is known to have befriended the young Mozart during the latter’s visit to Paris in 1778. From 1784 until the Revolution, Rodolphe taught composition at the École Royale de Chant, and was later Professor of Solfège at the Paris Conservatoire (1798–1802). ‘Rodolphe was apparently an exceptionally fine horn player. It is likely that he independently developed a technique for hand-stopping, and was probably the first to introduce this innovation to Parisian audiences. By demonstrating the horn’s virtuoso and expressive resources, including a tone so sweet it was said to resemble that of a flute, he persuaded Jommelli and other composers to treat it as a solo instrument’ (New Grove online).

1890s-1900.]. Small 4to, ff. 13; 21; 12; 11; 13; 6; 13; 7 (10e leçon); 7 (11 annexe, one leaf detached); 9, (8e leçon); 12; 9 (11e); 10; 19 (leaf 6 torn, and 8 detached); 4 (Annexe à la leçon 14); 7 (14); 29; 12 (but comprised of 6 numbered double-page tables); 21; 21; 23 (small tear to fore-edge of leaf 7); 18 (20ème leçon); in lithograph throughout reproducing original manuscript notes (seemingly in varying hands) together with a single hand-drawn illustrations; paper a little browned due to quality, with some occasional light foxing and spotting throughout, with a few small tears as previously noted but without interruption of text, otherwise clean and crisp; in contemporary black sheep backed purple marbled boards, spine ruled and lettered in gilt, though erroneously spelling Sébileau as ‘Sibileau’, head and tail of spine slightly bumped, with some light scuffing to spine and surfaces, extremities bumped and lightly rubbed with some wear to upper corners; a good copy. Uncommon volume of bound course-notes on special pathology in relation to otolaryngology, reproduced in facsimile using a form of lithographic printing to capture the original manuscript notes and neatly hand-drawn illustrations.
The course notes are divided into 20 ‘leçons’, a couple of which have short additional appendixes, and appear to cover a complete year of study. Topics under instruction include: cleft lip, branchial arches, congenital neck cysts, mandibular fracture, lower jaw dislocation, peripharyngeal abscesses, maxillary fractures, submandibular lymphadenopathy, nasopharyngeal polyps, soft palate paralysis, lingual syphilis, tongue ulcerations, parotid tumours, and ranula cysts.
The course notes have been bound together, presumably by the original, sadly anonymous, owner with the spine stamped in gilt with the name ‘Sibileau’. Taking into account the subject matter, we believe this to be incorrectly spelt, and that the course notes are in fact based upon lectures given by the French surgeon and ENT specialist Pierre Sébilleau (1860-1953). His early career was spent as an interne in hospitals in Bordeaux and Paris, where from 1888 he worked as an anatomical prosector. He subsequently became a surgeon at the Hôpital Lariboisière, specialising in the field of otorhinolaryngology. In 1893 he became an associate to the Faculty of Medicine in Paris, and according to volume 14 of the journal l’Odontologie, by 1894 he was in charge of the course on special pathology at the Dental School, which formed part of the preparatory course for obtaining the diploma of dental surgeon. It seems likely, therefore, that the present set of notes relates to that course. Considered to be an eminent professor in his field, he was later to be appointed as editor-in-chief of La Gazette Médicale de Paris.

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 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.

