1839. 8vo, pp. 19, [1] blank, [of 24? but seemingly complete in itself], and without Part II ‘Presenting a practical explanation of the science of phrenology’ often bound together; with woodcut frontispiece; with numerous manuscript annotations throughout giving the character analysis, presumably in authorial hand; lightly browned throughout with some spotting and soiling, with small tear to gutter of first leaf; stitched as issued, retaining the original rear pink wrapper only, a little dog-eared. Variant issue of this brief phrenological analysis of one ‘Mast. Jas. A. Garochty, age 7 y’ by the noted Boston phrenologist John Fletcher. Fletcher gave evening lectures and offered private examinations and written descriptions of individuals’ character and abilities.
This appears to be a variant, possibly earlier issue. The copies on OCLC call for pp. 23 for this first part, and indeed a digitised copy located at Stanford confirms this. However on comparison it shows two additional paragraphs have been added towards the end of the work, together with a small woodcut diagram, these revisions possibly done to coincide with the publication of ‘Part II’, providing a ‘Practical explanation of the science of phrenology’. The typesetting on the present example is much more condensed. Offered here is Part I only, with some copies on OCLC noting both parts bound together.
Fletcher had published a longer 176 page work on the subject, under the title, ‘The Mirror of Nature, presenting a practical illustration of the Science of Phrenology, accompanied by a Chart’ in 1838.

1833. Single year brass calendar medal, 39 mm in diametre, with central shield shaped calendar table of Sundays in each month, with Dominical Letter and surrounding inscriptions giving date of calendar, law terms and date and time of eclipses, with on the obverse a central portrait of George IV surrounded by concentric panels giving principle feasts days of the year and noting new and full moons; a little burnished with some small areas of staining. A nice, bright example, though unsigned, of a pocket calendar medal, of particular appeal featuring as it does the portrait of William IV. Such pocket aide-mémoires found widespread popularity during the late 18th and early 19th centuries, with noted makers such as John Powell and Peter Kempson (1755-1824), both originally button-makers from Birmingham, amongst the most prolific coin and token manufacturers. Neither ever featured a monarch’s portrait however, making the present example more unusual.
The obverse provides the calendar table, as well as noting both sun and moon eclipses, and noting the law terms: Hillary Term Jan 11 to Jan 31; Easter Apr. 15 to May 8; Trinity May 22 to June 12; Michls Nov 2 to Nov 25.
The obverse features a bust facing right of Willian IV ‘King of Great Brit.’ and is surounded with three concentric circles noting the main feast days of the year, and noting the New and Full moons.
Coin auctions point to this being possibly the work of Halliday (1771-1844), and though we have not been able to compare visually, the present examples certainly bears strong similarities to examples by him held at the British Museum. ‘Medallist, token-engraver, manufacturer of buttons, studs, Halliday originally worked at Soho Mint before setting up own business, first at Islington Row and Ann Street, then at 69 Newhall Street for some 30 years until his death. He is considered to have produced some of the best commemorative medals of national and personal events, including Reform, Anti-Slavery and Public Institution medals. ‘With Thomas Halliday, the design of the calendar medal, basically unaltered since 1742, underwent a considerable change. The square calendar table on the obverse becomes shield-shaped with the law terms arranged along edge and the lunar table and the memorable dates alongside it are replaced by a circular arrangement. For the first time a portrait bust of the British monarch appears in the centre on the reverse, firstly of George IV and from 1830 of William IV’ ‘Silke Ackermann, Maths and Memory, Calendar Medals in the British Museum, Part I, The Medal, no. 45, Autumn 2004, p. 41.

