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.

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

1941. 8vo, pp. [2] blank, 36, [2] blank; pp. 3-34 anaglyph plates printed in red and green for 3-D viewing together; minor edge-wear to final leaf, aside from some very light browning, clean and bright; with two pairs of 3-D glasses housed within a printed pocket on inside front cover; in the original cloth backed orange printed boards, head and tail of spine a little worn, ink stain to rear cover, with further light soiling to boards, extremities a little rubbed and worn; a 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.
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 is one of the first 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).
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.

1870. Large 8vo, pp. xxxii, [33] - 876; with 462 wood engravings; some occasional light foxing and spotting to early and later leaves but otherwise clean and bright, final endpaper somewhat creased; in contemporary sheep, spine in compartments with raised bands, with black morocco label lettered in gilt, label with slight loss of a couple of letters, spine darkened, covers a little stained and soiled with some scuffing, extremities bumped and lightly worn; a good copy. An appealing copy of an important classic in medical anatomy, first published in 1858, with the first American edition published in the following year. The present copy is the ‘New American from the fifth and enlarged English edition.’ The work remains as a standard work for the English-speaking world, and remains in print to this day.
‘The author's opening statement in the Preface reads: "This work is intended to furnish the Student and Practitioner with an accurate view of the Anatomy of the Human Body, and more especially the application of this science to Practical Surgery." The success of that intention for more than a century could be proclaimed by generations of medical students and doctors of medicine in the English-speaking world. Gray (1825-1861) was lecturer on anatomy at St. George's Hospital, London, and this lasting and monumental work, produced by a young man who died young, must be compared to the Fabrica of Vesalius, who produced his great work before the age of thirty years’ (Heirs 1914).
‘Such was the success of this enterprise that the first edition, seven hundred and fifty copies was sold out within two years, and the book has continued to appear in revised editions up to the present... The first American edition was published in June 1859 by Blanchard and Lea in Philadelphia, utilizing a complete set of wood blocks imported for the illustrations’ (Grolier, Medicine, 68).
‘The work was superior to other treatises on anatomy in three areas—the lucid and logical arrangement of a mass of detailed description; clear new drawings based on dissections by the surgeon-author and the artist, a physician; and sections on the surgical anatomy of defined areas, such as the axilla, the elbow, the popliteal space, the perineum, and the laryngotracheal region’ (Lilly Library, Notable Medical Books, 211).
‘The success of the book was not due to an absence of rivals. There were already several texts on anatomy... Gray's Anatomy, however, eclipsed all others, partly for its meticulous detail, partly for its emphasis on surgical anatomy, but most of all perhaps for the excellence of the illustrations, based on drawings by H. V. Carter [1831-1897], who assisted Gray with the dissections, and engraved by Messrs Butterworth and Heath with remarkable skill. The design of the book, and the skill with which the illustrations were interpolated in the text, could hardly have been improved. For a man in his early thirties it was a remarkable achievement’ (ODNB).

