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  • That sex book used in Downton Abbey
    WISE PARENTHOOD by STOPES, Marie Carmichael.
    STOPES, Marie Carmichael.
    WISE PARENTHOOD A sequel to “Married Love”. A book for married people. With Introduction by Arnold Bennett. London: A. C. Fifield. 13, Clifford’s Inn, E.C.4.

    1918. 8vo, pp. [iii]-viii, 34 (final leaf advertisements); a little foxed throughout, more prominent to first and rear leaf; uncut in the original grey paper backed boards, with printed paper label lettered in red on upper cover, minor wear to head and tail of spine, label a little foxed, some light cockling to covers, a good copy. First edition, seemingly uncommon, and published hot on the heels of Stopes’ landmark controversial self-help book, Married Love, published only eight months before. Praised and vilified in almost equal measure for its frank discussion of sexual relationships and its support of married couples using birth control, Married Love had proved to be a “runaway best-seller” (DNB) and was banned from importation into the…

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    1918. 8vo, pp. [iii]-viii, 34 (final leaf advertisements); a little foxed throughout, more prominent to first and rear leaf; uncut in the original grey paper backed boards, with printed paper label lettered in red on upper cover, minor wear to head and tail of spine, label a little foxed, some light cockling to covers, a good copy. First edition, seemingly uncommon, and published hot on the heels of Stopes’ landmark controversial self-help book, Married Love, published only eight months before. Praised and vilified in almost equal measure for its frank discussion of sexual relationships and its support of married couples using birth control, Married Love had proved to be a “runaway best-seller” (DNB) and was banned from importation into the US for thirteen years. The initial 2,000 copy run sold out in the first fortnight.
    Written in response to fan letters containing questions about birth control methods, Stopes penned the present work, which was published in November 1918. A slender volume of 33 pages, it describes a number of birth control options, including condoms, withdrawal, and the rhythm method. Her strongest recommendation is for a rubber cervical cap with a quinine pessary. Wise Parenthood was itself to go through numerous editions, and it was to be the catalyst for Stopes and her second husband Humphrey Verdon-Roe to embark upon their advocacy of birth control for the working classes, culminating with the opening of the first scientific birth control clinic in the world on March 17th 1921, and the publication in 1923 of her groundbreaking work Contraception, which encapsulated views on sex education and birth control.
    As ‘Marie Stopes UK’ very recent decision to change their name to ‘MSI Reproductive Choices’ demonstrates, Stopes’ legacy is complex and coming under closer scrutiny. Stopes (1880-1958), graduate in chemistry, noted paleobotanist, campaigner for women’s rights, was also a poet and playwright, but in addition to her birth control work, for much of her life she was a supporter of the eugenics movement, opposed interracial marriage and advocated sterilization for those supposedly unfit for parenthood. These challenging views have understandably prompted a re-evaluation of her work, although few question that her birth-control activism radically improved access to contraception for working families worldwide, and her work contributed significantly towards permissiveness for family planning both in England and America.

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    Bibliography: Eaton & Warnick, Marie Stopes: A Preliminary Checklist, 191. With thanks to Anne Garner, formerly Curator at the New York Academy of Medicine, for her 2015 blog post suggesting the probable use of this book in Downton Abbey!

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  • CAHIER D'ARITHMÉTIQUE FAIT PAR ANTOINE PAULET by [STUDENT ARITHMETIC]. PAULET, Antoine, student. M. REUMON, professor
    [STUDENT ARITHMETIC]. PAULET, Antoine, student. M. REUMON, professor
    CAHIER D'ARITHMÉTIQUE FAIT PAR ANTOINE PAULET elève de M. Reumon. Nîmes le 1er Avril 1808 [half-title:] Arithmétique de Antoine Paulet fait l’an 1807.

    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…

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    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.