1873-1893]. Offered together ten large engraved handkerchieves printed in red and black, all seemingly on fine cotton though one perhaps printed on silk, of varying sizes but on average 670 x 760mm, each comprising panels of text together with accompanying engraved military vignettes and insignia; the majority hemmed at top and bottom, all displaying evidence of wear and use to varying degrees, with some browning and staining as to be expected, with occasional marginal tears and holes, though none overly detrimental nor interrupting meaning, and aside from No. 4 which is a little faded, all good strong impressions; a number bearing stamps in black ink, which we presume to be regimental/infantry numbers, with a couple also bearing embroidered monograms; for a full description see below; a visually striking and scarce set, one of the most complete seemingly offered together. A fine series (a constructed set) of ten portable and multi-purpose military aide-mémoires for soldiers, conveniently and strikingly printed in durable ink on fine cotton handkerchieves in red, white and black. Each comprises a series of instructional text panels accompanied by appropriate illustrations and vignettes, covering weapon assembly and usage, equestrianism and equine care, field artillery, general equipment, battlefield medicine and the treatment of the wounded, guidance for reservists, and the construction of military bridges and river crossings.
In the wake of France’s humiliating defeat in the Franco-Prussian war, general conscription was implemented in France in 1872. Though education was now compulsory in France, levels of illiteracy were still high, and much of the training was conducted orally, but other methods were required to ensure that the new generation of soldiers were properly prepared. The series appears to have been the inspiration of Commandant Pierre Perrinon of the Rouen garrison, who devised the idea of printing basic military information in such a way that soldiers could have it on their person at all times. Being strong, light weight and resilient, the handkerchief could also serve as a scarf, bandage, tourniquet or sling, as well as being used for its original purpose as a handkerchief if required! They could also be easily shared around the barracks or in the field whilst training, or indeed on active service. A patent for the idea was filed in 1875 and the diffusion of these ‘mouchoirs’ was eventually authorised by the Minster of War, Farre, on November 29th in 1880. They remained in circulation until 1909. Perrinon provided the instructional text, and all were produced in Rouen, printed by E. Renault, and were the original work of the Buquet workshop of engravers. Whilst instructional, the text is inevitably highly patriotic, the soldiers frequently being exhorted to do their duty, and never leave their post. ‘Vive la France’ is the constant refrain, with the new recruits encouraged to ‘Do what you must, come what may, and you will be a good citizen, a good soldier, and an honest man to all’ (No. 5).
Both Renault and Buquet were already renown for the production of attractive commemorative handkerchiefs. Between 1830 and 1905 the Buquet’s engraved over 300 such examples, on a range of topics including politics, humour, commemorative, and practical, as demonstrated here. The Rouennais ‘mouchoirs’ are all renowned for their rich iconography, the handkerchiefs serving a number of purposes from the decorative to the educational, and could be worn tied around the neck, could be used to carry objects, or were pinned to the wall.
Though the present series is numbered 1 to 10, three revisions and updates were also issued over time, thus eventually running to thirteen ‘mouchoir’. The offered series does not include an early version of No 1, on the disassembly and reassembly of the Chassepot Model 1866 rifle (only one example online so far traced); No. 4 ‘Démontage remontage de la carabine de Cavalerie 1890’ (only one copy so far seen online); or the first issue of No. 9 on the 1886 Lebel rifle. The revised issued of 1893 is offered here. Nearly all bear either black ink stamps, or embroidered initials and marks which we presume to be regimental - no doubt relating to the infantry company, possibly to help the the quartermaster keep an inventory of them during routine laundry, further numbers and initials presumably referring to an individual soldier. As far as we are aware, this is the most complete set offered to date, and comprises:
No. 1 ‘Démontage remontage du revolver 1873. Noir Indestructible. Deposé. Brevete S.G.D.G. Fabrique de E. Renault à Rouen. A. Buquet, des et grav’. 820 x 780mm, with central panel depicting the gun, surrounded by 20 engraved vignettes and text; top and bottom edges unhemmed and so a little frayed, with 4cm nick to left margin but with no significant loss, somewhat browned with a few stains; though assumed cotton, this example does feel somewhat silk like.
No. 2. ‘Démontage remontage du fusil modele 1874. Noir Indestructible. Deposé. Brevete S.G.D.G. Fabrique de E. Renault à Rouen’. 680 x 765mm, with central panel depicting the gun, surrounded by 20 engraved vignettes and text; hemmed top and bottom edge, text somewhat browned with some staining and creasing; with regimental stamps in black ink ‘B24732’ and ‘21EM’.
No. 3. ‘Cavalerie instruction sur le cheval. Noir Indestructible. Deposé. Brevete S.G.D.G. Fabrique de E. Renault à Rouen.’ 700 x 770mm, with central engraved vignette comprised of music for two bugle calls, surrounding by a circular vignette of images and text, with further circular images, musical notation, and four corner vignettes providing further instruction on equestrian care, top and bottom edge hemmed, with evidence of previous pin holes in corners, with upper right and lower left corners torn with some loss, some fraying to edges and a few small marginal tears; some light browning and foxing, stamped with the nos ‘3165’ in black ink
No. 4. ‘Cavalerie. Instruction pour le paquetage et route. De Campagne et de Parade. Noir Indestructible. Deposé. Brevete S.G.D.G. Manufacture de E. Renault à Rouen. A. Buquet, Dessin et Gravure’ 670 x 760, circular central text panel headed with vignette of military equipment with bugleman and rifleman standing to attention at either side, surrounded by circle of text and six images including nomenclature of a horse, with further series of text and nine images, top and bottom edge hemmed, somewhat sunned and faded, with some minor spotting and soiling.
No. 5. ‘Artilleries. Artillerie de Campagne. Service des canons de 80 et 90 millitre, exécuté par 6 servants. Noir Indestructible. Deposé. Brevete S.G.D.G. Manufacture de E. Renault à Rouen’. 640x760mm, octoganal central text panel with illustrations of canons and accessories, surrounded by an inner border of text, and a further outer illustrated runner border of gun placements, hemmed top and bottom, with 3cm hole in top left margin but with no significant loss, with one small hole in text with loss of a couple of letters, edges a little sunned and with some minor soiling, small embroidered monogram of ‘E.B.’ in red cotton.
No. 6. ‘Aide mémoire du réserviste. Noir Indestructible. Deposé. Brevete S.G.D.G. Manufacture de E. Renault à Rouen’. 670 x 760mm, three central columns including battlefield vignette, 16 smaller engraved vignettes forming an inner border, surrounded by further text panels and four large oval corner vignettes, unhemmed and thus edges somewhat frayed at top and bottom, with some marginal staining, small hole in lower right margin, some soiling and a few small holes visible, with prominent black regimental stamp in lower left corner which has offset to upper left corner, somewhat obscuring text.
No. 7. ‘Secours aux blessés, Hygiéne Campagne. Service en Campagne. Noir Indestructible. Deposé. Brevete S.G.D.G. Manufacture de E. Renault à Rouen’. 680 x 780mm, with central square instructional panel with 16 small vignettes and four further vignettes at each corner, surrounded by 16 further vignettes and 16 panels of text, with four military medals and decorations in the four corners, outer margins hemmed, top and bottom somewhat frayed with large tear at upper right corner with partial loss of one insignia, with further small hole in upper left margin, somewhat browned and soiled, with further small holes visible, and with the black ink regimental(?) stamp of ‘132 M 2961’ in bottom left corner which has offset to upper left, the ‘132 M’ further embroidered in red cotton, and with another stamp of ‘6719’.
No. 8. ‘Placement des effets pour les revues de détail dans les chambres. D’après les dernières instructions ministèrielles de 1884. Noir Indestructible. Deposé. Brevete S.G.D.G. Manufacture de E. Renault à Rouen’. 690 x 765, with large central decagon including text and numerous small engraved diagrams and vignettes, with four larger vignettes at each corner, and engraved wreath border, top and bottom edge hemmed, with some occsaional light spotting and soiling, but otherwise clean and bright, and with the stamp ‘96 d. L’ (presumably 96th infantry line).
No. 9. ‘Demontage et remontage du fils modèle 1886 modifié 1893. Noir Indestructible. Deposé. Brevete S.G.D.G. Manufacture de E. Renault à Rouen’. 680 x 765mm, square central instructional panel including numerous images of the weapon, with outer border of 20 panels and vignettes, the majority of which have been reused from Mouchoir No. 2, with four smaller corner vignettes depicting accessories, top and bottom edge hemmed, a number of small holes visible but none with significant loss or detrimental to meaning, some occasional light soiling and staining but generally bright, with black oval regimental stamp in upper right corner, somewhat illegible, though with the number ‘2858’.
No. 10. ‘Pont militaires (Passage des rivières) - (Abris de tirailleurs. Destructions). Modèle dépose. Noir Indestructible. Manufacture de E. Renault à Rouen. A. Buquet et gendre, des, et grav. a Rouen’. 675 x 760mm, central panel of text in two columns, with one large vignette and six smaller figures, surrounded by four large illustrated panels, and four corner text panels, top and bottom edge hemmed, small hole at lower margin touching border with a few further small holes visible, with light soiling and browning, and with black ink stamp ‘41 C, 5271’ at lower edge and which has slightly offset in centre and is faintly visible.