1846. 4to; with 14 engraved plates, four incorporating transparencies, all quite vibrantly coloured both mechanically and by hand, one card with printed text on verso; all cards somewhat soiled and browned due to use and paper quality, with signs of use, with light dampstaining to the ‘Latitude’ plate, and more prominent wear and creasing to the plate relating to ‘Longitude’; loosely inserted within contemporary maroon cloth portfolio, ruled in blind, with title in gilt on upper cover, inner gutter paper cracked and worn with some loss, spine sunned and lightly worn with small loss at lower joint, covers generally scuffed and lightly worn; with various ownership signatures on portfolio pastedowns attesting to the work having gone through a number of owners, including a gift presentation from Gladys Jones to Miss F Whitaker dated 1916; despite wear, a good set. An appealing, though presumed mixed set, of this elementary introduction to astronomy, one of several series of affordable, vibrantly coloured educational aids for children, to be used at home, in the class-room and elsewhere: a striking example of Victorian ‘infographics’, from the publishing firm widely acknowledged to have mastered the genre, that of James Reynolds.
Born in Islington, Reynolds father was a printer. Setting himself up in the Strand, James seems to have started business in around 1825, and went on to produce over many years a vast array of instructive and educational material, in a variety of large and smaller formats, ranging from standard maps and atlases, thematic maps on topics such as astronomy, geology, zoology and botany, tidal charts, physical maps, meteorological maps and much more. Very much an innovator in his field, though operating at the cheaper end of the market, his work was always reliable and accurate, and he routinely employed distinguished geographers such as Ernest George Ravenstein (1834-1913) and the geologist Professor John Morris (1810-1886) to advise on his diagrams. These could be purchased either in portfolio sets (usually of 12 cards, though that could vary), or individually for 1s. to enable the user to compile their own personal collection on subjects of their choice. Issued on stiff card, the majority of the diagrams were coloured (either by hand or later mechanically), and several cleverly incorporated transparencies. All beautifully executed, they were predominantly engraved by John Emslie, with whom Reynolds formed a productive, successful and enduring partnership. Their first joint production was the set of astronomical cards, issued sometime around 1846, and which proved so popular it was reprinted for decades. Reynolds was an adept and re-active publisher, who constantly revised his various publications, and provided them in a number of different and flexible formats to meet demand. Emslie went on to win a prize medal for his educational diagrams at the International Exhibition of 1862. Their publications captured the interest of the burgeoning middle classes of Victorian England, with many more parents interested in buying educational books for their children. The drive for worker’s and women’s education no doubt also fuelled demand. Reynold’s works vividly reflect the growing flowering of ‘infographics’ that emerged during the Victorian era, as the industrialisation of printing made it easier and cheaper to create books with detailed colour illustrations.
Perhaps his most famous and iconic series, this set of 'Astronomical Diagrams' is bound in a maroon cloth portfolio. Finding complete portfolios is increasingly uncommon, and it would perhaps be slightly naïve to assume that what appears to be a complete set, in fact contain the cards as originally purchased. One can well imagine that some ‘judicious’ swapping may have gone on over the years, and having handled a number of sets over recent years, it is our belief that the present set seems to include cards ranging in publication date. Though none of the cards are dated, varying imprints and differing typography employed suggest some of the cards are later in date - notably the ‘View of the Moon’. The plates are: 1. The Chart of the Heavens (transparent); 2. Transparent Solar System; 3. Transparent Diagram of the Phases of the Moon; 4. Comparative Magnitudes of the Planets (particularly striking) 5. The Sun and Solar Phenomena; 6. Comets and Aerolites (a variant to the one held previously); 7. The Earth and its Atmosphere; 8. The Seasons; 9. Eclipses (somewhat faded); 10. The Earth's Annual Revolution round the Sun; 11. Diagram of Meteorology (with explanatory text on verso); 12. Methods of Ascertaining the Longitude (somewhat worn around extremities); 13. Methods of Ascertaining the Latitude (with some slight dampstaining); and 14. View of the Moon (seemingly a later example).

1750. 4to; pp. [2], [2] title-page, 104, 95, 1-27, 38-52, 58-137; with hand-coloured title framed within armourial border, 25 throw out plates drawn in pen and ink and shaded, and numerous neatly drawn text figures and illustrations, some full-page and decorative, a number hand-coloured or shaded, and three mounted corrected images; penned in a single hand throughout; some occasional foxing and soiling, one or two small paper flaws, some edgewear to fore-edge of plates; final endpaper missing; bound in contemporary full calf, spine in compartments with raised bands, tooled in gilt, with evidence of previous lettering label, head of spine worn exposing headband, general light rubbing and scuffing to joints and covers, covers a little sprung, extremities and corners bumped and lightly worn. A most attractively compiled, and seemingly early to mid 18th century manuscript course on practical geometry. The name Chambaud appears on the first free endpaper, and with a further small signature of [?] Mercier found at the tail of the first page, though we have sadly been unable to discern the first name, but it could be Jean-Henri.
The volume begins with an attractively hand-coloured title framed within an armourial border incorporating a crown, a battle-axe, and six flags adorned with a blue cross. The compiler concludes the volume with a further small armourial flourish. Very much a practical work, full of day to day problems and examples, though with some occasional more whimsical and artistic illustrated section dividers (including flowers, and flower arrangements), the volume has the air of having been compiled by a either a French gentleman under private tutorship, or perhaps that of a student/apprentice surveyor or engineer. The volume has been divided into three parts, dealing in turn with ‘a treaty of practical geometry and practice of the compass’; ‘practical geometry or the measurement of surfaces’; and concluding with fractions. The whole volume is most attractively illustrated, containing numerous geometric figures, both within the text, and then 25 throw-out plates bound at the end of the volume. The majority have been rendered in pen and wash, though several have been hand-coloured, notably those at the beginning or end of a chapter.
As far as we can ascertain, there are no author citations within the manuscript, and so this does not appear to be a transcription of an already published work, and is very much practical rather than theoretical. Whilst the basic principles of geometry are outlined, and occasional remarks given, the focus is upon problems and examples to be solved, with no mention of theorems or corollaries. Having handled previous geometrical manuscripts, this does not feel, therefore as though it is following an academic course of instruction at a College.

