An illustrated volume of the collected voyages of Cook, based on Jean-Pierre Bérenger’s late 18th-century accounts, published for children.more...
There were at least three editions from between 1804 and 1819 (Avignon and Paris), all rare. Some contain three plates, others (as here) five. The plates in this copy depict a walrus hunt, encounter with Patagonians, a Tahitian cemetery, Maori war canoe, and Oonalaska landscape..see full details
An elegant anonymous satire on fashionable dress for women, directed especially against the painful pursuit of an artificial figure: ‘Come here, you two girls, that look full in my face, / And you that so often are turning your back [the Graces], / Put on these cork rumps, and then tighten your stays / ‘Till your hips, and your ribs, and the strings themselves crack. / Can ye speak? can ye breathe? - Not a word - Then ‘twill do. / You have often dress’d me, and for once I’ll dress you.’.see full details
A virulent attack on Philip II, King of Spain, attributed to José Teixeira, a Dominican friar exiled in France and England, confessor to Dom António, Prior of Crato, exiled king of Portugal.more...
La Anatomia de Espanna includes accounts of Francis Drake (‘Francisco Draco’ or ‘El Draco’) and the English Armada of 1586 and the 1596 capture of Cadiz. The text and its likely author were closely associated with the circle of Elizabeth’s favourite, Robert Devereux, Earl of Essex.
It is unpublished in print and known in one other manuscript copy in Spanish and two in English (The Anatomie of Spayne). Our version, while neatly written, contains numerous corrections and additions and is clearly dated 1598, suggesting it may be the earliest of these versions, potentially even the author’s original.Written in defence of the independence of Portugal, the title-page is emblematic of the contents: at its head the Spanish royal arms are secured to the twin pillars of ‘Miedo’ (fear) and ‘Sospecha’ (suspicion). Five further pillars, each with armorial shields are labelled: ‘Usurpacion’, ‘Hipocresia’, ‘Perfidia’, ‘Tirania’, ‘Homocidia’ and ‘Bastardia’. Over the course of 88 pages, the author disputes the legitimacy of Spanish rule over Portugal, accuses Philip II of mistreating his wives and implies that he was responsible for the death of his son, Don Carlos and his brother, Don Juan. He demonstrates that Philip was a poor friend to his supporters, such as the Dukes of Alva and Parma, but most notably António Pérez, at that time also in exile in London.
‘The “Anatomy of Spain,” a tract of 1598 probably written by a Portuguese exile in England, José Teixeira, popularized many hoary myths about the king: that before he married the princess of Portugal in 1543 he had two children by a court lady, Doña Isabel Osorio (since he was only just sixteen at the time of his first marriage this seems somewhat improbable); that during the 1560’s he got another lady, Doña Eufrasia de Guzmán, pregnant, forced the prince of Asculi to marry her, and then had the prince poisoned. There was also more detail on Don Carlos and the death of Escobedo … and there were vivid descriptions of the (unpunished) atrocities committed by Philip’s troops in Portugal, the Netherlands and the Indies. The “Anatomy of Spain” aimed to point out the “cost” of Philip II to the world. Its closing words execrated “this perfidious Philip, great hypocrite, incestuous king, accursed murderer, unjust usurper, detestable tyrant and monster” – but it was never published’ (Parker, Philip II, Chicago: Open Court, 1995, p. 203).
A second manuscript in Spanish of the Anatomia is at Cambridge, also dated 1598 probably a fair copy, illuminated, with elaborate heraldic illustration, bound in velvet (CUL MS Gg.6.19), with some heavy deletion and at least one leaf excised. An English translation exists in two early manuscripts, where the text is attributed to ‘Don Biud de Haro’ translated by ‘Harye Bedwod’, both evidently pseudonyms. The first of these English versions is at Eton College (MS 164), the second at the Beinecke Library, Yale (Osborne Fa20, ex. Gwyn of Lansmor, Ford Abbey and Phillipps), both being dated 1589, both with emblematic title-pages and elaborate illumination. The manuscripts are discussed by Gustav Ungerer in A Spaniard in Elizabethan England, pp. 275-6, but our version was unknown to him. It is potentially the earliest of the three and closest to the author.