1853-1865. Folio, ff. [2] title-page with wood-engraved vignette and complete series Index, [3] Vorwort, [3] sectional titles; with 65 individual loose plates as issued on 64 sheets (plates 15/16 on one large double-page plate, and numbered 1-46, 1-10, 1-4; 1-5), a number with descriptive text on verso, with some 280 illustrations in copperplate engraving, lithography, chromolithography and wood-engravings, and a number of facsimiles, each with descriptive text; with seemingly later tissue guards; a few plates browned due to varying paper quality, with some occasional light foxing, soiling and marginal edge-wear but otherwise clean and bright; faint library stamp on verso of title-leaf; sheets loosely housed within original series concluding interim printed grey wrapper from 1865, in turn housed within original 1854 plain linen backed printed card portfolio, with nine small sections from previous printed wrappers mounted on rear pastedown and cover giving contents for each annual part, retaining all of the original linen ties, head and tail of spine a little worn, remains of two paper labels on spine, card covers lightly foxed and soiled, with faint library stamp on upper cover An appealing and complete copy of this rare and valuable history of printing and the book-trade. "A volume of the highest interest and curiosity, containing 65 plates engraved on steel and wood, lithographed and printed in colours, representing 220 subjects connected with book selling and the arts in connection, -portraits, seals and marks of early printers, facsimiles of early typography and of autograph letters of printers, &c" (Bigmore & Wyman, I. p.432.) This magnificent and richly illustrated book printing and trade history across Europe and America was originally issued in annual pictorial fascicles over thirteen years between 1853 and 1865. All areas of the book trade are discussed and illustrated in detail, with plates dedicated to leading printers, book and manuscript dealers in Germany, the Netherlands, Italy, France, England and America from the 15th to the 19th century. The plates, mainly in lithograph but also in letterpress, reproduce book-trade documents, initials, printer’s devices and bookplates, etc, with a number of particularly striking chromolithograph plates of reproducing 24 medieval and renaissance book bindings.
Lempertz was a Cologne art and book dealer, who was one of the first to realise the importance of reproductions for the study of book-bindings (the others were Tuckett, Cundall, and Libri). On completion of this work in 1865, the title and contents leaves were issued, as found here.
The original owner has retained the final series concluding interim wrapper, having purchased the original card portfolio case. Whilst not retaining all of the original wrappers, they have, however, cut out the ‘contents’ section from each which they have neatly mounted onto the rear pastedown and cover.