1920s?]. Offered together, three boxed reversible dissected wooden puzzles, each @ 125 x 175 x 4mm; each puzzle with chromolithograph sheet in landscape mounted on one side, and cut into 75 pieces; with image of camel in black on verso; puzzles a little dust-soiled; Series No. 4 and 6. contained in the original light blue paper card box with linen hinged lid, with mounted paper title printed in blue on upper lid, Series 10. in Navy blue hinged box lettered in gilt, all three with printed note adhered to inside lid, joints and extremities of boxes all a little rubbed and worn, most noticeably Series No. 4; most appealing examples. Three appealing and seemingly rare advertising solid wood reversible jigsaw puzzles, issued by the famous Birkenhead based shipbuilding company Cammell Laird & Co., Ltd. The company was formed in 1903 with the amalgamation of William and John Laird’s Birkenhead Iron Works and the Sheffield Steel firm of Charles Cammell & Co., Ltd. Known across the globe, the company built more than 1350 ships, playing a key role during both World Wars building both commercial and military vessels, being remembered in particular for the building of the Cunard White Star passenger liner Mauritania, and the first British aircraft carrier HMS Ark Royal - both in 1938.
Described as a "Cam-Bru-Mac" Reversible Puzzle, the present examples, all scarce, were part of a series of similar games, and show in turn ’Casting a Large Ingot’, a picture of "Rolling a Locomotive Tyre. Sheffield and Birkenhead", and a ‘12,000 Ton Armour Bending Press’. Each puzzle has on the reverse, the famous logo of the company, a large black Camel.

1820-30. Series of nine oval die-cut ‘lace’ cards, 64 x 88mm, alternately cream and blue, tied together with blue silk, with 18 riddles neatly penned in a single hand (1-9 on recto, 10-18 on verso); some occasional light foxing and soiling, but otherwise clean and bright; now housed within custom made box. A charming, seemingly late Regency or early Victorian handmade parlour game, consisting of a series of 18 quite fiendish enigmas, charades and riddles - sadly without the answers - though attesting to the popularity of such games during the 19th century! Neatly written on nine oval die-cut cards, redolent of papers which became synonymous with Victorian Valentine’s Day card, this attractively produced set may perhaps have been given as a love token, although none of the riddles are on the theme of love. The riddles are as follows:
1. ‘Why is the famous Mr McAdam like one of the seven wonders of the World’; 2. ‘What colour are the winds and storms?’; 3. ‘My first is a prop, my second is a prop and my third is a prop’; 4. ‘My first I do, my second I do not and my third is what you are’; 5. ‘My first is a story, my second a story and my whole are(?) number of innocence’; 6. ‘Spell the archipelago in three letters’; 7. ‘My first supplies equality, my second inferiority, and my whole superiority’; 8. ‘Why are a pair of skates like an apple’; 9. ‘Why are fixed(?) stars like pen ink and paper?’; 10. ‘Name me and you break me?’; 11. ‘What word of ten letters can be spelt with five?’; 12. ‘Take a noun of plural number, to it add the letter ‘S’, plural’s plural now no more, sweet’s what bitter was before’; 13. ‘A letter in the Dutch alphabet named makes a lady of the third rank’; 14. ‘Why is grass like a mouse?’; 15. ‘If a pair of spectacles could speak, what ancient historian would they name?’; 16. ‘What sea would make a good sleeping room?’; 17. ‘What is majesty without it’s extremes?’; and finally 18. ‘My first is a proposition, my second is a composition and my third an acquisition’ (the answer we have worked out is fortune).
McAdam (1756-1836) became famous in the 1820s, question 1 being written in the present tense suggests the date of composition to be before his death in 1836.