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  • Almost entirely engraved throughout
    LA SCIENCE DE L'ARPENTEUR DANS TOUTE SON ÉTENDUË, by [SURVEYING.] DUPAIN DE MONTESSON, Louis Charles.
    [SURVEYING.] DUPAIN DE MONTESSON, Louis Charles.
    LA SCIENCE DE L'ARPENTEUR DANS TOUTE SON ÉTENDUË, Troisiéme édition corrigée et augmentée du Spectacle de la Campagne exprimé par des couleurs sur les plans et sur les cartes. A A Paris Chez Goeury, Librarie pour les Mathématiques et l’Architecture, Quai des Augustins, No. 47. An XI -

    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…

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    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.

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    Bibliography: OCLC locates copies for this issue at UCLA, Texas, Cambridge, Oxford and the BnF.

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  • ECONOMY OF COAL IN HOUSE FIRES. by TEALE, Thomas Pridgin.
    TEALE, Thomas Pridgin.
    ECONOMY OF COAL IN HOUSE FIRES. or How to convert an ordinary fire-grate into a slow combustion stove at a small cost. Illustrated. Price, Two shillings and sixpence. London: J. & A. Churchill, New Burlington Street. Charles Goodall, Cookridge Street, and Boar Lane, Leeds.

    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 -…

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    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.

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  • Early home cinema - Cinderella rendered in transparent colour
    ATTRACTIVE SET OF 12 TISSUE STEREOGRAPHS OR FRENCH TISSUES, by [THEATRICAL STEREOGRAPHS.] [BLOCK, Adolphe, photographer.]
    [THEATRICAL STEREOGRAPHS.] [BLOCK, Adolphe, photographer.]
    ATTRACTIVE SET OF 12 TISSUE STEREOGRAPHS OR FRENCH TISSUES, Illustrating a production of Cinderella: Cendrillon Féerie. Les Théatres de Paris. 12 Scènes Vues Au Stéréoscope. B. K. Editeur, Paris, [Photographies en tous genres vuews de tous les pays, A. Block, Edit, Paris]. [n.d. but ca.

    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…

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    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.

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    Bibliography: One set located at Harvard, which may be earlier, with variant title ‘Cendrillon Féerie du Théâtres Impérial du Châtelet’.

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  • “THE HOUSE THAT JACK BUILT” by [TRADE CATALOGUE.] HEIDRITTER LUMBER CO.,
    [TRADE CATALOGUE.] HEIDRITTER LUMBER CO.,
    “THE HOUSE THAT JACK BUILT” or the cost of hardwood versus softwood. The Actual Experience of a Home Builder. [The Heidritter Lumber Co. Elizabeth, New Jersey.] n.p. but presumably New Jersey, n.d. but ca. 1920-

    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…

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    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.

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  • LE CALCUL AMUSANT. by TRIM, (RATISBONNE, Louis, pseudonym).
    TRIM, (RATISBONNE, Louis, pseudonym).
    LE CALCUL AMUSANT. La Table de Pythagore Servie aux petits enfants par Trim et ornée par Bertall. [colophon: Coulommiers. Imprimerie Paul Brodard]. [imprint from upper cover], Paris, Librairie Hachette et Cie. Boulevard Saint-Germain, 79, (n.d. but ca. 1862).

    1862. 4to, ff. [1] title-page, 22; each leaf incorporating hand-coloured engraved illustrations; some occasional minor browning and dust-soiling; final endpaper a little creased with small nick at lower edge; in the original blue cloth backed pictorial boards, hand-coloured, head and tail of spine very lightly rubbed, some minor soiling to covers. First edition (variant issue) of this most attractive mnemonical work, introducing the young reader to the basics of counting and multiplication, through the use of a series of appealing illustrations and rhyming couplets. ‘Le roi Holopherne et Judith, Six foix huit font quarante-huit’.
    Louis Ratisbonne (1827-1900) was born in Strasbourg. During an extensive literary career, he collaborated on the Journal des débats from 1853 to 1876, became librarian of…