Though unpublished in this form, several related works by Teixeira appeared in print in England, with the anonymous A Treatise Paraenetical, that is to say: an Exhortation. Wherein is shewed … the right way and true meanes to resist the … Castilian King … by a pilgrim Spaniard, of 1598, also associated with the circle of the Earl of Essex, containing some of the same material..see full details
Among the more recent ‘Remarkable Events’: ‘George III. went to St. Paul’s to return thanks for his recovery from his alarming illness, April 23 1789.’ Goldsmith miniature almanacks for the years 1681-1840 are listed in Welsh 3090-3094..see full details
Caricature portrait of Georges Cadoudal (1771-1804), Breton leader of the Royalist Choannerie against the French Revolution, who, with secret British assistance, had attempted to stage an assassination of Napoleon Bonaparte while en route to Malmaison in 1803.more...
He failed and was arrested and executed in Paris with eleven accomplices..see full details
Probably the first edition in French, but one of several issues of the same year with the same pagination but differing title ornaments.more...
First published in 1740 as The Chronicle of the Kings of England under the pseudonym of Nathan Ben Saddi, Dodsley here displayed his egalitarian leanings with this rewriting of English history in the style of the King James Version of the Old Testament Pentateuch. The imprint is false and it is unlikely that the French editions was actually printed in London. In this issue the engraved vignette on the title-page is a frame with a pedestal upon which are a spear, a shield, laurel wreaths and an owl, there are several variants, as enumerated in the ESTC..see full details
First edition of this very pretty and rare almanac-style guide to the principle walks and attractions in the Paris region, with plates including the Champs Elysées, the Chateaux de Vincennes and Malmaion and Rousseau’s garden at Ermenonville.more...
Jointly authored with Robida, who also provided the illustrations, Contes pour les Bibliophiles contains Uzanne’s prescient essay ‘La Fin des livres’. This remarkable text has been eagerly discussed by commentators on the interface between traditional and electronic book. Like many contempories Uzanne and Robida had been enthralled by inventions such as Edison’s phonograph and Ader’s ‘théatrophone’ and they predicted fundamental shifts in the consumption of literature in their wake. ‘La Fin des livres’ describes (and illustrates) wonderful devices for the consumption of audiobooks in the home and in public places, suggesting that they would become as straightforward as turning on a tap. The library of the future would in turn become a roomful of recorded cylinders, and publishers would be required to register the voices of their authors by way of copyright.
What would such a democratization of the word do to the printed book? Uzanne’s response was to look at current production of books and insist that books would not die provided they remained objects of beauty and desire worthy of the attention of bibliophiles. The wonderful cover illustrations and typography are by George Auriol, member of the Chat Noir circle and friend of Erik Satie..see full details
This toile fragment depicts scenes from Grétry’s popular opera La Caravane du Caire (1783) including the central slave market scene in which an Egyptian pasha chooses between an Arab and European women as potential slaves.more...
With several subsidiary scenes, including a mosque and crescent-topped obelisk, this printed design is a remarkable evocation of an imaginary encounter between the Christian and Islamic worlds. As a fabric for interior decoration it was destined for curtains, hangings or upholstery.
Toile prints, often referred to generically as ‘Toiles de Jouy’ after the products of the famous factory at Jouy-en-Josas, just south of Versailles, were one of the great successes of French industrial production, but are often overlooked as examples of popular iconography. This example from Nantes is printed using the mordant technique, in which the design was printed from large engraved copper plates using an invisible mordant. Once the cloth was placed in dye (scarlet red in this instance) the colour adhered only to the mordant-printed areas, being entirely washed away from the remaining blank background. The result is a remarkably bold and sharp image of impressive dimensions and with extraordinary detail. Varieties of toile designs are almost countless, but it was common for them to reproduce scenes from history, legend or other artforms such as theatre and opera. Since an opera such as La Caravane du Caire may never have been printed in illustrated editions, these fabric prints are fascinating graphic survivals.
