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  • Henry Walter Livingston. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de. [SAINT-MÉMIN, Charles Balthazar Julien Févret de. ~ Henry Walter Livingston. 1804 or 5].
    A rare physionotrace portrait of Henry Walter Livingston (June 12, 1768 – December 22, 1810) a United States Representative from the state of New York.… (more)

    A rare physionotrace portrait of Henry Walter Livingston (June 12, 1768 – December 22, 1810) a United States Representative from the state of New York. He graduated from Yale College in 1786 where he studied law and was admitted to the bar and commenced practice in New York City. He was private secretary to Gouverneur Morris, American Minister Plenipotentiary to Paris, France, 1792-1794; judge of the court of common pleas of Columbia County, N.Y.; member of the State assembly in 1802 and again in 1810; elected as a Federalist to the Eighth and Ninth Congresses (March 4, 1803-March 3, 1807). He died at his home in Livingston, New York on December 22, 1810 and is interred with his wife in a vault there.

    Before the advent of photography the physionotrace was ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his apparatus a profile cast by a lamp onto a glass plate was traced by an operator using a pointer connected, by a system of levers like a pantograph, to an engraving tool moving over a copper plate. The aquatint and roulette finished engraved intaglio plate, usually circular and small (50 mm), with details of features and costume, could be inked and printed many times’ (Photoconservation.com, sub Printing Processes). The process was introduced to America by Charles Saint-Mémin.

    The miniaturist Saint-Mémin (1770-1852) had emigrated from France in 1793 to Switzerland, where he practised as an engraver. Crossing the Atlantic to Canada and then the United States, he established a portrait business in New York with his compatriot Thomas Bluget de Valdenuit (who initially produced the drawings for Saint-Mémin to engrave). When Valdenuit returned to Paris, Saint-Mémin adopted an itinerant practice all over the East Coast states, working variously at Philadelphia, Richmond, Charleston and Burlington. He too returned to France in 1814, having destroyed his drawing apparatus in a symbolic end to a prolific artistic enterprise which produced more than a thousand different portraits of significant figures in American society, including Washington, Revere and Jefferson.

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  • WATSON, David. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de]. [SAINT-MÉMIN, Charles Balthazar Julien Févret de]. ~ WATSON, David. 1808
    A rare physionotrace portrait of David Watson (1773–1830) was a lawyer, educated at William & Mary College (1796-1797) and (with Jefferson) a member of the… (more)

    A rare physionotrace portrait of David Watson (1773–1830) was a lawyer, educated at William & Mary College (1796-1797) and (with Jefferson) a member of the first Board of Visitors of the University of Virginia in 1817. He and known to have been a confidant of Thomas Jefferson and other notable figures of the period. He was elected six times to the General Assembly and represented Louisa County at the 1829 Constitutional Convention.

    Before the advent of photography the physionotrace was ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his apparatus a profile cast by a lamp onto a glass plate was traced by an operator using a pointer connected, by a system of levers like a pantograph, to an engraving tool moving over a copper plate. The aquatint and roulette finished engraved intaglio plate, usually circular and small (50 mm), with details of features and costume, could be inked and printed many times’ (Photoconservation.com, sub Printing Processes). The process was introduced to America by Charles Saint-Mémin.

    The miniaturist Saint-Mémin (1770-1852) had emigrated from France in 1793 to Switzerland, where he practised as an engraver. Crossing the Atlantic to Canada and then the United States, he established a portrait business in New York with his compatriot Thomas Bluget de Valdenuit (who initially produced the drawings for Saint-Mémin to engrave). When Valdenuit returned to Paris, Saint-Mémin adopted an itinerant practice all over the East Coast states, working variously at Philadelphia, Richmond, Charleston and Burlington. He too returned to France in 1814, having destroyed his drawing apparatus in a symbolic end to a prolific artistic enterprise which produced more than a thousand different portraits of significant figures in American society, including Washington, Revere and Jefferson.