1806. Small 16mo (104 x 82 mm), pp. 16, illustrations, one per letter, two per page for the body of the text, some offsetting of illustrations on the inside wrappers, occasional staining and dust-soiling in text but generally fairly clean, in the original printed wrappers, small worm hole on the front wrapper, darkened spine strip as printed, some dusting and small water-stains, vignette illustrations to front and rear wrappers. A charming illustrated American primer, first published in 1806, consisting of alphabets in different types, vowels and consonants, letter formations and spelling and syllable exercises. In this edition, the illustrated wrappers depict a horse standing in front of a grove of trees on the front wrapper (differing from that illustrated by Gumuchian) and a ruined castle on the rear wrapper, while the title page bears an attractive vignette of a woman with a dove and lamb. The full alphabet in large type is given on the verso of the title, while p. 3 gives a selection of alphabets and letters in different types, including double letters and numbers. The text proper begins on p. 4 and is presented in multiple columns. The top of each page is divided into two columns, with each column dedicated to one letter: starting with the letter at the top, beneath which is an illustration and then the word describing that illustration, ie. X, [portrait], Xerxes and X, [illustration], Zebra. Beneath this section, the columns vary in number according to the length of syllables or words given below. These are presented in simple lists, the first pages giving simple letter ties, ‘ba’, ‘re’, ‘py’ and so on, forming six columns. These get more complex through the primer until the final page has only three columns, listing longer words with divided syllables such as ‘Ac tor’, ‘Quar rel’, ‘Gar ter’ and ‘Yon der’.

G

1784. 8vo, pp. 27, [5]; some slight foxing; stitched as issued, in modern wrappers. Rare dissertation by the Mainz physician Karl Strack (1726-1806), on the influenza epidemic that affected not only much of northern Europe, but also North and Central America in the first half of 1782. Citing the work of Metzger and William Grant, Strack gives describes the symptoms and the spread of the disease in general, before giving a detailed case study of a pregnant woman who contracted influenza on the fourth of June. He describes the symptoms which affected the woman, and her eventual recovery.
Karl Strack (1722-1805) studied in Mainz, Paris, Berlin and Erfurt, before returning to Mainz to practice as a doctor. He became professor of surgery there, in 1754, then of physiology and pathology in 1763 and of chemistry in 1782. The present work is one of many, mainly Latin, works that Strack published throughout his career; others include an account of the Mainz General Hospital (1788) and a set of Observationes medicinales de morbo cum petechiis (1767). The present dissertation was reprinted in Ticini in 1790.
OCLC locates copies at the National Library of Medicine, the British Library and several European locations.

1754. 8vo, pp. [iii]-viii, 233, [11] including table of contents, approbation, privilege and errata; with appealing woodcut title-page vignette, woodcut head- and tail-pieces, and four folding engraved plates; small nick affecting fore-edge of pp. 9-11, insignificant minor worm-trail at tail of pp. 221-232, minor ink staining to plate I, and some occasional light foxing and spotting; otherwise clean and crisp; in contemporary full mottled sheep, spine in compartments with raised bands, tooled in gilt with morocco label, slight nick to spine at tail, upper cover a little scuffed and scratched, extremities lightly bumped and rubbed; with contemporary book-label of ‘Me. Lespinasse, Avocat’ on front pastedown; an appealing copy. First edition of this attractively printed practical elementary work on calculus and geometry, by Pierre Anastase Torne (1727-1797). Though at the time a priest in Tarbes, and a professor at the town college, Torné had long held an interest in mathematics and geometry, and according to the Biographie Nouvelle des Contemporains, was in correspondence with both Jean le Rond d’Alembert (1717-1783) and Joseph Lagrange (1736-1813) who were willing for him to share their teachings, presumably in the present work, although there appear to be no obvious citations. The work was to have some success however and was well received.
Torné was to later become a canon at Orléans Cathedral, and in 1774 delivered the funeral oration of Louis XV, having previous gained a reputation for his oratory and preaching. In 1789 he enthusiastically embraced the revolution, and travelled to Paris to join the Jacobins. He was elected constitutional Bishop of Cher in 1791. Not only politically engaged, he maintained an active correspondence with leading figures and maintained a correspondence with Rousseau. He was to later leave the priesthood and marry at the age of 66, although the marriage proved to short-lived. He eventually returned to Tarbes where he obtained a position as the librarian at the École Centrale, which allowed him to save a number of manuscripts from the revolutionary turmoil. He retained his links with the Jacobins, but died having been rejected by his family, the revolutionary bishop now somewhat forgotten.