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

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

1901. Small folio, elegant manuscript penned in a single italic hand in black ink, ff. [2], 68, [1] blank, [1] ‘table des matières’; with nine photographs mounted on thick card and a further mounted photographic image reproducing a sketched illustration, 18 leaves of neatly executed manuscript technical drawings, and 8 leaves of further technical drawings printed in blue on coarser paper stock (all somewhat browned and stained), some light marginal browning and toning throughout, with some occasional foxing and soiling, but overall clean and bright; in contemporary red half morocco, with marbled endpapers, spine in compartments with raised bands, lettered in gilt, head and tail of spine rubbed and scuffed with some minor loss, with further scuffing to surfaces, front board corners a little stained, with pencil annotations at upper joint, extremities bumped and lightly worn; a good copy. A finely produced manuscript, possibly a proof copy or for presentation, of this detailed comparative report discussing rail transport of wounded and sick military personnel, and noting in particular the rise and development across the United States and Europe of dedicated fleets of medical carriages and trains.
Médecin-Major Paul Rédard (1850-1916) was in charge of French military railway hospitals, and had produced his first report in 1882 (published in 1885). In this update, he outlines new measures, regulations and improvements put into place by America, Germany, Austro-Hungary, Russia, Switzerland, England, Sweden, Belgium, Italy, Turkey and France itself, since 1885. This beautifully penned manuscript includes ten mounted photographs illustrating two British trains, built for service in South Africa, and of which Rédard was highly complimentary. The large photographs show the exteriors of the railway carriages, the linen store, pharmacy, dining room, kitchen, ‘wards’ for the wounded, and doctor’s quarters. This updated and revised report was published by Doin of Paris in 1902, the technical diagrams and reproduced in lithograph, with two photographic plates.
The development of railway systems during the mid 19th century had had a profound effect upon the speed and efficiency by which medical supplies, aid and treatment could be provided by military and volunteer medics and stretcher bearers to battlefield casualties. Dedicated medical train carriages came into being around the time of the formation of Societies for the Relief of the Wounded following on from the first Geneva Convention of 1864, though were initially often poorly equipped, badly ventilated, and with little provision for ancillary services such as kitchens, supply stores, or dedicated wagons for medical staff. Several significant improvements, however, were made by the Prussians during the 1870-1871 Franco-German War, including dedicated wagons acting as a kitchen, one for medical stores, and another for food supplies, and one for the doctors with a pharmacy. Such was the increased focus of attention on this area of medical importance, that at the Universal Exhibition held in Vienna in 1873, a special section dedicated to ambulance equipment was included, as countries all sought to construct the perfect ambulance/sanitary train, simply and practically installed, and which could be used in times of both war and peace (adapted to become freight wagons).
Paul Rédard (1850-1916) graduated in medicine in 1879 and devoted himself to orthopaedic surgery. He was the author of a number of works including on spinal curvature, and orthopaedic gymnastics, and together with François Larant (fl. 1895-) published in 1900 the first French atlas of orthopaedic radiography. At the time of publication, he was Chief Medical Officer for the State Railways. At the beginning of the First World War, Rédard took an active role in the organization of orthopaedic and electrotherapy services in the military hospitals to which he was attached. He died in 1916 from pneumonia contracted in the course of his work.
Provenance: from the ‘The Railway Collection of the Late Sir William McApline, BT. (1936-2018)’ sold by Forum Auctions on November 19th, 2020, Lot 81.

1900. 4to, pp. 118, [4], all mounted on guards; with 48 leaves of x-rays also mounted on guards, and each retaining original tissue guards (some a little creased); paper lightly browned throughout due to quality with some occasional light soiling, and a few very minor marginal nicks; in the original red publisher’s cloth, lettered and ruled in blind and gilt, inner hinge a little weak, head of spine worn with small tear at upper joint, with further light wear at tail, spine lightly sunned with small stain at tail, surfaces and extremities lightly rubbed and scuffed, corners lightly worn; a good copy. Scarce first edition of this striking orthopaedic atlas, employing and espousing the use of radiography as a valuable tool for diagnosis, prognosis and treatment. Paul Redard (1849-1916) was a noted French orthopaedic surgeon, and was an early exponent of the benefits that the discovery of Roentgen Rays could bring to the study of deformations, and to bone and joint disorders, and this appears to be the first French atlas of radiography, and the first orthopaedic radiography atlas published.
Containing 48 ‘photocollographs’ or collotypes, produced by the noted photographic printer Denis André Longuet (1861-1928), the atlas provides a striking graphic depiction of a number of deviations of the spine (including scoliosis and ‘Pott’s Disease’), of osteo-arthritis, and of congenital dislocations of the hip. In his introduction, Redard states that ‘X-Ray gives an accurate representation of the configurations of deformities, bone lesions and joints, even when they are deeply located’. Although he admits that sometimes the images are inconclusive, errors are comparatively rare, and the technique nevertheless provides a valuable investigative tool for the study of inaccessible areas.

1803. 8vo, pp. [viii], xxxii, 156, [2], with one folding engraved plate signed by C.G. Geissler and dated 1803, with woodcut illustration of Pythagoras' theorem on title-page; copy no. 399 signed by the author on authentication leaf; some occasional light foxing and soiling, but otherwise clean and crisp; in contemporary half green roan over paper boards, spine attractively lettered and tooled in gilt, head and tail of spine a little bumped, some light scuffing to upper joint, covers lightly soiled, extremities a little bumped and rubbed; the Erwin Tomash copy with his book-plate on front paste-down; a good copy. First edition of this rare contribution to the geometrical problem of ‘squaring the circle’, by the Italian Gaetan Rossi de Catanzaro (1767-1826). Describing himself as a ‘man of letters and law’ (p. iv) and resident of Geneva, as becomes apparent from his florid and rather pompous introduction, Rossi was clearly an enthusiastic amateur mathematician, who like many before him, believed that through ‘assiduous and methodical work’ (ibid) that he had found a solution to the problem of the quadrature of the circle, and believes that in publishing his essay and demonstrating his solution and invention, that he will convince fellow mathematicians to correct their false theories. It is a discovery of the greatest importance not only for science and literature, but for humanity in general. The proportional compass referred to in the title is discussed in theoretical terms and is not illustrated. The final fifty pages contain an alphabetical listing of the mathematical terms used in the work.
This was not his only published contribution to the subject, his preface revealing that he had previously published a circular announcing his solution, and which it appears he distributed to a number of European Societies. Indeed the Royal Green Observatory appears to hold a copy of this ‘Equisse’ in a volume of pamphlets submitted to the Board of Longitude and which is dated May 20th 1803: ‘Esquisse sur la quadrature du crecle, addressée a tous les savans ge2ométres, et à toutes les sociétés, politiques, commerçantes, et littéraires, qui existent sur la surface de la terre’ (in RGO 14/54 Papers of the Board of Longitude). OCLC also locates a tract of 1804, penned in Italian but with a London imprint: Soluzione esatta e regolare del difficilissimo problema della quadrature del circolo’, which appeared in a second edition, a seeming testment to his self-confidence in his theory.
Provenance : Erwin Tomash (1921-2022), an American engineer recognised for his early pioneering work with computer equipment peripherals.

