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.

1870s. Large single sheet lithograph, somewhat crudely hand-coloured, sheet size 546 x 758 mm, image size 475 x 670mm; image within double-ruled black border, with central printed instructions; sheet has been folded into eight, leading to some general creasing and light wear along folds, three small wormholes, a number of small tears along main horizontal fold, some larger marginal nicks and tears, one along the right hand margin spanning about 7cms and touching the image though with no significant loss, some overall light foxing and soiling, but nevertheless an appealing and bright example. An appealing late 19^th century adaptation of the ever popular ‘game of goose’, here focusing upon European ‘railway mania’. As usual, the present game is comprised of 63 spaces, in a helical arrangement, with the central panel containing the rules. Based upon a train journey, every ninth square lands upon a station, with the other squares depicting locomotives (including the City of Strasbourg, City of Bordeaux, City of Marseille, and the Joan of Arc), wagons and tenders, points of interest along the route (including a water tower, a hydraulic pump, the guard tower), signalmen, railway points and interchanges, and a railway turntable. We see passengers buying tickets, and dining in the buffet car. Along the route, the traveller will pass through cuttings and over bridges, although the journey is not without incidence. Woe betide the player who lands on square 58 – the scene of a terrible and gory accident – an all too graphic reminder of the gruesome consequences of being run over by a locomotive.
According to a small note at the end of the central panel, the present example is based upon an idea by ‘M. Henry, Chef du mouvement au Chemin de Fer de Nancy à Sarrbruch [sic’.
Adrian Seville, in his Grolier Club exhibition of 2016 ‘The Royal Game of the Goose. 400 years of printed board games, notes a slightly earlier example issued by P. Didion, ‘Jeu des contes des fées’ (Game of Fairy Tales, exhibit 19), and which he included as being an example of provincial French production. He dates it originally to around 1860, but having been later reprinted.
‘The Game of the Goose (in French, the Jeu de l’oie) is one of the oldest known printed board games; early records of its existence in Italy date as far back as the late fifteenth century, and it appears in England as early as 1597. Like so many things, the jeu de l’oie can be played at multiple levels: children can play it to win, caring little for the journey which, like so many games of chance, requires no particular skill or talent. But, on another level, scholars mine the game for its cultural evidence, elements of social behaviour and historical cues’ (exhibition preface).
The University of Michigan appear to hold the same game, possibly an earlier variant, and which they date to 1850

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.

1837. 12mo, pp. 264; with 26 finely engraved plates (including 3 folding plates and one folding letterpress table, and one double-page table printed vertically within text); some light marginal foxing and browning throughout, with some occasional ink markings; first folding engraved ‘key’ table cropped close at head and tail and a little creased, two small nicks at tail of the folding map, touching image border but with no loss and fore-edge protuding slightly and a little furled; with old binder’s label at tail of front pastedown; in contemporary calf, spine lettered and decorated in gilt, spine slightly sunned, covers slightly scratched, extremities lightly rubbed and worn; an appealing copy. Scarce first edition of this attractive mnemonical treatise by the noted educationalist and author of several historical works, Mme Laure Boen de Saint-Ouen (1799-1838), in this instance providing a new and effective method of teaching ancient history.
Saint-Ouen had first employed her eye-catching pictorial system in 1822 in her ‘Tableaux mnémoniques de l’histoire de France’, using small emblems designed to represent significant events: for example a small upright chariot or ship signified a victory in battle, whilst an upside down equivalent depicted a loss. A sword represented an assassination, in contrast to an hour-glass signifying a natural death. Such was the success and positive reception to her 1822 work and this new and effective method of teaching history, that Saint-Ouen published a number of similar works, notably an extensive history of England (1825), as well as a history celebrating the life of Napoleon (1833).
In the present work, the first plate provides the key, with the second presenting the reader with a map of antiquity, together with a folding table providing a comparative chronology. The attractive plates that follow each include a medallion portrait of a significant personage from ancient history, together with an accompanying ‘mnemonic medallion’ comprising a combination of emblems symbolizing the events of their life. Throughout the work, Mme Saint-Ouen poses a number of exercises and questions to test the student.
Her novel method was described by contemporary reviewers as being ‘well-conceived and well executed’ and did much to revolutionise the way that history was taught in French elementary schools. Her initial plans to publish a series of European histories to include studies of Germany, Russia, and Spain, were curtailed by her untimely death.