1838. Eight parts in two volumes, 12mo; pp, [iv] half-title and additional engraved title-page in red and black, [ii] title-page, [iv], 420, [4] with eight engraved plates, the frontispieces retaining original tissue guard; pp. [iv] half-title and additional engraved title-page in red and black, [ii] title-page, 408, [4], with eight engraved plates, the frontispiece retaining original tissue guard; some foxing and browning throughout, but generally crisp; in contemporary green sheep, spines tooled, lettered and numbered in gilt, covers attractively decorated and ruled in blindstamp, all edges gilt, head and tail of spines a little rubbed and worn, spines a little faded and rubbed, with further light wear to corners and extremities; an appealing copy. Uncommon first edition thus of this attractive introduction to natural history, discussing quadrupeds, birds, reptiles and fish, shells, insects, animal-plants, vegetables and minerals. Although described by Gumunchian as the first edition of a new work by the noted educationalist and popular scientific writer Sophia Ulliac-Trémadeure (1794-1862), Les Jeunes Naturalistes in fact appeared in the same year, but published in eight separate volumes as part of a different series for young children under the title ‘Bibliothéque des Enfants. Petit Cours D’Histoire Naturelle en Huit Parties. Entretiens familiers sur l’histoire naturelle’. In a clever marketing ploy by the publisher, the text and plates are identical, but have been reset in a slightly larger format, and bound together as a two volume set, and now issued as part of the series ‘Bibliothéque d’Éducation’ (though referred to as the Bibliothéque Universelle d’Éducation’ on the half-titles). This series consisted of 30 volumes written by a number of leading popular writers of the day.
These pretty volumes introduce the young reader to the basic principles of the subject in the form of a conversation between M. and Madame Derville and their daughters Cécile and Amédée, each accompanied by two attractive engraved plates.
Sophia Ulliac-Trémadeure wrote a large number of works and was later a moving force in the ‘Bibliothèque de la jeune Fille’, for which she produced during the 1850s a number of beautiful and striking works on natural history, adorned with colour plates, and often in striking bindings.

1883.]. Large 4to, pp. [22], comprised of six pages of text, the first and last as paste-downs to covers, together with 6 full-page chromolithograph illustrations by Kronheim & Co., all mounted on linen and printed on one side only, bound so description and illustration face each other; some light browning, and minor offsetting onto text, but otherwise clean and bright; stitched as issued in the original pictorial covers, upper cover with chromolithograph image of a rhinoceros, with lettering in red and black, lower cover with a series of publisher’s advertisements, inner hinges a little exposed but holding firm, head and tail of spine a little worn, covers slightly soiled with some minor edgewear; contemporary inscription ‘For dear cousin Hannah. A more deluxe issue mounted on linen, of this vibrant work for children, although the date of publication is uncertain. Frederick Warne’s ‘Aunt Louisa’s London toy book’ series began in 1865, and as the advertisement on the present rear wrapper reveals, was to go on to include over 90 titles. Laura Valentine (née Jewry, 1814-1899), who used the pseudonym Aunt Louisa, was the general editor of Warne’s publishing house and contributed text and verses for many in the series. Their address is given as ‘Bedford Street, Strand’. The copy held at the Cotsen library appears to be another variant, including an additional American publisher of Scribner, Welford and Armstrong. Two other works in the series are noted on the rear cover, though eventually a further selection of animals was added to the series. The reader is here introduced to the giraffe, the hippopotamus, the Elk or Moose Deer, the rhinoceros, the reindeer, and finally the wild boar.
Toy Book number 44 had introduced the brown bear, elephant, leopard, dromedary, kangaroo, and the zebra. Number 46 focused upon hyaenas, the stag, the jaguar, the fox, the otter and the camel. The fourth part highlighted the lion, the tiger, the wolf, the polar bear, the orangoutang and the buffalo. Later editions seemingly abandon the text.