1950. 8vo, pp. [iii] - 233, [1]; with 172 line drawings, diagrams and photographs throughout the text; aside from some very occasional and minor soiling and furling to corners, clean and crisp; in the original buff card wrappers, lettered in red, covers a little foxed and soiled, front cover lower corner with signs of creasing, extremities and corners lightly bumped and rubbed; a good copy. First edition of this detailed contribution to the corpus of works on cosmetic surgery, and discussing in particular rhinoplasty. Aesthetic or cosmetic surgeons had for many years laboured on the margins of medical respectability, as Galtier’s colleague M. Bouchet alludes to in his preface. France had been a little slow to recognise the importance of cosmetic surgery, in comparison to other nations, notably America. There psychiatrists had been more willing to refer patients to surgeons for the correction of nasal deformities which were causing them anxiety. However, little by little, as techniques had improved and procedures become safer, thanks in part to the developments made in plastic surgery during the war, cosmetic surgery was becoming a more recognised, and indeed more reputable, field of speciality. Echoing the sentiments of Suzanne Noël, Bouchet notes that the discipline can bring great hope and benefit to patients in a variety of trades, who feel that they need to improve their aesthetic appearance and to regain self-confidence. He hopes therefore, that this book will highlight the great service that cosmetic surgery can provide to many. Galtier describes in detail a number of procedures, including several case histories, aided by the inclusion of numerous diagrams and photographs.
Whilst the sentiments expressed may be similar to those of the pioneering cosmetic surgeon Noël (1878-1954), it is interesting to note that her fundamental work of 1926 ‘La Chirurgie esthétique’ is not mentioned in the bibliography at the end of the work, and as far as we can tell, no reference is made to her within the work, although it is true to say that rhinoplasty was not a technique for which she is best remembered.

1907-8.]. 8vo, pp. [ii], 18, [ii] blank, with 106 loose leaves of photographic reproductions; title-page slightly foxed and browned, with further light browning and soiling throughout, with occasional minor edge-wear; loosely housed within the original grey cloth backed printed card portfolio, with printed label on spine, itself house within original maroon slip case with printed label, extremities somewhat rubbed and worn, but otherwise a good copy. Attractive and uncommon early 20th century facsimile, slightly reduced, of the original manuscript drawings that are believed to have formed the template for the famous woodcut illustrations for Guido Guidi’s famous ‘Chirurgia’ of 1544, considered to be one of the most beautiful scientific books of the Renaissance.
The work was edited by Henri Auguste Omont (1857-1940), the librarian of the Bibliothèque Nationale de France, who notes in the introduction that the present work, published under the auspices of the Bibliothèque Nationale Département des Manuscrits, reproduces the illustrations from their Latin manuscript 6866 - the dedication copy to King Francis I of Guidi’s translation of a tenth-century illustrated Greek manuscript collection of works by ancient Greek surgeons, compiled by the Byzantine physician Nicetas. Brought to Italy by Janus Lascaris in 1495, this codex (now Florence, Laur. Plut. LXXIV, 7) was used by the Florentine physician Guido Guidi (ca. 1508-69) for the preparation of this Latin translation. Guidi, a native of Florence and grandson of the painter Domenico del Ghirlandaio, was physician to Francis and the first professor of medicine at the Collège de France (1542-48). The woodcuts, probably by Francois Jollat, were based on drawings that were copied in turn from the tenth-century codex.
‘This series of facsimiles... with its wealth of detail and valuable references, has served as the foundation for all subsequent studies on this aspect of Vicus Vidius’s work’ (Kellett, The School of Salviati and the Illustrations to the Chirurgia of Vidus Vidius, 1544, Med Hist. 1958 Oct: 2(4):264-8.)
"In 1542, Guidi presented an illustrated copy of this manuscript, along with his own Latin translation (likewise illustrated), to Francois 1 of France [...] Guidi had his Latin translation printed by Pierre Gaultier, a printer residing at the castle of Benvenuto Cellini, where Guidi also lived during the time he spent in Paris. The Chirurgia was the only one of Guidi's works published during his lifetime. The exquisite woodcuts of apparatus adorning Guidi's text are copies of the drawings in Guidi's Latin manuscript, which have been claimed, on the basis of a brief reference in the manuscript, to be the work of the Italian mannerist Francesco Primaticcio (1504-1570). However, for both stylistic and logistical reasons, it is more likely that the drawings were made by the school of Francesco [Rosso] Salviati (1510-1563); [...] The images themselves have been traced back from the Nicetas Codex to the commentary on the Hippocratic treatise Peri arthron (On the joints) composed in the first century B.C. by Apollonius of Kitium (fl. 81-58 B.C.)" (Norman 954).
The text (not reproduced here) included Latin translations of treatises on surgery by Hippocrates (De ulceribus, De fistulis, and De vulneribus capitis), Galen (De fracturis, De articulis, De officina medici, and De fasciis), Oribasius (De laquis and De machinamentis), and others, with commentaries by Galen and other ancient writers. Hippocrates' treatise on dislocations and Soranus' work on bandages are illustrated with woodcuts, many of them full-page, which illustrate the treatments discussed in the text.