‘La Caravane du Caire was the most successful of Grétry’s lighter large-scale works, being seen at the Paris Opéra frequently up to 1829, in more than 500 performances.’ (New Grove). Its complex plot begins with the caravan travelling to Cairo, including a slave-trader Husca and two slaves, Zélime (the daughter of a nabob) and her French husband Saint-Phar. The tale turns upon the interactions between French protagonists and their Arab counterparts. Zélime is purchased at the slave market (depicted on our toile) by the pasha for his harem, in preference to various Europeans presented for his consideration (including musicians and dancers, also partly depicted here). Through various rather unbelievable devices, Zélime and Saint-Phar are ultimately freed and reunited. The tale is a classic example of the French ‘arabesque’ vogue, considering social mores and philosophical questions through their examination in exotic, usually eastern, circumstances..see full details
‘And Enoch walked with God. Gen. V. 24.’ Apparently by an anonymous follower of the evangelical Church of England preacher, William Romaine — a spiritual meditation occasioned by a daily walk — a trope clearly derived from Romaine’s spiritual classic The Walk of Faith (1771), a work recommended in a postscript here: ‘Reader, if the perusal of this letter has been profitable unto you, and you desire to be further instructed how to live by Faith, and walk humbly and happily with your God, ---- I would recommend to you a Treatise of the Life of Faith, and one of the Walk of Faith; both by the Rev. Romaine Rector of St. Ann Blackfriars...’.see full details
– Je m’appelle Frank T… et je suis un alcoolique. – Je m’appelle Elizabeth F… et je suis une alcoolique.
The work which was instrumental in establishing Alcoholics Anonymous in France. A note following the title reads: ‘Les personnes quie seraient intéressées par les “Alcooliques anonymes” peuvent s’addresser aux ALCOOLIQUES ANONYMES, groupe des Paris, 65, quai d’Orsay’ [the Amercian Church in Paris, still a meeting point for the organisation]..see full details
LINKING KEY FIGURES IN THE NINETEENTH-CENTURY REFORM MOVEMENTS, THE THREE LETTERS HERE ARE ADDRESSED TO MEDICAL PIONEER ELIZABETH BLACKWELL, THE FIRST WOMAN TO RECEIVE A MEDICAL DEGREE IN AMERICA AND THE FIRST TO BE ENTERED ON THE BRITISH MEDICAL REGISTER.more...
Blackwell’s old acquaintance, Florence Nightingale, writes to her in an apparently unpublished letter of 1871 of the difficulties of public health projects, which would involve: ‘going, for instance, into all the back slums of London & other towns – practically learning & teaching there what constitutes the health of dwellings, the health of children, the health of populations, of occupations &c.’ Twelve years earlier (1859) her cousin George Eliot, signing herself in her assumed name of Marian Lewes, responds to an appeal by feminist pioneer Barbara Bodichon by forwarding her letter to Elizabeth Blackwell, while novelist Dinah Mulock thanks Blackwell for a ticket to one of her lectures.
The documents were collected by a Mrs Denniss, perhaps given to her by Blackwell herself as a memento and include three excellent photographic portraits, including a magisterial print by Elliott & Fry. Comprising:
1. NIGHTINGALE, Florence. Autograph letter, signed ‘Florence Nightingale’ to Miss [Elizabeth] Blackwell. [August 2], 1871. ‘Nothing that you do, independently of our being old friends, can fail to interest me’. She states the business of bringing everyone, ‘the little as well as the big’ to understand the ‘Laws of Life’ is the first business of everybody. However, she expresses doubt that it can be achieved in the way Blackwell has suggested is possible: ‘Sanitary work of this kind can only be done by going personal grappling with the evils by going personally among those for whom it is to be done – going, for instance, into all the back slums of London & other towns – practically learning & teaching there what constitutes the health of dwellings, the health of children, the health of populations, of occupations &c.’ Nightingale had known each other since 1850, though their medical careers took diverging paths, Nightingale achieving celebrity for her work in the Crimean war, while Blackwell established her medical practice (against considerable odds) in America. By 1871, she had been back in England over twenty years pursuing her campaign for women’s medicine, by which time Nightingale was largely confined to her bed through illness. Two-and-a-half pages on a bifolium (black edged, leaf size 205 × 130 mm), folded twice, envelope addressed in Nightingale’s hand to Blackwell in London [redirected to Cornwall], marked ‘Private’, penny stamp, postally marked at London, Matlock and Penzance.