1821. Two volumes in one, 8vo; pp. [iv], xxviii, 486; 422, [2]; with four engraved plates of which three are folded; some sporadic light marginal dampstaining, light spotting and browning throughout but otherwise clean and bright; old label at head of front paste-down; in contemporary calf-backed brown marbled boards, with marbled edges and retaining green silk marker, spine ruled and lettered in gilt, upper joint split but holding, with old repair to upper rear joint and visible split across lettered compartment, head and tail of joint lightly rubbed, with further light wear to extremities; a good copy. Notable edition of Scarpa’s famous treatise on the diseases of the eye, first published in 1801, here expanded and translated into French by Europe’s first Black physician, François Fournier-Pescay (1771-1833), together with his colleague Louis Jacques Bégin (1793-1859).
Fournier was the son of Adélaïde Rappau, a ‘mulâtress libre’ and the plantation owner François de Pescay of Saint-Domingue (now Haiti). His parents returned to France and settled in Bordeaux, at the time a diverse city accustomed to biracial immigrants, mainly from the French West Indies. ‘Unlike in the colonies, there were few laws impeding upward mobility of “persons of color” (les personnes des couleur), thus Fournier benefited from an excellent education in Paris followed by medical training in Bordeaux. Swept up in the upheaval of the French Revolution, twenty-one-year-old Fournier, along with his brothers Jacques Philippe and Louis Georges, joined the army in 1792. During his service as an army surgeon (chirugien aide-major), he demonstrated extraordinary scientific ability by becoming the first Frenchman to duplicate Englishman Adair Crawford’s experiments with barium chloride in the treatment of tuberculosis which he later published. He left the military in 1799 to practice medicine in Brussels, Belgium, where he co-founded the city’s medical society, Société de Médecine de Bruxelles, and served as its first secretary-general, recording volumes of proceedings. In 1803 he founded the arts and sciences journal Le nouvel spirit des journaux and later published an eighty-six-page treatise on tetanus which was lauded by the Medical Society of Paris. Moving from Brussels to Strasbourg, France, he became professeur-directeur at the École Spéciale de Médecine de Strasbourg.’(Robert Fikes on https://blackpast.org). Fournier was to return to Haiti in 1823 and under the regime of Jean-Pierre Boyer, was appointed Inspector General of the Health Department and Director of Haiti’s first university (L'Académie d'Haïti). ‘It is simply a fact that no other physician of African descent was able to accomplish as much during the 18th and 19th centuries, or probably any time prior to the onset of the Industrial Revolution. Perhaps it is because Fournier was born in France that he has not been accorded the recognition he deserved for being the first medical doctor of African descent to help found a medical society, to publish medical research, to found a literary and scientific journal, and to become a distinguished administrator and educator at home and abroad.’ (Fikes, p. 683).
Scarpa’s work is considered the first textbook of ophthalmology in Italian and was to establish his reputation. It went through several editions and translations. ‘It contains the first description of the operation of iridodialysis, and significant chapters on cataract, staphyloma and diseases of the vessels in the eye. Like most of Scarpa’s works... [it] is illustrated with the author’s own superbly executed drawings. “[Scarpa] himself trained the famous Faustino Anderloni to become the engraver of his illustrations... His anatomic prints are therefore models of anatomic representation as regards faithful differentation of the tissues, correctness of form, and the utmost perfection of engraving” (Choulant, p. 298)’ (Norman, 1899).

1872. 8vo, viii, 110, [2] ‘explication des planches’, with one full-page steel engraving within the text, and three folding lithograph plates in a cloth backed blue marbled paper cover booklet in rear cloth pocket, plate I with letterpress table mounted at left margin, upper edge cropped with partial loss of headline; some light marginal browning throughout with some occasional light spotting, but otherwise clean and bright; in the original blue publisher’s blindstamped cloth, spine lettered in gilt, rear inner hinge cracked but holding, head and tail of spine a little bumped, upper cover with slight stain and small nick at fore-edge; a good copy. First edition of this detailed study of the inner city and suburban transport networks found in London, the work of Ferdinand Sérafon, described on the title-page as ‘Ingénieur civil, ancien ancien Ingénieur-Inpsecteur Principal au Chemin de Fer Victor-Emmanuel’.
By the 1870s it was becoming clear that Paris needed a public transport system other than the existing omnibus services. As Serafon notes in his preface ‘all the great cities of Europe seek to imitate London and to introduce the system of trams or that of ordinary railways, where the traffic makes the service of omnibuses insufficient... London is the first city in the world, and its network of railways deserves to be studied in detail if we wish to realise all the advantage that can be taken from railways in large cities’ (p. v). Discussing the urban and suburban railways of London, describing the various lines, types of rolling stock, speed of trains, and tariffs imposed, Serafon then highlights the advantages which a similar network would procure in Paris. The work concludes with a note on the construction and operation of tramways, both in large cities, suburbs or as branch lines.
Attractively illustrated, the work includes a wealth of technical information on all areas of construction and exploitation. The three accompanying plates, in a bound pamphlet held within a pocket on the rear paste-down, present a ‘Carte des Chemins de Fer de Londres en 1872’, a large folding comparative plate showing transverse and traverse cross sections of tracks and rail gauges, with the final folding plate showing rolling stock including a steam powered locomotive and omnibus.
A keen student of international advancement, and a fervent exponent, this was the first of a number of comprehensive studies on the subject by Serafon, including his 1877 Manuel Pratique de la construction des chemins de fer des rues (1877), noting US developments in particular, and Les Tramways (1882) highlighting wider global developments. A fascinating insight into the rapid growth of public transport systems at the end of the 19th century