1831. 8vo; pp. [iv], 15, [1] blank, 15-473, 475 488, [9]; penned in a single hand throughout; dampstain affecting fore-edge from pp. 9-160 though never touching text, some occasional light foxed and soiling, a few corners a little creased, otherwise generally clean and bright; contemporary sheep-backed marbled boards, spine tooled and lettered in gilt, head of spine worn exposing headband, with loss at both upper joints, with further cracking and loss at tail of upper joint, covers scuffed and faded, extremities rubbed and somewhat worn. An extensive and neatly transcribed early 19th century manuscript course on zoology, the work of Jean Borros, whom we believe was a student at the recently opened Toulouse Veterinary School, thus providing an insight into part of the required curriculum in the early days of the establishment. Densely penned in a tight, neat hand, Borros has signed his name on the first leaf, below which is inscribed ‘eleve veterinaire’, and the manuscript is dated October 16th 1831 at its conclusion on p. 438. Purely zoological, the manuscript opens with a general introduction, before a section ‘Division du regne animal’ (pp. 42-143). The remaining portion of the manuscript comprises a ‘Tableau méthodique des mammifiéres’, subdivided into 8 orders (two-legged, four-legged, carnivores, rodents, toothless, pachyderms, ruminans and cetaceans) each order then further divided into subclasses and genre. Both domestic and exotic animals are covered, with details about characteristics and habitats described, with mammals such as kangaroos (p. 218) and buffalo and bison (p. 370-371), pangolins (260) and elephants (263) included.
France was at the forefront of establishing veterinary medicine as a profession and Toulouse was the third dedicated veterinary school to open in France in 1825, following those of Lyon (1762) and Alfort near Paris in 1766, both founded by Claude Bourgelat (1712-1779). Up until 1761, veterinary ‘art’ was practised mostly by farriers and farmers, who were either self-taught or had moved through unregulated apprenticeships. Increasing livestock plagues at the beginning of the 18th century, however, were becoming so devastating that leading figures such as Pope Clement XI, commissioned reports into ways to address the situation. France was not immune to similar outbreaks and King Louis XV and his government was equally keen to bring an end to such epidemics, as well as seeking wider agricultural reforms. Bourgelat, Director of the Lyon Academy of Horsemanship, in his 1750 work Élémens d'hippiatrique ou nouveaux principes sur la connoissance et sur la médecine des chevaux, had already argued for the need of a veterinary school, and this hope became reality in 1762, having been giving a small grant by King Louis XV to established the Lyon school. The more rigourous, standardised scientific training, soon bore fruit, and within a short time diseases such as rinderpest were stayed. As a result Louis XV officially gave Lyon the title of Royal Veterinary School in 1764, with the Alfort school opening in the following year. These schools were the first real attempts to standardise veterinary practices and science, and Bourgelat is considered to be the father of modern veterinary science.
Jean Borros is found in the Recueil de Médicine Vétérinaire pratique Journal in a list of veterinary graduates in 1834 (p. 440), and went on to practice in the Dordogne. This suggests that it was a four year course, and that this general introduction to zoology may well have been part of the first year curriculum.