1797. Two works in one volume, 4to; [vi], [3]-8; pp. [ii], 36, [4]; with woodcut printers device on title, and woodcut head-piece, folding letterpress table and extremely large folding hand-coloured engraved map, 25 x 150cms and signed ‘E. Akerland’; title-page of Dissertatio a little foxed with further light foxing; Afhandling lightly foxed and soiled, with dampstain affecting the upper corners between pp. 13-29; folding map neatly remounted on new stub; in modern marbled boards, with red morocco label on upper cover lettered in gilt, spine a little sunned, with light rubbing to extremities; a good copy. A bound volume containing both Schenström’s Latin dissertation ‘Dissertatio de canalibus et catarractis in Svecia generatim, speciatim vero Strömshomensibus’, together with the much expanded Swedish translation of the same year, and which graphically illustrates this feat of Swedish canal building engineering through the the finely engraved and extensive folding map, nearly one and a half metres long, and which shows the entire stretch of the structure.
Work on the 62 mile long canal, intended to facilitate the transport of iron bar produced by the numerous steel works along the waterway, began in 1772 and was based upon plans by Johan Ullström. He was commissioned by the State mining authority (the Bergskollegium) to plan its construction, and concluded that he could use and connect existing lakes and waterways from Norra Barken and Smedjebacken to lake Mälaren in the south, meaning that a section of only 10km would have to be excavated manually. The overall difference in height of the water level over the length of the canal is 100 metres, requiring boats to pass through 26 locks. Indeed the rise or fall at Hallstahammer is 50 metres.
Initially estimated to take six years, the project actually took eighteen years to complete, largely due to the lack of investors. It was finally opened in 1795, and for many years was one of the principal freight shipping waterways in Sweden, though eventually superseded by the building of the StockholmWästeras-Bergslagen railway, with the last cargo to be shipped by canal in 1948.

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’.

1734. Six parts in one volume, 8vo; pp. [ii] engraved frontispiece portrait, [iv] general title-page and dedication, [iv] engraved plate and separate title, [5] - 16, [iv] engraved plate and separate title, [21] - 32, [iv] engraved plate and separate title, [37] - 64, [iv] engraved plate and separate title, [69] - 80, [iv] engraved plate and separate title, 85 - 96, [iv] engraved plate and separate title, [101] - 110, [2] index; in all six engraved plates; with woodcut initials, and head- and tail-pieces; some occasional light foxing and browning throughout, but otherwise good; in contemporary sheep backed sprinkled boards, spine ruled in black, head of spine chipped with some loss, with both joints somewhat cracked and worn, but holding firm, covers a little cockled and bumped, extremities lightly bumped, nevertheless an appealing copy. Rare first collected edition of this series of six natural history ‘specimens’ published between 1732 and 1734, by the German theologian, poet, and natural historian Heinrich Jakob Sivers (1708-1758), discussing in particular a number of recent fossil discoveries and notably his discovery of a stone, seemingly marked with musical notation, and which he discovered whilst walking along a beach near Niendorp on the Baltic coast.
Having studied theology at Rostock University, Sivers returned to his birthplace of Lübeck in 1731 where he was accepted as a candidate for the ministry. Having already made a name for himself as a poet in Rostock, Sivers was a keen natural scientist, and shortly after his arrival back in Lübeck he published a short treatise, Descriptio lapidis musicalis, echinitae cordati et stellinae marinae’ discussing his recent discovery of a rare fossil, or ‘musical stone’. The work was dedicated to the Prussian Academy of Sciences, and whilst perhaps sounding somewhat far fetched as a theory, was nevertheless well received, Sivers in fact being awarded membership of the Academy as a result, which prompted him to publish a series of further ‘Specimina curiosorum Niendorpensium’ in quick succession, providing descriptions of lapides stellares, belemnitae, and succina. Two further short essays were published in 1734, and all six have been collected together here under a general title-page, and although paginated continuously, each retain their own separate title-pages. The famous ‘musical stone’ is illustrated in the first of six, rather crudely executed and engraved plates, by S. F. Straube, with an engraved portrait of the author included as a frontispiece.
Whilst the Academy were supportive of his efforts, Sivers’ description of his ‘musical stone’ caught the barbed attention of fellow satirical poet, Christian Ludwig Liscow (1701-1760), however, who had already taken swipe at him for both an earlier theological work, as well as pervious attempts at satirical poetry. Liscow penned ‘Vitrea Fracta’ in 1732, ostensibly a translation of a letter from one Sir Robert Clifton to a correspondent on the Russian island of Novaya Zemlya regarding an apocalyptic image he has seen in a frozen window pane, but in reality a determined swipe at Sivers, thinly disguised as ‘Mr Makewind’, who maintains a ‘cabinet of rarities’, and is ridiculed for being accepted into the Academy of Sciences. The two became embroiled in a bitter dispute, and Sivers eventually left Lübeck in 1734, for Denmark, before moving to Sweden, where he continued to pen satirical verse, and other contributions to natural science, including a work on Swedish marble.
Whilst his dispute with Liscow seems to rather dominate German biographies of Sivers, and colour their opinion of him as something of a figure of ridicule, he was clearly held in high regard within Sweden where he was respected as a polymath and noted writer, and long time correspondent with Linnaeus. Indeed the Swedish sources make no mention of Liscow. His significance as a natural history collector seems to have been recognised later, with Aikin’s 1814 ‘General Biography’ noting that during 1734 ‘he made a tour to Denmark and Sweden, in order to collect objects for a museum of natural history which he had begun to form... Sivers was a man of considerable learning, and had a library, consisting of two thousand volumes, chiefly on theological and historical subjects. He possessed also a numerous collection of antiquities, natural productions, and various curiosities of art; but in 1737 had been obliged to sell to Count Charles Gyllenborg the half of his minerals, and a pretty large cabinet of Roman coins, which the Count afterwards bequeathed to the academy of Lund’ (vol IX, p. 161).