[ca. 1840-45]. Single sheet, 23 cm x 13 cm, printed on silk on one side; some very minor fraying to edges, and very slightly darkened, but otherwise in fine condition. A celebrated pianist, composer and inventor, Henri Herz (1803-1888), Austrian by birth but French by nationality and domicile, travelled world-wide, including tours in Europe, Russia, Mexico, South America, and the United States. In 1839 he founded his own piano factory where he made many important developments in piano design.
This luxuriously produced announcement, printed on silk, seems to be for a performance by some sort of mechanical musical instrument, using cylinders which were "changed through the medium of the patent dials." According to the flier, the two cylinders were capable of performing "8 operatic airs," and "5 quadrilles and 3 waltzes." We have so far been able to identify the machine in question, although Herz made improvements, and patented designs for various sostenente (or sostinente) pianos - the name given to keyboard instruments on which the duration of sounds is artificially lengthened by methods such as compressed air, the quick striking of hammers, free sounding reeds, or by other clockwork or mechanical devices. The first known example was invented by Henry Robert Mott of Brighton in 1817. Herz worked upon sostenente piano mechanisms using both compressed air (obtained by means of bellows moved by pedals or a motor and which is directed upon already vibrating strings in order to prolong the vibration), notably his ‘pianoeolique’, as well as a ‘melopiano’, a method of sustaining tones through the repeated and quick striking of hammers. Fast rotating cylinders were one way of achieving this.
This appealing silk promotional flier has been printed by the artist and engraver George Phillips Johnson (1807?-1848).

1922. 8vo, pp. 56; copiously illustrated throughout; printed in brown on cream paper, text within ruled border; some light foxing, with a few neat pencil corrections to prices; stapled as issued, in the original cream printed wrappers, retaining the original hanging cord at top of spine, staples somewhat rusted, which has stained the wrappers, with some light staining along upper fore edge, some light edge wear; a most attractive copy. A most evocative and striking trade catalogue, issued by the London firm of Silk’s Toilet Company, copiously illustrated and advertising a myriad of beautifying tonics, lotions, potions, powders, perfumes and colognes for both men and women. Amongst the must-have items we find ‘Silkodono... the latest scientific discovery for producing, preserving, restoring, and beautifying the hair and for keeping the scalp healthy and free from dandruff, scurf and scalp irritation’. Also for sale are manicure kits, nail polishers, powder puffs, hair nets, hair combs, and several pages devoted to wigs and wig-making, with ‘finest French hair’ available, as well as ‘beautiful French transformations’ - striking wigs and postiches for women.
We have been unable to find any information about the company, other than what is revealed by this wonderful brochure, in that they were manufacturing perfumers based at Red Lion Street, High Holborn, London.

1890. 4to, pp. [iv], iv, 20, [2] conclusions, [2] advertisement for Marion & Co., materials; with tipped in slip at p. 4; with four Woodburytype mounted on thick card; lightly foxed and browned throughout, with some marginal dust-soiling; gutter cracked in a couple of places but holding firm; in the original red cloth, upper cover lettered and decorated in gilt and black, all edges gilt, head and tail of spine bumped and chipped, with 1cm loss at head, and further small nick to lower joint, spine darkened, covers a little faded and soiled; still a good copy. First edition of this scarce, early and elegantly produced work aimed at both professional and amateur photographers, a practical manual intended to introduce the techniques for using the brilliant, yet dangerous, light of burning magnesium for photography in different settings. Whilst electric lights had been successfully employed, they were expensive: ‘in the magnesium lamp a far cheaper and more actinic illuminant is placed with the reach of every photographer who chooses to make himself a master of its capabilities’ (p. 1). Slingsby present an enthusiastic account of his own experiences, and as such the work serves as n elaborate advertisement for Slingsby's flash arrangement sold by Marion & Company. The work includes four Woodburytypes: one of Slingsby and his family at home, one daughter at the piano with another about to sing, one a large gathering of children in a ballroom, one of his flash set-up preparing to take the portrait of a young girl, and finally the staged portrait photograph itself, showing a girl seated on a stone wall, holding a basket.