1907.]. Together five boxes, Sections I-V, 240 x 190 x 80mm, and with the accompanying wooden and metal viewer; I. Abdomen containing 50 thick cards with mounted stereographs on each; II. Perimeum, Pelvis, and Thorax, containing 50 thick cards with mounted stereographs on each, box without the internal cloth tie; III. Thorax, containing 52 thick cards with mounted stereographs (Axilla no 1 stained); IV. Central nervous System, containing 52 thick cards with mounted stereographs (a couple or cards with ink underlining); V. Lower Limb, containing 46 thick cards with mounted stereographs; in all, 250 cards; cards all a little browned and lightly foxed, but otherwise good, stereographs all good; in the original dark pink cloth boxes, all five with title and explanatory labels on fore-edges (labels are somewhat browned, scuffed and faded in places), all five boxes somewhat faded, frayed and worn, with some splitting to joints, Box 3 most noticeably worn; some wear evident on viewer. ‘New edition’ of this remarkable, graphic, and at times gruesome pathological atlas of anatomy prepared under the auspices of the Department of Anatomy at the University of Edinburgh, and of particular appeal in retaining the original wooden and metal stereoscopic viewer, most often now missing. The five ‘volumes’ of boxed illustrations (resembling books with spine titles and designed to fit library shelves), contain some 250 thick cards each mounted with stereoscopic images together with accompanying explanatory text, and provide a vivid, realistic and unprecedented three dimensional view of the entire human body, helping students to gain important insights into the structure and spaces of the body.
The invention of photography had a big impact on anatomical teaching, but, like drawings, was limited by being a two dimensional representation. Stereoscopy in fact predates photography, but its mass appeal depended entirely upon the development of photographic processes. Originally little more than an optical toy, once it was amalgamated with photography it became a uniquely powerful medium. ‘Stereo photography combined the work of two Victorian inventors, Sir Charles Wheatstone and Sir David Brewster, who used photography to popularise their discoveries. Stereo negatives when exposed in a camera produced two almost identical photographs which were then placed in a viewer that enabled them to be seen three dimensionally’ (Powerhouse Museum). Stereographs, double images (taken from positions equivalent to those of the left and right eyes) presented side-by-side on a flat card and looked at through a special viewer, were displayed to great effect at the Great Exhibition in 1851, and quickly became something of a phenomenon. Initially largely for domestic use, the educational opportunities, especially for the medical profession, were soon recognised. Improved photographic technology in the second half of the 19th century further simplified the production of stereographs. The first first atlas of medicine was produced by Albert Neisser (1855-1916), who between 1894 and 1911 produced 57 boxed sets.
The date of the original edition of The Edinburgh Stereoscopic Atlas of Anatomy, overseen by the Scottish physician David Cunningham (1850-1909), is unclear though is believed to be around 1905-1906 (based on contemporary reviews, although Roberta McGrath in ‘Seeing Her Sex’ p. 144 suggests 1890), with this, the ‘New Edition’ thought to date from 1907. David Waterston, was a lecturer and senior demonstrator at the Anatomical Department of Edinburgh and prepared the anatomical dissections. The first edition was issued by the Caxton Publishing Company. Over time, it was expanded to ten volumes, that included 324 stereographs, with issues also produced in the US and Canada. An equally graphic ‘Edinburgh Stereoscopic Atlas of Obstetrics’ was issued in 1908-1909, edited by George Simpson and Edward Burnet.

1840.]. 36mo, pp. 70, [2] publisher’s advertisements; with hand-coloured engraved frontispiece and three further uncoloured engraved plates; paper a little browned with some minor offsetting from plates, in the original printed embossed wrappers, all edges gilt, inner hinge cracked but holding, upper cover ruled and lettered in black though faded, covers a little soiled, and scuffed, with crease mark to front lower corner, extremities a little rubbed; with contemporary inscription on front free endpaper, ‘Charlotte Wills from her affectionate sister Bessie, March 1st, 1841’; an appealing copy. Second edition of this charming work for young children, first published in 1837. ‘In the eighteen-thirties the range of useful knowledge was considerably extended - even to include conchology. The author is no other than Samuel Clark (1810-1875), of Darton & Clark. He gave up publishing to be ordained, but continued to write as “The Rev. T. Wilson” (James, Children’s Books of Yesterday, p. 55). This was not his only pseudonym, Clark also writing under the pen name of “Peter Parley” and “Reuben Ramble”. A keen advocate of scientific education for the young, he wrote a number of works on subjects such as geology, minerals, geography, chemistry and the physical sciences. The Monthly Review called the work ‘a little gem’ and ‘one of the sweetest tiny volumes that was ever published’, with Tait’s Magazine describing it as ‘a nice sea-side book’.