1882. Attractive oval softwood box, with attractive printed label on lid, box containing ca. 100 small multicoloured coated discs threaded onto small wax wicks, with some spare wax; aside from some slight staining label and underside of box, and small nick in lid a fine example. No doubt an extremely scarce ephemeral survivor. This appealing box, seemingly an almost full compliment, contains a number of small night lights, manufactured by the Nuremberg firm of Joh. Leonh. Backofen. The small and extremely decorative paper discs, have been coated, and possibly scented, and are each threaded onto a small strip of wax, and would be lit to provide comfort, and possibly to fill the air with soothing fragrances, to help sleep.
Johann Leonhard Backofen is listed in the 1870 Nürnberg-Fürther Industrie-Almanach as a nightlight manufacturer, with the 1905 Zeitscrift für angewandte Chemie referring to ‘Saturn für Nachtlichte’ made by Backofen.

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.

1820. 12mo, pp. 144; with 60 charming engraved plates of costumes, hand-coloured; lacking front free endpaper; some light marginal browning and occasional light foxing and soiling, one plate with small nick in fore-edge, otherwise clean and crisp; with contemporary ownership signature on recto of frontispiece dated 1849; later 19th century binding by Bayntun’s of Bath, in full red morocco, with gilt floral border, spine in compartments with raised bands, lettered and tooled in gilt, all edges gilt, head and tail of spine and joints rubbed; with small ownership label on rear pastedown ‘AHA’. An attractive hand-coloured copy, and in a later Bayntun binding, of the third edition (first 1817), of this the most successful geographical primer by Mary Anne Venning. The work ‘skilfully blends quantitative statistics about manufactures and major rivers with qualitative judgements about national greatness. This combination propelled the text into two more editions in 1818 and 1820, and it was later published in America (in 1829, 1830, and 1831) as three separate volumes on Europe, Asia, and Africa by children’s publisher William Burgess... Venning’s ideas had a broad circulation, launching her career as a scientific writer and establishing her authority as an educator of the young’ (Norcia, p. 34).