1808. Large oblong letterpress broadside (347 x 430mm) together with accompanying hand coloured engraved sheet with two figures (192mm x 284mm); broadside uncut with neat vertical central fold, a little creased at tail of fold with a couple of small paper flaws though with no loss, small nick, extremities fainly dustsoiled; engraved sheet a good strong, bright impression; a most appealing and fresh example. A striking and scarce public health broadside published by the medical authorities in Stockholm, promoting Jenner’s smallpox vaccination and warning against the dangers of using ‘non-genuine’ vaccines, compiled by the leading Swedish physician Sven Hedin (1750-1821). As Hedin notes, thanks to ‘millions of reliable findings’ Jenner’s discoveries have been widely accepted as being infallible and thus adopted by many countries, ‘even the wild nations in America’. The present broadside, issued ‘out of sheer kindness, for the greater good, and leaving profit aside’, was designed to be prominently displayed and easily disseminated, and describes a number of key indicators to enable parents and indeed those vaccinated themselves, to assess whether they have received a genuine, rather than counterfeit dose. To aid further, the broadside is accompanied by a striking hand coloured engraved sheet showing the effects of genuine and successful vaccination, as against a non-genuine and ‘spurious’ vaccination which produced a scabious reaction.
Hedin was a professor at Uppsala and personal physician to the King. The author of a number of popular medical works, he had long advocated smallpox vaccination, and had previously espoused its benefits in a short pamphlet ‘Kopporna kunna utrotras eller vaccinationen’ in 1802. Thanks to his advocacy, a mandatory vaccination program was established in Sweden in 1815.
Here found on one sheet, the engravings had originally been included in his work of 1802. We have been led to understand that a comparison with the work of 1802 pamphlet suggests that plate 1 has been newly engraved and plate 2 re-engraved for this issue.

1857. 8vo, pp. 77, [ii]; with large folding engraved frontispiece, and six further engraved plates (two folding); two small repairs to verso of frontispiece with a couple of small tears at folds but without significant loss, outer margin of title-page a little nicked and chipped, with slight loss to upper corner of first three leaves, further light marginal soiling and occasional spotting; with bookseller’s label at tail of front paste-down; in later three-quarter cloth over plain boards, spine lettered in gilt, front hinge cracked but holding, covers a little soiled, with slight sunning at tail of upper cover, extremities and corners a little rubbed and bumped; a good copy. A scarce abridged account of this noted Scottish trial, no doubt published to satisfy the voracious public interest that the notorious case had generated throughout Great Britain. The large folding and evocative frontispiece depicts the court-room, with the defendant standing with her head bowed, and facing away from the viewer. Portraits of Smith and the leading lawyers are also depicted, together with a view of both her house, and that of the victim, Pierre Emile L’Angelier.
Smith, the twenty-one year old daughter of the noted Glasgow architect David Hamilton, was tried for poisoning Pierre Emile L'Angelier, a poor Jerseyman of French extraction, in the summer of 1857. The pair had met in 1855 and began a secret correspondence that eventually resulted in a full-blown love affair. In the spring of 1857, Smith became engaged to William Minnoch, a suitor acceptable to her parents, and tried to end her relationship with L'Angelier. Insisting that their prior intimacy meant they were married in the eyes of God, L'Angelier refused to accept Smith's decision. After threatening to send her letters to her father if she went ahead with the marriage plans, he died suddenly on March 22, 1857. A post-mortem examination revealed that death had been caused by arsenic poisoning, and a search of L'Angelier's rooms turned up the letters Smith had written to him. Smith was arrested and charged with murder and two counts of attempted murder, based on reports of earlier attacks of a "mysterious" stomach ailment. Despite the evidence of the letters and the fact that Smith was shown to have purchased arsenic several times, the jury acquitted her of attempted murder and brought in a verdict of Not Proven on the final charge. It is interesting to note that for the London readership, Vickers has included a brief explanation of this verdict - specific to Scottish law.
OCLC notes a more extensive explanation of the trial published in the same year, with a Belfast imprint and comprising 124 pages, as well as a shorter version of 40 pp with a Melbourne imprint. The trial prompted several subsequent commentaries and analyses.

1883. 8vo, pp. 11, [1] blank; with small split at tail, remains of adhesive; previously bound. stitched as issued, though with remains of adhesive visible suggesting previously bound in a sammelband. An insight into the work of provincial suffrage organisations, being an early annual report for the Bristol Women’s Liberal Association, founded in December 1881. The report provides details of the various events held during the year to raise awareness of women’s rights, together with a list Association members.
Anna Maria and Mary Priestman moved from Lancashire to Bristol in 1870 and became prominent figures in the Bristol suffrage movement, both serving on the executive committee of the Bristol and West England Society for Women’s Suffrage which came under the umbrella of the law abiding NUWSS. Both sisters, however, ‘were willing to take part in acts of civil protest at not having the vote, refusing to pay tax in 1870, which led to their dining chairs being removed until their fine was paid anonymously. ‘No Vote, No Tax’ was a popular slogan in the women’s suffrage campaign and had played an important role in other historical campaigns. ‘In 1881, alongside Emily Sturge, Anna Maria formed the first women's liberal association that would only support candidates who agreed with women’s enfranchisement. Anna Maria favoured the mobilisation of the middle and lower classes, leading to her raising £1000 for the Bristol and West England branch of the national suffrage to support organising activities and work. After the 1884 women’s suffrage movement amendment failed, Anna Maria focused on the women’s liberal association and supporting enfranchisement. After the split in the central committee for women’s suffrage in 1888, she remained with the central national society and became a member of their executive committee. Anna Maria formed the union of practical suffragists in 1896 after a defeat in maintaining the WLF's support for candidates who did support women’s enfranchisement. She wrote a pamphlet entitled ‘Women and Votes’, published by the union in 1896. This seemed a success in 1903 when the WLF agreed to only support candidates that also supported enfranchisement, but in 1905, she was removed as president of the Bristol and West England women’s liberal association. After this, Anna Maria and Mary joined WSPU in 1907, donating £25 in 1908 and continuing to contribute in 1909. Anna Maria and her sister contributed to the election expenses of George Lansbury, a suffrage candidate supported by Christabel Pankhurst. Anna Maria complied with the 1911 census, by this time she was apart of the NUWSS. As a pacifist, Anna Maria, with her sister Mary, attended the peace conference in Berne in 1892, an international forum concerning issues of international conflict. Anna Maria died within 5 days of her sister Mary in 1914, it has been inferred that neither could handle the prospect of the looming Great War. Contributed by Becca Aspden, URSS student researcher, History, Warwick University. Sources: Crawford, E. The Women’s Suffrage Movement: A Reference Guide, 1866-1928 (London, 1999) pp. 565-67; Liddington, J. Vanishing for the Vote: Suffrage, Citizenship and the Battle for the Census (Manchester University Press, 2014) p.319’ (Mapping Women’s Suffrage, 1911 website © Tara Morton / University of Warwick)