As a Mark of Esteem and gratitude for her devotion to the Queen’s Brave Soldiers’. by J. Pinches, London, [1855-6]. Round white metal medallion with plain edge, 41mm in diametre, pierced for suspension,with some slight tarnishing and discolouration and some minor edgewear; without the original box; good. Uncommon and attractive medal by Pinches of London which was struck in 1856 and sold at the Crystal Palace in May of that year to commemorate the unveiling of the Scutari Monument by Queen Victoria in the presence of Crimean veterans. As contemporary reviews reveal, Baron Marochetti’s monument of four weeping angels was greeted with considerable disdain and indeed was quite unpopular, many aggrieved that he had won the commission without a preliminary public competition. The Crystal Palace statue was a facsimile in imitation granite of the actual monument erected at Scutari. Known as the "Lady with the Lamp," Florence Nightingale is considered by many to be the founder of modern nursing, revolutionizing the practice during her role as a managing nurse during the Crimean War. Her skills as a statistician aided in her preparation of visual data, further allowing vital information to be disseminated and better care thus administered.

ca. 1926.]. 8vo, pp. 48; with numerous illustrations; lightly browned and foxed throughout, with some minor edgewear, and a few pencil doodlings; stapled as issued in the original grey printed wrappers, detached and loose, covers a little creased and soiled; otherwise good. Later variant revised issue of a separately printed pamphlet which whilst available for separate purchase, was also offered free with the book ‘Vitalogy’. The larger work was first published in 1899, penned originally by George Wood and Edward Harris Ruddock. It was to go through several editions. This small supplement is usually ascribed to Horace Conger, however, and certainly by this later issue it is his name, together with Caroline P. Crane, that is on the title-page. It no longer includes the section entitled ‘Prevention of Pregnancy’.
‘In this illustrated pamphlet Conger very briefly describes the anatomy of the male and female sexual organs: the relation of constipation to “involuntary seminal emisions”... fetal development; the relation of constipation to sickness during pregnancy; prolapsus uteri; and several methods for preventing pregnancy’ (Atwater S-283). Atwater suggests that Conger was the original author of ‘Vitalogy’ and seems not to be aware of the Wood and Ruddock publication.