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  • by their London Intelligencer. And presented to the Lords of the Covenant of Scotland. Anno Domini. 1639. by THE SCOTS SCOUTS DISCOVERIES: THE SCOTS SCOUTS DISCOVERIES: ~ by their London Intelligencer. And presented to the Lords of the Covenant of Scotland. Anno Domini. 1639. London: for William Sheares, 1642.
    First edition of this Covenanter propaganda pamphlet of the era of the Bishops’ Wars, purporting to offer intelligence as to the parlous and divisive state… (more)

    First edition of this Covenanter propaganda pamphlet of the era of the Bishops’ Wars, purporting to offer intelligence as to the parlous and divisive state of the English nation, particularly the English forces, who the author ‘L.D.’ claims to have infiltrated. It is full of fascinating gossip and opinion, albeit mainly fictional, sometimes in verse form.

    ‘What will you fight for a Booke of Common Prayer?
    What will you fight for a Court of High Commission?.... [English]
    Wee fight to have our true Religion stand:
    Wee fight to keepe our Lawes unvilified...’ [Scots].

    The spy-narrator recounts various sorties into England. At Canterbury he visits Becket’s tomb and scrawls on the cathedral wall, hears a sermon at Lambeth, visits Guy Fawkes’s house and reports a dissolute Whitehall, with the King having fled. Wing L10 (another edition of 22 pages is L11); Thomason E.153[22].

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  • Jeu instructif des peuples et costumes des quatre parties du monde et des terres australes. by (GAME). (GAME). ~ Jeu instructif des peuples et costumes des quatre parties du monde et des terres australes. Paris: Basset, [n.d., 1815].
    A superb ‘game of goose’ on the theme of the peoples of the known world, with fine engraved corner vignettes representing Africa, America, Europe and… (more)

    A superb ‘game of goose’ on the theme of the peoples of the known world, with fine engraved corner vignettes representing Africa, America, Europe and Asia and 63 vignettes representing different peoples. They include native Americans (of California, Mexico, the Amazon, Iroquois, Brazil, Chile, Tierra del Fuego, Paraguay and Nootka Island), inhabitants of Java, Sumatra, China, Japan, Tahiti, Australia (Nouvelle Hollande) and New Zealand, as well as Africa, the Middle East and Europe. In common with other games of this type, the cultural attitudes represented by the symbolism and mode of play is worthy of decoding. With dice and counters, the players are to navigate (culturally, not geographically) from China (evidently still at the furthest reaches of the European geographical imagination) to France, via the 63 numbered squares, with their various characteristics, advantages and disadvantages. Mexico (square 6) is shown as a bridge and players landing there jump straight to square 12 (the Amazon); at 19 (Tahiti) the islanders’ hospitality detains players for two turns; at 31 (Siberia) the players waits in exile until another player reaches the same square and rescues them, at square 42, traditionally the ‘puzzle’ square (Japan) the player is refused landing and goes back to 30 (Abyssinia) and just before the end, square 58 (New Zealand) the player encounters the reputed anthrophages (man-eaters) and returns to the start. Ciompi/Seville Collection 32; Adrian Seville, ‘The geographical Jeux de l'Oie of Europe. Les Jeux de l’Oie géographiques de l’Europe’, Belgeo, 3-4, 2008, 427-444 (56).

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  • at White-hall, giving Advice to the young Æsops at Tunbridge and Bath: or, Some Fables relating to Government. By a Person of what Quality you please. by Old Æsop Old Æsop ~ at White-hall, giving Advice to the young Æsops at Tunbridge and Bath: or, Some Fables relating to Government. By a Person of what Quality you please. London: J. Nutt, 1698.
    First edition of this British political satire, co-opting Aesop’s animals of in a series of witty verses, capitalising on the popularity of the Aesop in… (more)