1722.]. 8vo, pp. [31], [1] blank; with woodcut head-piece and initial; somewhat browned and lightly stained throughout, notably along lower margins and to final blank, final leaf torn at lower gutter, upper inner gutter of final three leaves wormed, with loss of a couple of letters; with marbled paper back strip, corners a little furled. Scarce issue of this guide to the treasures and curiosities of the Leipzig Senate library, the ‘Bibliotheca Senatus Lipsiensis’, by Anton Weitz (fl. 1682-1751), the custodian of the library for many years. Established in 1683, as a result of a bequest of some 2000 books made by the lawyer and scholar Huldericus Grossius (1605-1677), the library gained its reputation as much for the art work and other curiosities housed within it, as for the library itself, which by this time had substantially increased its holdings to over 25000 volumes. Weitz provides a virtual tour, guiding the reader ‘up the stairs’ to the first door, on either side of which can be seen two paintings depicting scenes from Ancient history. After giving a brief history of the libraries formation, Weitz moves through the various rooms, highlighting in turn the numerous paintings (the majority of which again depict scenes from ancient history and mythology), together with some 115 portraits of the great and good which adorn the walls.
Within the front hall could be found several cabinets housing curiosities including minerals, fossils, petrified objects, ‘exotica’, as well as mathematical instruments. Within the library itself were further cabinets containing antiquities, urns, as well as a substantial collection of notable coins and medallions, antique gems, and other scientific instruments. A pair of Blaeu globes also grace the library. Special attention, however, is given to a description of an Egyptian Mummy, one of the prize exhibits within the collection.
Above the door of the library itself, hangs an inscribed plaque in honour of Grossius. Containing many wonderful operas and collections, neatly classified according to academic disciplines and then subject matter, the library was noted in particular for its collection of foreign language bibles, scarce oriental language works, as well as many botanicals, notably a Hortus Eystettensis. Readers could also access a number of ancient manuscripts, in both Hebrew, Arabic, and Greek. The library was available for use by scholars and citizens on Wednesday and Saturday, having requested the books in advance in writing.
A short history of the library had previously been published by the then librarian, Gottfried Christian Goetz, in 1711 ‘Bibliothecam magnifici amplissimique Senatus Lipsiensis’. The present work seems to have first been published in around 1720, the date of 1722 for the present issue being derived from a paragraph on the penultimate page. Erlangen have an issue of pp. [20] with an imprint of ‘Leipzig, Druckts Johann Heinrich Richter’, and which they date to 1720 (VD18 12227587). There exists a shorter variant of pp. [24] seemingly of 1722, also printed by Zunkel, but with a differing imprint and reset using smaller font and differing head- and tail pieces (VD18 11270128). The present issue is held by Sachsen-Anhalt (VD18 90481348). It appears to have then been printed by Tietze in 1725, again with slight variants (see VD18 10214658 and VD18 13064274). All issues are scarce.

[1760.]. Small 4to, pp. [vi], 38; with woodcut initials and head- and tail-pieces; lightly browned and foxed throughout, with some faint dampstaining at upper gutter, some small discrete paper repairs at upper gutter of prelims, at pp. 36-37, and to outer margins of final two leaves; bound in later 19th century blue paper boards, though retaining original decorative paper backstrip bound in, some light rubbing and wear to spine, with slight loss of paper at head and tail; a good copy. The uncommon first printed catalogue of the anatomical collection of the University of Greifswald, founded in 1750 in conjunction with the establishment of the Anatomical Theatre and Institute, under the Directorship of the professor of anatomy, Andreas Westphal (1720-1788). Westphal had been inspired to create a ‘theatrum anatomicum’, having experienced at first hand the educational benefits of having access to an anatomical collection, during his time in Berlin studying under August Budde (1695-1753), Director of the Berlin ‘theatrum anatomicum’ and professor of anatomy and physiology. Not only inspirational, Westphal’s connections with Berlin were to prove pivotal to the foundation of the Greifswald collection, through the early acquisition of the personal collection of August Schaarschmidt (1720-1791). Schaarschmidt, a dissector of anatomy at Berlin, was himself curator of the main collection there, and author of its own first printed catalogue, ‘Verzeichniss der Merkwürdigkeiten, welche bei dem Anatomischen Theater zu Berlin befindlich sind’ in 1750. Our understanding is that this acquisition of the Schaarschmidt collection occurred around 1750, although the purchase may have taken place when Schaarschmidt left Berlin in 1760, to accept a position at the newly founded University of Bützow. Westphal seems to have born much of the cost of this purchase himself, but it formed the basis of what was to become a signification collection which was expanded by Westphal and his successors, to include a notable comparative anatomy collection of skeletons and skulls.
This, the first such catalogue of the collection, lists 175 specimens, many of which had been prepared by Westphal and his students, before then examining a number of them in greater detail. Whilst a testament to his work and dedication so far, in his dedication to the Swedish politician, Jakob Albrecht von Lantingshausen (1699-1769, and at the time commander-in-chief of Pomerania, of which Greifswald was the centre), Westphal takes the opportunity to express his desire that the anatomical cabinets be ‘fortified and expanded’, with the aim of ultimately promoting the importance of the art of dissection. During his time at Greifswald, Westphal made various appeals to the University authorities to create separate schools of surgery and midwifery, although these were ultimately rejected. Certainly his low opinion on the general level of skill of rural midwives is evident within the present preface, Westphal criticising the upper classes for entrusting their care to women who though calling themselves midwives, were frequently of poor intelligence, or at best only ‘tolerably stupid’, with no practical experience other than having been pregnant themselves, or possibly having read Justine Siegemundin’s work, and recommends that their knowledge should be assessed before letting them loose.