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    1862. 4to, ff. [1] title-page, 22; each leaf incorporating hand-coloured engraved illustrations; some occasional minor browning and dust-soiling; final endpaper a little creased with small nick at lower edge; in the original blue cloth backed pictorial boards, hand-coloured, head and tail of spine very lightly rubbed, some minor soiling to covers. First edition (variant issue) of this most attractive mnemonical work, introducing the young reader to the basics of counting and multiplication, through the use of a series of appealing illustrations and rhyming couplets. ‘Le roi Holopherne et Judith, Six foix huit font quarante-huit’.
    Louis Ratisbonne (1827-1900) was born in Strasbourg. During an extensive literary career, he collaborated on the Journal des débats from 1853 to 1876, became librarian of the Palais de Fontainebleau in 1871, of the Bibliothèque du Luxembourg in 1873, and then of the Senate in 1876. His most important work was a verse translation of the Divine Comedy, which was recognised by the L’Académie française. In the work of children’s literature, his fame rests under his pseudonym of ‘Trim’, Ratisbonne penning a series of popular and attractively illustrated instructional albums for young children, all published by Hachette.

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    Bibliography: OCLC locates copies at Princeton, the University of Southern Mississippi, the British Library, the BnF and the National Library of Spain; tall appear to have a variant colophon: that of Charles Lahure et Cie, and the date is taken from a BnF copy of the same title.

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  • Employing 12 ‘cinematographic’ films on 480 flicker cards
    SEX EFFICIENCY THROUGH EXERCISES. by VAN DE VELDE, Theodor Hendrik.
    VAN DE VELDE, Theodor Hendrik.
    SEX EFFICIENCY THROUGH EXERCISES. Special physical culture for women. With 480 Cinematographic and 54 full-page illustrations. London, William Heinemann (Medical Books) Ltd.

    1933. 8vo, pp. xviii, 164; with 54 full page illustrations and a series of 12 ‘cinematographic’ films on 480 flicker cards; some occasional light foxing and soiling, card cover between flip cards a little browned, with 6cm tear to supplement card divider but without loss, with further small nick to outer margin of card; with old manuscript initials in upper corner of half-title; in the original blue publisher’s cloth, ruled in blind and lettered in gilt on upper cover and spine, joints, head and tail and extremities lightly bumped, rear cover with very faint white staining; a very good copy. First edition of this striking and remarkable 1930s guidebook for women, featuring exercises for reproduction, childbirth and sexual pleasure. The…

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    1933. 8vo, pp. xviii, 164; with 54 full page illustrations and a series of 12 ‘cinematographic’ films on 480 flicker cards; some occasional light foxing and soiling, card cover between flip cards a little browned, with 6cm tear to supplement card divider but without loss, with further small nick to outer margin of card; with old manuscript initials in upper corner of half-title; in the original blue publisher’s cloth, ruled in blind and lettered in gilt on upper cover and spine, joints, head and tail and extremities lightly bumped, rear cover with very faint white staining; a very good copy. First edition of this striking and remarkable 1930s guidebook for women, featuring exercises for reproduction, childbirth and sexual pleasure. The book includes a ‘Cinematographic Supplement’ of twelve flicker-card films, each demonstrating the author’s exercise manoeuvres in the sequential photographic style first made famous by Muybridge.
    ‘It aims at providing a guide for women and those who help them (whether as doctors, midwives, nurses and gymnastic instructresses) in the full evolution and utilisation of the feminine sexual capacities and faculties. These capacities and faculties are generally quite inadequate in practice; they should include both appropriately active participation in the act of sexual congress and appropriate voluntary muscular action which assists the act of birth’ (Preface).
    Theodor Hendrik van de Velde (1873-1937), was a Dutch gynaecologist and author of The Perfect Marriage (1926), a liberal treatise which was quickly put on the Catholic Index, a decision which no doubt contributed to the work’s success. It is not clear whether Sex Efficiency through Exercises was also censored, but it is hard to believe that such a work, which includes a series of naked images of women in the flicker cards, would have escaped unscathed in the 1930s. It certainly makes for somewhat uncomfortable reading today, despite being of interest for the innovative illustrative techniques used. A complex and challenging work.