    First edition of this British political satire, co-opting Aesop’s animals of in a series of witty verses, capitalising on the popularity of the Aesop in English via the editions of Ogilby and L’Estrange. ‘In 1698 a whole series of fables began to appear anonymously which set Aesop on a journey through England and the rest of Europe. He comments through his animal characters about the Jacobite threat, William’s government of England, and Louis XIV’s ambitions on the continent. As one writer put it, “It is now the Mode, it seems, for Brutes to turn Politicians,” and Aesop was chosen as their main expositor. Aesop at Tunbridge (1698) was a structured attack on William and on Whig principles in general. In the same year Aesop at Bath criticized the Jacobites; Aesop Return d from Tunbridge committed the hapless supporter of the Jacobites to Bedlam; Old Aesop at Whitehall defended the government; and Aesop at Amsterdam objected to the very monarchical forms of government supported in one way or another by Whig, Tory, and Jacobite factions’ (Daniel, ‘Political and Philosophical Uses of Fables in eighteenth-century England’, The Eighteenth Century, 23, 2, 1982, p. 153).
    Wing O196. ESTC lists US copies at Clark (UCLA), Folger, Harvard, Cincinnati and Texas.

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  • Neuf pas autour de ma chambre. Tournée sentimentale, dédiée aux amateurs d’un exercice modéré. by [CARON or CHARLES] ‘H.R.C’. [CARON or CHARLES] ‘H.R.C’. ~ Neuf pas autour de ma chambre. Tournée sentimentale, dédiée aux amateurs d’un exercice modéré. Stockholm: Charles Deleen, 1816.
    First edition, presentation copy. A witty imaginary Voyage autor de ma chambre in the spirit of Le Maistre. In just nine steps the author circumnavigates… (more)

    First edition, presentation copy. A witty imaginary Voyage autor de ma chambre in the spirit of Le Maistre. In just nine steps the author circumnavigates his room, bumping into Napoleon and traversing Europe. There are verses, riddles, enigmas and an acrostic on the Swedish succession: ‘Charles Jean Prince Royal de Suede’. The ninth step is a long verse dedicated to the elderly British King George III. The allegorical plate depicts voyagers in an elegant state of undress on the back of a flying horse. The dedicatee of this presentation copy is Maria Juliana Wahrendorff von Rosen (1763-1820). Worldcat locates the Yale copy only in the US. JISC/Copac lists no UK copies.

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  • Edith Mortimer, or, The Trials of life at Mortimer Manor. by PARSONS, [Gertrude], Mrs. PARSONS, [Gertrude], Mrs. ~ Edith Mortimer, or, The Trials of life at Mortimer Manor. London: [Cox and Wyman for] Charles Dolman, 1857.
    First edition of this very scarce novel by a significant British Catholic author. She was born Gertrude Hext in Cornwall in 1812 and became a… (more)

    First edition of this very scarce novel by a significant British Catholic author. She was born Gertrude Hext in Cornwall in 1812 and became a Catholic in 1844. A review of Edith Mortimer in The Rambler enthused: ‘Mrs. Parsons is one of our best writers of Catholic fiction. There is a heartiness and energy about almost every thing that comes from her pen...’

    ‘A deeply religious woman, Gertrude Parsons was charitable to the poor and a leading benefactor of the mission at Little Malvern. Gertrude Parsons’s enthusiastic commitment to her adopted faith was most apparent, however, in many of her published works. Thornberry Abbey (1846), in which the heroine and her clergyman fiancé are both converted to Catholicism, is clearly semi-autobiographical. In another early novel, Edith Mortimer, or, The Trials of Life (1857), a young Roman Catholic convert learns to conquer her pride, breaking off her engagement to a rich protestant cousin. In the 1860s Gertrude Parsons wrote four tract tales for Burns and Oates’s Tales and Narrative series, which was aimed at a working-class audience; these included Lent Lilies and The Muffin Girl’ (Rosemary Mitchell in Oxford DNB). WorldCat lists US copies at Brigham Young and Huntington only.

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  • The March of Intellect. by [HEATH, William]. [HEATH, William]. ~ The March of Intellect. London: G. Humphrey, Jan. 23 1828.
    One of Heath’s famous graphic satires on the theme of The March of Intellect, which expressed contemporary anxiety over technological progress and social change in… (more)

    One of Heath’s famous graphic satires on the theme of The March of Intellect, which expressed contemporary anxiety over technological progress and social change in England brought about by science, education, industrialisation and commercialisation. This one shows a London street corner at the edge of open country and the sea, with numerous figures, including a street-sweeper, horse-drawn carriage, two men playing chess, musicians and singers and street-sellers, with wealthy figures being sent down a mechanical lift beside giant shop window stuffed with milliner. A steam carriage full of redcoat soldiers is seen in background, along with passenger balloons and a flying warship (raining canon-fire at ships below) in the air beside bridge crossing the English Channel between Dover and Calais.