1890-1901.]. Large oblong album, 270 x 420 mm; ff. 33 leaves of thick paper 264 x 410mm; with 399 late Victorian calling cards, greeting cards, menus, invitations etc neatly mounted and organised, with a further 7 items loosely inserted, front and rear endpapers also used, four pages unused, and one calling card blank; a number of the cards signed or with manuscript messages of greeting, several of the mounted items with neat manuscript annotations penned below by Dietz; some light foxing, soiling throughout, with some offsetting and see-through caused by the glue, a few cards now a little faded, one or two slightly creased, and with a couple of small marginal tears; An extraordinary turn of the century personally compiled album of printed calling cards and correspondence, received over a number of years by Catinka [also Cathinka] Mackenzie de Dietz (1813-1901), noted concert pianist and former pianist to the Queen of Bavaria. As such, it throws a fascinating light upon her social circle, forming a veritable ‘Who’s Who’ of European Royalty and High Society, and made even more appealing by her acerbic and often slightly scandalous annotations! in the original ribbed brown publisher’s cloth, ruled in blind with ‘Souvenir’ in gilt on upper cover, lower joint split at tail, spine somewhat sunned, small loss of cloth on upper cover, rear cover crinkled and stained at tail, with some wear along upper margin, corners a little bumped and worn. Dietz ‘made her Paris debut on 7 February 1836 at the Salle Pleyel with the first movement of Hummel's Concerto in A Minor and Kalkbrenner's staple debut piece - his Grand Duo in D for two pianos, Op. 128 - with Thalberg. Her career revolved around placements at royal courts. By 1840 she was pianist to the queen of Bavaria; the following year she played at the French court and was appointed pianist to the queen of the French in 1845. She composed salon pieces, played regularly for Queen Victoria, and was reported to have written an oratorio for which Queen Victoria accepted the dedication. Her pianistic style was Classical, firmly within the Kalkbrenner tradition. She sometimes published under her married name, Mackenzie von Dietz.’ (Katherine Ellis, "Female Pianists and Their Male Critics," Journal of the American Musicology Society Vol. 50 2/3, p. 359). She married William Mackenzie Shaw, Managing Director of the Antwerp and Rotterdam Railways, and they apparently divided their time between Paris and Saint Germain, no doubt entertaining quite extensively, if the present array of cards is anything to go by. Amongst the small number of loosely inserted additional material, are the two black-edged mourning invitations printed by Catinka for her husband after his death on December 7th 1890.
The souvenir album houses predominantly elegantly printed calling cards, though Dietz has also retained and mounted a handful of greeting and Christmas cards, invitations, menus, and clippings. European Royalty are well represented, with several cards given by Princes, Princesses, Counts and Countesses, Viscountesses, and Barons. A high percentage of the cards have been given by other women. Others reveal her various artistic relationships, and as a whole, the album provides a wonderful snap-shot of social connections and late Victorian high society. A number have been inscribed by the giver with messages of esteem, whilst of particular appeal, Dietz herself has frequently added a little note below the card (usually in French, though sometimes English), and which often prove to be quite humorous and sometimes a little acerbic, adding some delicious flavour to this Who’s Who of the Belle Époque.
Under the card for ‘Le Comte de Barck’ she has written ‘c'est dangereuse de s'embarquer avec lui?; Alderman Wilson of Beckenham apparently gave very good dinners; Mrs Crawford Bromehead apparently ‘found the tenors kinder than her husband,’; Mrs Baker ‘was a prim lady’; Mrs R. E. Hamer ‘Her pretty face greeted her two husbands’; under the card for Lady Caroline Murray ‘Sa famille ne payait pas ses dettes’; under the card for M. & Madame Ernest du Fresnel ‘Out of sight, out of mind’; for the painter James Frutier she notes that he ‘sells spinach’; E. Nathan, ‘miaule sur son violoncelle et fait le tendre auprès du beau sexe’, whilst Camille Philipp ‘est sourd et pourtant la déesse de la mélodie lui prodigue ses faveurs’ (is deaf and yet the godess of melody lavishes him with favours). The lawyer Malioche apparently ‘does business with lost funds’, whilst she describes Georges Stigelli as ‘a heavy German who made himself an Italian singer by adding an i to his name’; whilst Albert Anschutz, a professor of piano, ‘gives music lessons, cleans, composes lullabies and prepares baths for Madame’.
Increasing attention is being given to the study of Victorian card ephemera, including calling cards, of which the present album provides a comprehensive and unique example. As the 19th century progressed, rules of deportment became more rigid, and cards helped define the complicated new social code and express its growing sentimentality. Barbara Rusch provides some insight into their importance in her essay ‘The Secret Life of Victorian Cards’ on the Ephemera Society of America’s website. ‘Cards were the ambassadors of social convention, and their subtle, covert messages were well understood by those who used them as tools in the creation of an image of respectability in an increasingly demanding and judgemental world. Particularly noteworthy are cards of social and cultural significance such as the visiting card. In Our Deportment, published in 1890, John Young observes: “To the unrefined or under-bred, the visiting card is but a trifling and insignificant bit of social paper; but to the cultured disciple of social law, it conveys a subtle and unmistakable intelligence. Its texture, style of engraving, and even the hour of leaving it to combine to place the stranger, whose name it bears, in a pleasant or a disagreeable attitude, even before his manners, conversation and face have been able to explain his social position.”... The use of cards in 19th-century daily life represented and helped define class, breeding, and status. They were a form of social contract, a common language, and ideology through which the Victorians communicated with one another, maintained moral standards and disseminated popular culture’ (Rusch).