2. LEWES, Marian. [Mary Ann EVANS, ‘George ELIOT’]. Autograph letter, signed, to Dr [Elizabeth] Blackwell. Holly Lodge, Wimbledon Park, Wandsworth, Ap[ril] 16, 1859. ‘Being unable myself to respond to Barbara [Bodichon]’s appeal in the enclosed letter [not present], I obey her wish by forwarding it to you’. This short letter was written in the year Adam Bede was published, and two months after Eliot had moved to Holly Lodge with her partner George Henry Lewes, already married with children. It refers to ‘Barbara’s appeal’ ? almost certainly Barbara Bodichon, a mutual friend of Eliot and Blackwell, then engaged in several campaigns for women’s health, employment and suffrage. One page (177 × 115 mm), two lateral folds.
3. MULOCK, Dinah Maria. [later Dinah CRAIK]. Autograph letter to Dr Elizabeth Blackwell. Wildwood, North End, Hampstead, 29 Feb[ruary], 1859. Presenting compliments and thanking her for the ticket for the lectures, which she must forgo on grounds of health, but will pass on to a young friend. Mulock’s best-known novel John Halifax, Gentleman had appeared in 1856, followed by A Woman’s Thoughts about Women (1857) and A Life for a Life (1857), the latter arguing for a single moral standard for both women and men, and for the equivalency of their strengths. One-and-a-half pages on a small bifolium (112 × 90 mm).
4. BLACKWELL, Dr Elizabeth. Photographic portrait by Elliott & Fry, London, 1907. (147 × 98 mm), original publisher’s mount. Verso inscribed ‘To Mrs Denniss’ [not autograph] and in a later hand: ‘Dr Blackwell in August 1907 – 84 and a half years’.
5. ? Photographic print after the portrait drawing of 1859 by the Comtesse de Charnacée, a later reproduction of a photographic print by Swain, J. H. Blomfield, Hastings. (Oval 88 × 58 mm) publisher’s mount. Inscribed on verso: ‘…1859 the year Dr Blackwell was placed on the British Medical Register’.
6. ? Photographic print, reproduced from the portrait of 1888 and issued by W. A. Thomas, Hastings. (138 × 95 mm).
7. ? Photograph of Rock House, Hastings. (120 × 160), faded and creased.
8. ? Photogravure print of Blackwell’s grave and memorial at Kilamun, Holy Loch, Argyleshire. (200 × 138), soon after 1907. Frayed at head..see full details
First and only edition, issued the year after the Easter Rising, showing hundreds of Dublin businesses seeking exports all over the world.more...
Among the many listings and advertisements for brewers, distillers, foundries, printers, publishers, linen manufacturers, shipyards, engineers and so on, are found two one-third page adverts for the Yeats sisters’ Cuala Industries and the Dun Emer Guild. The two firms had been founded under the Dun Emer name by Elizabeth and Lily Yeats in 1902 producing Arts and Crafts printing, embroidery, rugs and tapestry, before dividing in 1904. The Cuala advert shows the Yeats’s Churchtown bungalow and reads: ‘Embroidery—Lily Yeats. Hand Press—Elizabeth C. Yeats. Editor of the Press—W.B. Yeats.’ The Dun Emer advert shows a woman working at a loom and offers ‘Hand-woven Carpets & Tapestries, Embroideries, Enamels, Bookbinding’.
There are also historical and topographical accounts of the city. This was the first appearance of the Dublin Year Book and it was apparently not reprinted..see full details
A very neatly presented elementary project on leather production and its use in craft bookbinding, with useful samples illustrating the different characters and textures of goat, sheep and calf, and the nature of morocco.more...