1840. Large 8vo, pp. viii, 272; with sixteen folding lithograph plates; preliminary leaves and final two gatherings a little browned and foxed (possibly differing paper stock), with occasional light spotting and soiling throughout, but otherwise quite clean and crisp, upper corners of plates a little furled, fore-edge of plate XIII dust-soiled with small marginal tear and signs of folds having been repressed, with further light foxing to some of the plates, but generally bright; a presentation binding in full green morocco, spine in compartments with raised bands, lettered and decorated in gilt, boards ruled, and stamped in gilt on upper cover ‘École d’Accouchement de Paris. 6. Prix de vigilance clinique. Décerné à Mademoiselle Beauregard, 1859’, upper cover a little darkened in places with some worming, with further silverfish wear to rear cover, joints and extremities lightly rubbed; a good copy. An attractive presentation copy awarded to a young student midwife at the Parisian École d’Accouchement, of the first French edition of Naegele’s important obstetrical work. His work constitutes ‘the first description of the obliquely contracted or Naegele pelvis. Because of its rarity and the difficulty of recognizing it clinically in living subjects, the obliquely contracted pelvis, with its most often fatal consequences at delivery, was unknown until Naegélé's study of 37 cases. He suggested diagnostic aids for its recognition’ (Garrison & Morton 6257 for the original German edition of 1839.)
A handwritten note on the front free endpaper reveals the recipient to be ‘Julie Dubut née Beauregard sage-femme, [Gabriac?] 1857-1908’, with the binding itself noting that she had received the 6th prize for clinical vigilance by the Paris midwifery school for the year 1859.
‘Naegele [1778-1851] was professor and director of the Obstetrical Hospital at Heidelberg, and it was there, in 1839, that he wrote this highly regarded and original work on the obliquely contracted pelvis. The work was of immediate value to practicing obstetricians; the ensuing years have added little information to his original observations. The beautifully rendered lithographs are reproduced faithfully in this, the first edition in English published 100 years later’ (Heirs 1339 for the first English edition of 1939).

[n.d. but ca. 1858-60.]. Small folio, pp. [ii] additional chromolithograph title-page consisting of an oval-shaped decorative border with a small chromolithograph oval paper onlay illustrating a piece of silverware in the centre, [vi], [17]-48; with 17 chromolithograph plates (most retaining tissue guards), and with a number of wood engravings within text; some occasional light browning and soiling, but otherwise clean and bright; original morocco backed blue publisher’s cloth with bevelled edges, all edges gilt, rebacked, covers elaborately tooled and lettered in gilt, spine ruled and lettered in gilt; with book-plate on front paste-down, possibly Charles J Hart; ex-Birmingham Assay Office copy with their small stamp at tail of front free endpaper; a good copy. An attractive copy of this striking chromolithograph work illustrating examples of metal-work and jewellery which had been exhibited at the Art Treasures Exhibition held in Manchester in 1857. After contributing to the guidebooks for the Crystal Palace at Sydenham in 1854 (together with Matthew Digby Wyatt and others), the architect John Burley Waring (1823-1875) was appointed superintendent of ornamental art and sculpture for the Manchester exhibition, described by Elizabeth Pergam as ‘the first blockbuster’ exhibition. To celebrate the occasion, a large illustrated catalogue was issued under the title ‘Art treasures of the United Kingdom from the Art Treasures Exhibition, Manchester’, describing many sculptural and decorative art highlights arranged in categories, with introductory essays by noted commentators, and illustrated with large-scale chromolithographs by, amongst others, the noted photographer and chromolithographer Francis Bedford (1815-1894).
The present ‘Examples of Metal-Work’ originally formed part of that more extensive catalogue, but has been here reissued separately with a new ‘Introduction’ by Waring (not included in the the 1858 publication). The essay by the architect and art historian Wyatt (1820-1877) are apparently the same sheets as those used previously, and includes small wood engravings by the illustrator Robert Dudley (1826-1909). Wyatt had previously published a more extensive illustrated work on the subject in 1852, ‘Metal-Work and its artistic design’, once again illustrated with numerous chromolithographs.