1810. Small oblong 8vo, pp. 8; with 6 leaves of engraved writing samples; some light browning and staining, leave edges a little frayed; stab stitched in the original sugar paper wrappers with printed title label on upper cover. Apparently the first edition of this attractive penmanship copybook. Abel ‘Allison’ Wrifford (ca. 1780- 1844) was born at Hopkinton, Hillsborough, New Hampshire in 1779 and died there in 1844. He was teaching penmanship from at least 1809, the year before his New plan of writing copies was first published at Boston. He moved to Concord in 1831 and taught there and in the vicinity for several years (www.myrootsplace.com).
Although he says the method of teaching is his own, Wrifford acknowledges that the elementary principles are taken from John Jenkins’ The art of writing, 1793. Jenkins’ work, first published in Boston in 1791, was the first original American handwriting manual and was quickly copied or imitated, first by Henry Dean’s Improved analytical guide (Salem, 1805), then by James Carver’s New and easy introduction (Philadelphia, 1809). In later editions, Wrifford dropped his acknowledgement to Jenkins. What is odd about his citation of the 1793 edition of Jenkins is that no such edition survives (the 1813 edition is always referred to as the second), so Wrifford is either mistaken about the date, or he is referring to an edition which is now lost.
Further editions of Wrifford’s work appeared in 1812 and 1813.