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  • Fragments sur les corps celestes du système solaire... avec les planches. by BEER, Wilhelm and Johann Heinrich MÄDLER. BEER, Wilhelm and Johann Heinrich MÄDLER. ~ Fragments sur les corps celestes du système solaire... avec les planches. Paris: Bachelier, 1840.
    First edition of this observational survey of the solar system, including the earliest accurate maps of the surface of Mars, establishing the discipline of aerography… (more)

    First edition of this observational survey of the solar system, including the earliest accurate maps of the surface of Mars, establishing the discipline of aerography (a derivation form ‘Ares’ the Greek god of Mars). Wilhelm Beer and Johan Mädler made systematic telescopic observations of Mars from 1830, the year in which the planet passed closest to earth. Their goal was to refine Herschel’s calculations of its period of rotation — just over 24 hours — which had prompted speculation about the red planet’s similarities to our own. In doing so they made a close survey of spots and other markings, trying to understand those which might give clues to the composition of the Martian surface and those which were atmospheric and created the drawings on which the Mars plates in the Fragments were prepared. They were accurate enough to plainly ‘distinguish the two most notable features of Mars Syrtis Major (looking like India), and Lacus Solis (looking like a large eye)’ (Ashworth, Linda Hall website https://www.lindahall.org/about/news/scientist-of-the-day/wilhelm-beer/). The multiple small diagrams of Mars on 6 plates appear for the first time, while the larger double-hemisphere plate had previously appeared in a journal article in Astronomische Nachrichten of 1838. The book was published in German in 1841 as Beiträge zur physischen Kenntniss der himmlischen Körper im Sonnensysteme. Both authors contributions are commemorated with Martian craters named after them.
    Houzeau and Lancaster 1332.

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  • Album de l’artiste en cheveux. Répertoire de Hanssen. by HANSSEN. HANSSEN. ~ Album de l’artiste en cheveux. Répertoire de Hanssen. [Paris: Becquet, Boultemier, n.d. c. 1841].
    [bound with:] [CORNÉ, J. J.]. Album du dessinateur en cheveux, [Paris, n.d., c. 1840s]. ff. 8 lithographed plates. Soiled, some old repairs to versos. One… (more)

    [bound with:] [CORNÉ, J. J.]. Album du dessinateur en cheveux, [Paris, n.d., c. 1840s]. ff. 8 lithographed plates. Soiled, some old repairs to versos. One further additional lithograph design (smaller) bound in at end. Contemporary quarter roan (worn). Evidently well used, but still good copies.

    Two exceptionally rare albums of designs by Parisian hair artists — not hairdressers but creators of popular memorial and funerary pictures created from the cut hair of the deceased of which numerous examples are depicted here. The Hanssen album has an additional price list (including prices for frames); the Corné album is without a title-page (it is unclear if it was issued thus). Both artists are mentioned by André Chanlot in Les Ouvrages en cheveux; leurs secrets, p. 36. Chanlot dates the Corné album to c. 1845 and records the death of Hanssen in 1846. Exceptionally Rare. Worlcat lists three copies of the Hanssen album (all in France) and none of the Corné.

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  • Londres et l’Angleterre, ouvrage élémentaire à l'usage de la jeunesse. by [AUBERT DE VITRY, François-Jean-Philibert]. [AUBERT DE VITRY, François-Jean-Philibert]. ~ Londres et l’Angleterre, ouvrage élémentaire à l'usage de la jeunesse. Paris: [Paul Renouard for] Bossange frères, 1826.
    First edition of this extensive pocket guide to London, England and Wales for a juvenile audience. The description of London is admirably complete, with notes… (more)

    First edition of this extensive pocket guide to London, England and Wales for a juvenile audience. The description of London is admirably complete, with notes on the principal monuments as well as its people and customs (‘The Lord of Merry Disports’ and ‘Itinerant Musicians’ among them). The plates (originally appearing London, or interesting Memorials published by Thomas Boys in London in 1823) depict The Custom House, Somerset House, Hanover Terrace and Westminster Abbey. Adams, London illustrated, 1604-1851 (1983), 150. No US copies in Worldcat and JISC/COPAC records the Bishopsgate Institute and Bodley copies only.