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  • A GEOGRAPHICAL PRESENT; by VENNING, Mary Anne.
    VENNING, Mary Anne.
    A GEOGRAPHICAL PRESENT; being descriptions of the principal countries of the world. With representations of the various Inhabitants in their respective costumes, beautifully coloured. Third Edition. London: Printed for Harvey and Darton, Gracechurch-Street.

    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.…

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    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).

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    Bibliography: Darton: G975 (3); Lipperheide, 480; Osborne, I, p. 193 (first edition); see Megan Norcia, X Marks the Spot: Women Writers Map the Empire for British Children, 1790-1895 ff. 33 for a detailed discussion of the work

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  • An Encyclopedia of Arts and Sciences - with full length portrait of William Harvey
    EIGHTEEN BOOKS OF THE SECRETS OF ART AND NATURE, by WECKER, Johann Jacob.
    WECKER, Johann Jacob.
    EIGHTEEN BOOKS OF THE SECRETS OF ART AND NATURE, being the summe and substance of Naturall philosophy, methodically digested. First designed by John Wecker Dr in Physick, and now much augmented and inlarged by Dr. R. Read. A like work never before in the English tongue. London: printed for Simon Miller at the Starre in St. Pauls Church-yard,

    1660. Folio, pp. [8] 346 (i.e. 336, 229–238 omitted) [12], of which index on pp. [1]–[8] and advertisements on [9]–[11], last page blank; woodcut printer’s device on title, woodcut head and tailpieces and initials, and numerous woodcut diagrams in the text; etched title-page incorporating 5 busts and 2 full length portraits, signed ‘Ric: Gaywood sculp’; paper slightly discoloured, with some occasional light spotting and soiling; contemporary blind ruled unlettered sheep, with early paper shelf labels on spine, head of spine nicked, upper joint cracked and split at head and tail, lower joint split at head, spine somewhat rubbed, with further light wear and scuffing to covers and extremities; from the library of the Earls of Macclesfield with South Library bookplate…

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    1660. Folio, pp. [8] 346 (i.e. 336, 229–238 omitted) [12], of which index on pp. [1]–[8] and advertisements on [9]–[11], last page blank; woodcut printer’s device on title, woodcut head and tailpieces and initials, and numerous woodcut diagrams in the text; etched title-page incorporating 5 busts and 2 full length portraits, signed ‘Ric: Gaywood sculp’; paper slightly discoloured, with some occasional light spotting and soiling; contemporary blind ruled unlettered sheep, with early paper shelf labels on spine, head of spine nicked, upper joint cracked and split at head and tail, lower joint split at head, spine somewhat rubbed, with further light wear and scuffing to covers and extremities; from the library of the Earls of Macclesfield with South Library bookplate on front paste-down, and embossed crest on prelims. First edition (reissued in the following year with a cancel title-page). A translation by William Rowland of Wecker’s De secreti libri xvii, edited and augmented by ‘Dr R. Read’ or ‘Reade’.
    Based on Wecker’s De secreti libri xvii, first published in 1582 and by now a brand name for the genre, this was conceived as ‘an Encyclopaedia of Arts and Sciences, interwoven with facetious Conceits to recreate the fancy’. The compiler, Dr R. Read or Reade, whose portrait is incorporated in the engraved title, has not been identified. He gives a long list of ‘Authors made use of in this Treatise’ which adds, Culpeper, Digby, Galileo, Harvey, Hobbs, Lady Howard and Platt to those used by Wecker. He sneaks in his own name between Rondolet and Rhasis. Every imaginable topic of natural science, natural magic, arts, trades, sports and pastimes is included, each secret attributed to an authority – from which it is clear that the list of authors is incomplete.
    The fine etched title-page is by Hollar’s pupil Richard Gaywood (c. 1630–1680) and incorporates full length portraits of Harvey and Bacon, and busts of Alexis of Piedmont, Albertus Magnus, Dr Read, Wecker and Lull. Gaywood was one of the most prolific etchers of his generation, active between 1644 and 1668, taking over from Hollar as the principal supplier of etched, as opposed to engraved portraits, and a collaborator with Francis Barlow. Johnson, Catalogue of Engraved and Etched English Title-pages records 14 of his title-pages (mistakenly giving his name as Robert) but overlooks this one.
    Harvey sat for a portrait in 1648 or 9, possibly to Hollar, which Evelyn records was ‘etcht by a friend of mine’. It was intended as a frontispiece to Harvey’s De generatione animalium (1651), but not used there, and shows Harvey as a rather sad old man. The etching is generally attributed to Gaywood, as is the engraved title to De generatione animalium. When he came to incorporate Harvey in the title-page here, where Harvey and Bacon hold back the curtains to reveal the words ‘secrets of art and nature’, Gaywood gives Harvey the same cloak with buttoned sleeves, but he is a more dapper figure in knee breeches showing a shapely leg. Gaywood made several portraits of Harvey, the earliest in about 1649, and the oil portrait in the National Portrait Gallery is after one his etchings.
    In 1884 Ferguson said the book was ‘far from being common’ and that his copy was ‘like all these books rather the worse for wear’. This is a rare copy in an excellent state, unrestored in its original blind ruled binding.