1759. 8vo (155 x 93 mm), pp. [xxiv], including engraved title, 4 numbered engraved illustrated ABC plates with letterpress text to verso, 1 unnumbered plate, illustrating numbers and the clock, and 3 numbered engraved plates of coins, two with letterpress text to verso; pp. 24 letterpress; old pastepaper wrappers; printed on strong bright paper, in good impressions.  First edition of a highly innovative Dutch ABC book. De Wit abandoned the usual Hahnenfibel format, but instead produced an entirely new genre of primer. Aware that children happily and easily memorise from looking at pictures, especially when they illustrate everyday familiar objects, de Wit uses this to introduce the letters of the alphabet, numbers and also coins. In helpful repetition the alphabet is introduced four times, black letter, Roman, in upper and lower case and Italic. So the letter A is illustrated by a little image of an ‘Aap’ (Ape), c by a circle and g for glass, etc. Similarly numbers a illustrated with repeated objects. The introduction to coins and their respective values is particularly unusual for the intended age group.
The second half of the little primer contains the usual Scriptural questions, the Ten Commandments, the Lord’s Prayer and a number of other daily prayers.
‘The idea of visual education steadily won over the enlightened minds of northern Europe. In 1759 (1755) Kornelis de Wit published Een nieuwlyks uitgevonden A.B.C. Boek - a newly invented ABC Book in Amsterdam, while the German Karl Philipp Moritz produced Neues ABC Buch (New ABC Book) in 1790. The images, accompanied by simple and rhythmic prose were intended to develop the elementary bases of reflection through observation.
The Dutch bookseller and publisher Kornelis de Wit was active in Amsterdam between 1736 and 1762. The book was popular, in addition to this 1759 edition, there is an undated edition, which is sometimes tentatively dated 1755, which seems questionable. In this 1759 edition all the plates are signed, F.D.B del. et sculp. and de Wit exudit, wheras the undated edition has half the plates without the imprint. The text is partly reset with different fleurons

1920s?]. Consisting of one lidded card box 115 x 160m, containing within four separate lidded boxes 75 x 55mm; lacking one blank blue tile, but otherwise complete, white, pink and yellow boxes containing a set of 90 coloured lettered squares (of which five are blank in each set, although as noted only four blue blank tiles); upper lid of each with printed text giving the numbers of individual letters; sets generally bright and clean, with a block of colour on each added in pen to indicate set of cards; some light soiling to boxes; retaining original green cloth ‘caller’s bag’ usually missing; with a folded set of printed rules (though torn in half but without any loss or interruption of text and still usable); rules with some pencil markings; in the original white box, upper lid printed, box lid rather dust-soiled and scuffed, worn along joints and edges, and with later sellotape repairs around the edge; still a good example of a scarce game. An appealing game, similar in vein to scrabble, and we believe an early issue, unusually retaining the original cloth callers bag and including a set of rules. The game consists of a box containing four separate boxes, each of which contains 85 small square cards with letters of the alphabet printed on both sides, together with a further 5 blank cards ‘to replace lost letters’ (though the present set lacks one blue blank tile). The four sets are printed in different colours: white, blue, pink and yellow.
‘The object of the game is to form as many and as long words as possible out of each of the sets of letters supplied... each set contains 85 letters, the proportional quantities of each letter being the same as used by printers. Each set is kept in a small box or bag, with a larger bag for the “Caller”’. Each player takes a set, except for the “Caller”, who keeps his set in a bag ‘from which he draws them one by one at random’. As each letter is called, the player takes the corresponding letter from his set, and places them ‘in not more than six vertical or horizontal columns, endeavouring to arrange them so as to form complete words, reading vertically downwards or horizontally across’.
According to the main lid, the game was ‘invented by the late Alexander Millar’, but as the instruction leaf reveals, the marketing and distribution of the game appears to have been undertaken by two sisters. The printed note states that the game could only be obtained from ‘Miss O. H. Drury’ of Farnagh, York Road, Kingstown, Dublin’. Previous sets handled suggested that a ‘Miss M.I. Drury’ was also involved in this entrepreneurial enterprise. A change in the price of the game has also been noted in ink - the original price ‘Price 1/6 per set. Postage 1 set 3d., 2 sets 5d., etc.’ now changed to ‘1/8 per set, and increased to 4d and 5d respectively’. The price of the sets appears to have changed over time, with the dispatch address also changing. The games seems to have proved relatively popular, with variant and presumably later issues identified including a printed note on the box lid of Miss M. I. Drury’s involvement. Only the Ballam collection set appears to retain the original callers’ bag (in that case blue).