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  • Le Emportemens amoureux de la Religieuse etrangère. Nouvelle galante & historique. [Lettres Portuguaises avec les réponses traduites en françois]. by (LETTRES PORTUGAISES). (LETTRES PORTUGAISES). ~ Le Emportemens amoureux de la Religieuse etrangère. Nouvelle galante & historique. [Lettres Portuguaises avec les réponses traduites en françois]. ‘A la Haye’ [?Rouen] [and Lyon: Sebastien Roux], 1707 [1696].
    First edition with this title and introductory part, a very rare opportunistic edition of Lettres Portuguaises, which found itself onto the Index librorum prohibitorum in… (more)

    First edition with this title and introductory part, a very rare opportunistic edition of Lettres Portuguaises, which found itself onto the Index librorum prohibitorum in 1727. The epistolary novel Lettres Portugaises was one of the publishing sensations of the late seventeenth century and beyond, first published in Paris in 1669, purporting to be the genuine letters between a Portugese nun, Mariana Alcoforado, and the French nobleman, the Marquis de Chamilly. Despite its passionate tone it was not outlawed and indeed it was widely reprinted and set the tone for much of the sentimental and epistolary fiction of the eighteenth century. Though the letters have been proved to be fictional, both parties were real.

    This edition, probably clandestine, seems to have been a step too far in the eyes of the censors. Apparently a reissue of the sheets of a 1696 Lyon edition, it was augmented with a 48-page prequel in which the first encounters between Maria and the Marquis in Portugal are recounted. This text was cast as a seduction scene, in which the young nun entertained the Marquis in a private apartment beside her cloister, dressed in a pale blue nightgown adorned with red ribbons. Suppression seems to have been effective and it is unrecorded in public collections, as far as we can tell, besides a single copy in the library at Bourg-en-Bresse. Gay mentions it among the reprints of Lettres Portugaises, citing a copy offered for sale in Paris in 1869. Gay II, 847. Not found in Worldcat.

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  • Les Aventures de Senneville et Guillaume Delorme, écrites par Eugène en 1787... by PICARD, Louis-Benoît. PICARD, Louis-Benoît. ~ Les Aventures de Senneville et Guillaume Delorme, écrites par Eugène en 1787... Paris: Mame frères, 1813.
    First edition, preserved in original wrappers, of this popular and critically-acclaimed roman de moeurs. It was widely-read around Europe and, interestingly, appeared on the advert… (more)

    First edition, preserved in original wrappers, of this popular and critically-acclaimed roman de moeurs. It was widely-read around Europe and, interestingly, appeared on the advert leaves of numerous English books (in its original French). The Quarterly Review commented: ‘M. Picard is well known to be the most celebrated dramatic writer in France. The French Critics have pronounced this to be one of the best novels that has appeared since Gil Blas’ (1815). Picard was variously a playwright, actor, novelist, poet and musical director in Paris.

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  • Painted and calligraphic arms. by (HERALDRY). (HERALDRY). ~ Painted and calligraphic arms. [Britain, c. 1800-1950].
    An attractive miscellaneous collection of painted arms, some perhaps dating from soon after 1800, some from the later nineteenth century and some from the twentieth.… (more)

    An attractive miscellaneous collection of painted arms, some perhaps dating from soon after 1800, some from the later nineteenth century and some from the twentieth. They provide an interesting overview of the arts of the heraldic miniature painter and calligrapher. Two good examples come direct from the College of Arms (both dated 1907), one of the larger pieces (315 × 255 mm) bears the arms of Thomas James Summers and is signed on the back ‘Painted by J. Eedes. 63 Great Titchfield St. Oxford St and a fine painting on vellum is marked in contemporary manuscript on the back ‘Painted by Peters & Sons Coachmakers London November 11 1858’. Some, including a couple bearing royal arms have evidently been cut from the original grants of arms.