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    Bibliography: Wing W1236; ESTC R12839; Ferguson 3, pp. 39–40 and supt. 3, p. 35; Krivatsy 12628; for Gaywood see Antony Griffiths, The print in Stuart Britain (1998), p. 169; for Gaywood’s earlier portrait of Harvey see Geoffrey Keynes, Life of William Harvey (1978), pp. 333–4 and plate XXVIII.

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  • KURTZE NACHRICHT VON E. HOCH-EDL. UND HOCHW. RATHS ZU LEIPZIG BIBLIOTHEC by WEITZ, Anton.
    WEITZ, Anton.
    KURTZE NACHRICHT VON E. HOCH-EDL. UND HOCHW. RATHS ZU LEIPZIG BIBLIOTHEC
    und denen daselbst befindlichen vornehmsten Curiositäten. [n.p. but Leipzig] Gedruckt bey Christoph Zunkel. [n.d. but ca.

    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…

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    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.

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  • First catalogue of the ‘theatrum anatomicum’ at Greifswald
    VEREICHNIß DER PRÄPARATEN WELCHE AUF DEM ANATOMISCHEN THEATER DER AKADEMIE ZU GREIFSWALD by WESTPHAL, Andreas.
    WESTPHAL, Andreas.
    VEREICHNIß DER PRÄPARATEN WELCHE AUF DEM ANATOMISCHEN THEATER DER AKADEMIE ZU GREIFSWALD befindlich sich nebst einer vorrede von dem einfluß der zergliederungskunst in die glückseligkeit eines staats. Stralsund geduckt bey Hieronymus Johann Struck.

    [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).…

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    [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.

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    Bibliography: Erman & Horn, Bibliography of German Universities II, no. 6421; not in Murray, Museums; see Wegner, Richard N. ‘Die Geschichte des Anatomischen Instituts und Museums der Universität Greifswald aus der Festschrift zur 500- Jahrfeier der Universität Greifswald (Wiss. Z. Ernst- Moritz- Arndt- Univ., Math.- Naturw. R. 2 (1956) 282- 297).

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  • Including styles ‘suitable for females’
    A NEW PLAN OF WRITING COPIES, by WRIFFORD, Allison.
    WRIFFORD, Allison.
    A NEW PLAN OF WRITING COPIES, with accompanying explanations and remarks, written, designed, and systematically arranged by A. Wrifford... Engraved for the author, by D. Fairman, and printed by W. Hooker – and for sale by the various booksellers throughout the United States. Boston: W. Hooker for the author,

    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…

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    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.

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    Bibliography: Shaw & Shoemaker, 22109; Nash, American Penmanship, 38; not in Bonacini or Berlin; R. Williams, ‘Without a borrowed hand: the beginnings of American penmanship’ Society of Scribes Journal (2000), 3–11; OCLC locates copies at Columbia, Yale, Chicago, Indiana, Harvard, Johns Hopkins, Minnesota, Dartmouth College, Princeton, the American Antiquarian Society, the Huntington, and the British Library.

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