1800. 12mo, pp. xii, 154; with folding engraved frontispiece map of the world, a folding plate of the spheres, and two further engraved plates of ‘Geographical terms and figures exemplified’; lacking the front free endpaper; some occasional light soiling, upper margin of frontispiece with faint stain, otherwise clean and bright; with a few neat pencil markings throughout; with the signature of ‘A. W. Wells’ on front pastedown, and of ‘Parker’ on rear pastedown; a most appealing unsophisticated copy in the original full sheep, ruled in blind, spine in compartments with raised bands, some loss of spine at head and tail, and upper joint cracked but holding firm, extremities a little rubbed; with the name ‘Parker’ stamped in black vertically on upper cover. A charming unsophisticated copy and a scarce provincial printing of this popular geographical work, first published in French by the noted historian Abbé Pierre Nicolas Lenglet du Fresnoy (1674-1755) as Géographie des enfans in 1736, with the first English edition appearing in the following year. One of the earliest geography text-books aimed specifically at young children, the work comprises a series of sixty-six lessons, organised by country and area, and adopts the question and answer format to help instil into young minds. Thus they are given the key facts about major cities, rivers, population and systems of government. The final lessons introduce the reader to the use of the terrestrial globe, and concluding with a table of longitude and latitude. By studying for an hour a day, ‘all this knowledge may be acquired in less time than three months’ (p. x).
Not only aimed at children, however, as the preface notes: ‘This outline may likewise be useful even to those of riper years, for there are many, who, though they have had a good general education, are ignorant even of the first rudiments of this science... the least propensity to learning by the help of this short treatise, will be sufficient to acquire a general idea of the science. Young ladies, in two months time, may be instructed in the rudiments of Geography, and be able to give a pertinent answer to a question, that they would blush if they were unable to resolve’ (p.iv-v). As the present Shrewsbury printed ‘Twenty-second edition’ attests, the work proved to be extremely popular and enduring.
The author of several works, Du Fresnoy published his more extensive Methode pour etudier la geographie in 1716, the 1736 presumably an abridgement based upon that work.

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 full 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.

1932. Boxed card game, 95 x 120 x 22mm, comprising two sets of cards, a blue set of 48 batting cards and a green set of 50 bowling cards, with folded book of rules, and three folded scorecard sheets printed on both sides, three cards neatly completed in red ink; a couple of cards a little browned, with some light soiling and furling to score sheets and rules; in the original decorative box, one corner of lid slightly worn, base of box a little foxed, with some light edge wear but otherwise very good. A charmingly illustrated card game in excellent condition that attempts to simulate the game-flow on an actual cricket match. Whilst no doubt of appeal to a devoted cricket fan, as the rules state it ‘can be played by anyone, old or young, male or female, cricketer or non-cricketer. It can by played in teams of eleven a side or any number below it down to one a side and is (as the inventor can vouch) a most satisfying game of Patience. All the form and thrills of cricket are here (without the “Rain stopped Play” notices!)... Matches should be two innings each side, the winner being the side which has scored most runs after four completed innings, or has dismissed its opponents twice for a smaller score’. The game consists of 98 colourfully designed cards: a blue set of 48 batting cards and a green set of 50 bowling cards. ‘From the bowling deck a number of individual bowler piles are created (i.e., 5 piles if 5 bowlers are indicated by the defensive player). The batting cards are then shuffled and split into 2 piles (1 for each batsman), then the 1st batsman flips a card from his pile. If a 2, 4, or 6 is played, the score is recorded and the 1st batsman continues play. If a 1 or 3 is played, the score is recorded and the play moves to the 2nd batsman. If a "How’s That" card is played, the defensive player flip the top card from the "active bowler" pile (i.e., the pile designated as the bowler for the current over) and scores the result (i.e., run out, stumped, Not out, Leg-bye, etc.). Batting cards are reshuffled every three overs; bowling cards are reshuffled every five overs. The game flow and rules closely follows the real game of cricket - an over consists of 6 bowled balls (cards) plus extras, batsman change sides after each over, 10 wickets taken constitute an inning, etc. As with the real cricket, the goal of the game is to outscore your opponent over two innings’.
The illustrations are redolent of Punch cartoons and also have a ‘Searlesque’ quality about them, although the box lid is signed ‘Stoke’ - whom we have so far been unable to identify. The game is commonly believed to have first appeared in 1932, though a games and toys trade catalogue dated 1953 makes an announcement for this ‘new cricket card game just published’. The present example does not have a price sticker on the box as sometimes found.