1922. 8vo, pp. 88; with frontispiece and 39 numbered photographs and illustrations on 16 plates (though in fact 44 figures as notes on title-page); paper a little browned due to quality, and with some occasional light foxing and soiling; with ex-libris label on front free endpaper; uncut in the original printed grey stiff wrappers, with publisher’s advertisements inside on both front and rear cover, head and tail of spine lightly bumped and worn, covers a little foxed with further light wear to extremities; a very good copy. First edition of this detailed scientific monograph on tattooing by the Swiss physician Dr Paul Cattani, written from a multi-disciplinary standpoint and touching upon psychology, ethnology, medicine, biology, histology, therapeutics and cosmetics motivations. According to the preface, the work grew out of Cattani’s own medical experiences having at times been tasked with the removal of tattoos, and his publication of a previous article in a Swiss medical journal on the judicial-medical significance of tattooing. This prompted him to expand his research to include analysis of tattoos from a psychological and ethnological viewpoint. He hopes his work will be of interest to both physicians and ethnographers, giving the former an insight into the motivations and customs behind skin markings, and the latter an insight into the medical implications of the art, such as the transmission of syphilis through tattooing.
Cattani thanks two Swiss colleagues for giving him access to their ethnological papers, and also notes that many of the illustrations included in the work have been drawn from existing printed publications. A full list is given at the end, which forms a useful and extensive bibliography.

1917.]. Oblong 8vo, 174 x 276mm; ff. [8] leaves of postcards in lithograph, four per page, separated by perforations, thus 32 in all, of which 16 are printed in full colour, and 16 are duplicates in outline ready to be coloured in; central leaf detached; very minor rusting to central gutter from staple, aside from some occasional light soiling, and minor offsetting from colour, quite fresh and bright; stapled as issued in the original decorative card wrappers, staple rusted, covers somewhat soiled and lightly scuffed, with some minor staining, a couple of small marginal tears, corners a little bumped and furled; still a very good copy of a scarce ephemeral item. A scarce and unusual W.W.I ephemeral survivor - a rare postcard colouring book showing the street trades and inhabitants of the port of Salonika (now Thessaloniki). Unused and seemingly complete, the booklet is a fine example of the mass market for postcards which developed as a direct consequence of the war, booksellers quickly responding to the demand from soldiers far from home, for cheap and lightweight souvenir cards. Extraordinary efforts were made to keep the flow of mail to the troops at the front, and, in return, to Britain, France, Italy and further afield. Postcards were to become a vital form of communication, an easy way to show and tell families about where they were and what life was like. Popular with the military authorities as well, being easy to censor, a mass market soon developed, booksellers and publishers printing and selling hundreds of thousands of cards, with a vast array of subject matters depicted, frequently scenic, sometimes capturing camp and military life or, as here, more light-hearted.
Of the 32 cards, 16 are vibrantly coloured, with the remaining 16 reproduced in outline ready for colouring - a gentle distraction no doubt. One can only imagine that crayons and paints would be in short supply in the field, but a note on the verso of the current booklet helpful notes ‘'For colouring use the non-poisonous colours of Bourgeois Ainé’. Very much of the time, and thus somewhat stereotyped, amongst the street trades depicted we find crossing-sweepers, musicians, money-changers, grinders, confectioners, ‘schoemakers’ (sic), a photographer, a tailor, a milkman, a lemonade vendor, a barber and a fishmonger. They brightly convey to those back home the sense of ‘other worldliness’ of life in Salonika, and would in all probability amaze, amuse, hopefully reassure, and no doubt be treasured, by the recipient, something to be held dear until their return.
Included amongst the Allied Forces, as is well known, were several authors, poets, artists and cartoonists, and some of these artists went on to contribute series of cartoons for postcards. Whilst some of these serving, military, artists remain anonymous, the present series, according to Diana Wardle in her chapter ‘Write Home Salonika’, is the work of the lithographer Jacques Touchet (1887-1949), the series also being published in French as ‘Les petits metiers a Salonique’. Wardle suggests that, as here, the series was made up of 16 ‘trades’, and notes further that ‘a double spread of his work was published in L’Illustration in February 1917. After the war, Touchet provided a series of his caricatures of Salonica ‘types’ for the benefit of l’Union de Femmes de France’ (p. 244 in Archaeology Behind the Battle Lines. The Macedonian Campaign (1915-19) and its Legacy edited by Andrew Shapland and Evangelia Stefani).