There are also colour samples and some examples of elementary lettering and tooling (presumably by the author) who was probably a student at a British technical college. There are two samples of eighteenth century book covers and a nice drawing of the binding of the seventh century Stoneyhurst/St Cuthbert Gospel, the earliest intact European bookbinding..see full details
First edition of the first French book on the diabolo or devil sticks, and thus probably the first European book on the subject.more...
The diabolo craze swept Paris in 1812, all the illustrations here are of young men and women at play with this juggling toy. Besides the first two chansons, on a diabolo theme the texts here are typical of other contemporary almanacs, and the last 14 pages contain an almanac for 1813. Derived from an ancient Chinese toy it was the French who first embraced it as a fashionable activity in the early nineteenth century..see full details
First edition, regular copy on Lafuma (after 25 on Japon and 50 on Hollande, total edition 1330).more...
A brilliant literary jeu d’esprit presenting contemporary French authors as shopkeepers: François Mauriac presides over a butcher’s, La Chair et la sang, Macorlan, a fishmonger’s, Les Poissons morts, Max Jacob, a photographer’s studio, Le Cabinet noir, Colette sells travel goods from La Vagabonde, Carco presides over a brothel, Rien q’une Femme, Gide sells gorceries at Nourritures terrestres, while Jean Cocteau presents a crazy sideshow booth, La Noce massacrée..see full details
A very rare publisher’s advert for children’s books, issued on behalf of Amable Rigaud (a pseudonym of children’s author and publisher Charles de Ribelle), publisher at 50 rue Sainte Anne, Paris.more...
Rigaud was prolific from around 1859 to 1880 and this fine lithograph appears to date from the early part of this period. It lists 15 different title all published around 1859-61 including Histoire des siècles. Des Découvertes et inventions, Livre des jeunes personnes vertueuses, Le grand Alphabet pittoresque de la jeunesse, Le Monde et se merveilles and Histoire des animaux célèbres. Born in 1810 Ribelle had also founded a juvenile magazine Journal des enfants..see full details
First edition, known otherwise only from the Bibliothèque nationale copy, of this tiny promotional pamphlet for the notorious (yet successful) marriage agent in imperial Paris.more...
It is a remarkable little testimony to post-revolutionary upheaval and its effects on social relations. Marriage-broker Villiaume is credited as the pioneer in France of advertising for partners in the petites affiches of newspapers. He had apparently hit upon the idea while imprisoned in the mental asylum for his part in an assassination attempt against Napoleon: he is reported to have made enquiries into the social situation of all the male inmates (which naturally at this date included numerous members of the old aristocracy) and then did the same among their female counterparts in the women’s asylum. On his release he founded the Agence Générale et Centrale pour Pais et l’Empire on the Rue Neuve-Saint-Eustache and began a Parisian craze for marriage brokering.
Evidently prepared to turn his hand to any promising enterprise this pocket guide advertises his services as a broker not just for marriages, but of various other situations and he takes the opportunity to defend himself against his many detractors and to advertise the sale of his neighbours’ second-hand furniture.
‘Founder of the most widely known matrimonial agency in postrevolutionary France, Claude Villiaume proved his talents as an enterprising ad man who exploited the uniquely commercial format of the Parisian Petites affiches to establish a virtual monopoly on the business under the Empire. Offering to serve as a conduit for men and women who pursued love anonymously in the Petites affiches, he skillfully marketed his “marriages by the classifieds” to lonely, uprooted individuals throughout imperial France. Villiaume pitched his unions as part of a new commercial and social world of movement in Paris. He sought to facilitate the circulation of capital and people by forging family alliances and love matches across multiple social and geographic borders. By linking marital choice and courtship to the vagaries of consumer capitalism, the agent transformed marriage into a form of commercial exchange associated with the new urban values of abundance, pleasure, and social mobility’ (abstract from Andrea Mansker, ‘Marriages by the Petites Affiches: Advertising Love, Marital Choice, and Commercial Matchmaking in Napoléon's Paris’, French Historical Studies (2018) 41 (1): 1-31)..see full details