1680. 8vo, pp. 56; with appealing woodcut initial, and head- and tailpieces throughout; title-page a little dampstained, with some light foxing throughout; later ownership note at head of title-page in ms ‘Perugia, 23 Luglio 1894, Cant. 36’; recently bound to style using older marbled paper. Rare first edition of this collection of laudatory and elegiac compositions commemorating the death of the celebrated castrato singer Baldassare Ferri (1610-1680), considered to be one of the first great castrati singers. According to contemporary accounts he possessed a phenomenal voice and he performed at many of the Royal Courts across Europe. By the time of his death he had amassed a large fortune, and he was widely mourned, as the present compilation illustrates.
The collection was compiled by Ferri’s nephew Giovanni Angelo Guidarelli (1647-1720), and includes 43 poems and sonnets in Latin and Italian by many leading writers of the time, including members of the Arcadia. The various poems in ‘The cry of the swans on the death of the phoenix of music’, whilst exhibiting many familiar tropes of the genre, also provides a chronicle of Ferri’s life, in an attempt to preserve a sense of his incomparable and angelic music for future generations. Contributors include Calo Sabbatini, Batolomeo Colonna, Antonio Cinaronio, Domenico Anselmo, Fioravante Lancellotto, Nicola Barsanti, Marco Antonio Farina, Antonio Ferri, Camillo Boccaccio, Carlo Amadio, Carlo Battisti, Carlo Doni, Carlo Vuetti, Domenico Antisari, Vincenzo Alvitreti, Girolamo Ammiani, Iacomo Rangoni, and Ottaviano Ercolani.

1905. 8vo, pp. 281, [2]; with 15 engraved plates, 13 engraved figures within the text, and a number of further tables and figures (three plates with rough hand-colouring, with small pencil ‘filling in’ on one further plate); paper browned throughout due to paper quality, with some occasional soiling and staining, gutter cracked and exposed at p. 162 but holding firm, final two upper corners folded and a little fragile, and with repair to tear on final verso; uncut, and recased in the original printed wrappers (dated 1906), with tidemark along upper spine, paper repair to upper corner and joint of rear wrapper, covers a little spotted and soiled, extremities a little dog-eared; with authorial inscription (somewhat illegible) on half-title; despite faults, a presentable copy of a scarce and fragile work. First edition, and a presentation copy, of this detailed illustrated treatise on the history and classification of tattoos by Abel De Blasio (1858-1945), professor of criminal anthropology at the University of Naples and director of the first scientific institute at the police headquarters, the Ufficio Antropometrico della Regia Questura di Napoli.
A student of both Cesare Lombrosco (1835-1909) and Giustiniano Nicolucci (1819-1904), De Blasio initially studied pharmaceutical chemistry and natural sciences, though developed strong interests in botany, anthropology, criminology, palaeontology, and ethnology. De Blasio collaborated closely with the Neapolitan police force, and was to employ similar descriptive, photographic, and anthropometric methods as those being implemented and practised in France by Alphonse Bertillon (1853-1914). He was to publish over two hundred works and a number of subjects, though is particularly noted for his work on the Camorra criminal fraternity, and for his work on tattoos both from an ethnological viewpoint, and with regards to criminal and prison subculture. Influenced by Lombrosco’s work at the Turin department of Criminal Anthropology, in 1897 he published ‘Usi e Costumi dei Camorristi’, in which he catalogued the tattoos of over 280 ‘Camorristi’. Through his research, he classified and analysed the motivations and meanings of skin markings, and developed a classification system, identifying tattoos of love, revenge, nickname, gang rank and affiliation, contempt, profession, beauty, age, ethnicity, religious, symbolic, hereditary, and obscene, with the location on the body also of significance. In the present work he expands upon his previous studies, also discussing the global culture of tattooing in America, Oceania, India and Europe. As with similar anthropological works of the time, indeed those of his mentor Nicolucci, his theories on race are complex and problematic.