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  • Calendrier perpétuel ou Almanach journalier; avec une table chronologique de calculs faite depuis l’an mil un de Jesus-Christ, jusqu’a l’an deux mil, pour l'Ancien & le Nouveau Calendrier. Ouvrage très-utile & nécessaire aux magistrats, gens de justice, hommes de lettres, chronologistes, navigateurs, curieux & a toutes sortes de personnes. by DUPLESSIS, [Pierre-Alexandre GRATET-]. DUPLESSIS, [Pierre-Alexandre GRATET-]. ~ Calendrier perpétuel ou Almanach journalier; avec une table chronologique de calculs faite depuis l’an mil un de Jesus-Christ, jusqu’a l’an deux mil, pour l'Ancien & le Nouveau Calendrier. Ouvrage très-utile & nécessaire aux magistrats, gens de justice, hommes de lettres, chronologistes, navigateurs, curieux & a toutes sortes de personnes. Paris: Grangé, veuve Duchesne, ‘et chez l’Auteur’, 1767.
    First edition of an ingenious perpetual calendar, serviceable to the year 2000. and including a folding engraved lunar chart. The preface suggests its utility to… (more)

    First edition of an ingenious perpetual calendar, serviceable to the year 2000. and including a folding engraved lunar chart. The preface suggests its utility to ‘l’Homme d’État, le Magistrat, l’Homme de Lettres, le Particulier même’. Duplessis was a map publisher, who also issued a variety of calendars. The advert after the preface offers geographical and historical maps and charts, a large map of France on 175 sheets but also calendar mounted on card with elaborate engraved borders which could be supplied glazed in gilt frames. No US or UK copies in Worldcat.

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  • (LONGITUDE ACT). ~ An Act to render more effectual an Act made in the Twelfth Year of the Reign of Her late Majesty Queen Anne, intituled, An Act for providing a publick Reward for such Person or Persons as shall discover the Longitude at Sea, with regard to the making Experiments of Proposals made for discovering the Longitude; and to enlarge the Number of Commissioners for putting in Execution the said Act. London: printed by Thomas Baskett; and by the assigns of Robert Baskett, 1753.
    First edition. The 1714 Longitude Act was established the Board of Longitude and offered monetary rewards for anyone who could find a simple and practical… (more)

    First edition. The 1714 Longitude Act was established the Board of Longitude and offered monetary rewards for anyone who could find a simple and practical method for the precise determination of a ship’s longitude. It was modified in several subsequent Acts, including the present, making another £2000 pounds available for experimentation and recording that John Harrison had received £1250 for his initial determinations.

    Though separately published with a general title for a complete sitting of Parliament, individual Acts of Parliament were paginated to be bound together in yearly volumes hence the pagination 399-403 here.

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  • [Illuminated manuscript. by [MALLET, Sophie]. [MALLET, Sophie]. ~ [Illuminated manuscript. France, 1875].
    A delightful, accomplished and idsiosyncratic illuminated manuscript in neo-gothic style by a French woman, one Sophie Mallet, probably as a wedding gift for a female… (more)

    A delightful, accomplished and idsiosyncratic illuminated manuscript in neo-gothic style by a French woman, one Sophie Mallet, probably as a wedding gift for a female friend or relation: Jeanne or ‘JMN’. The texts include familiar words of advice for a young wife, scriptural and otherwise, while a section titled ‘Vie du monde’ includes personal and original advice addressed to ‘ma Jeanne’. Among the texts are: ‘Qui trouvera une femme forte?...’ (Proverbs 31 [incorrectly given as Ecclesiasticus here], ‘Who can find a virtuous woman? for her price is far above rubies’); ‘Bienheureux les pauvres d’esprit...’ (Matthew 5, Blessed are the poor in spirit, for theirs is the kingdom of heaven); ‘Faites comme les petits enfants qui de l’une des mains se tiennent à leur père’ (St Francis of Assisi, ‘Suffer Little Children to Come Unto Me’), and there are excerpts from the Imitation of Christ and from St Bernard.

    The real pleasure of the manuscript lies in its illumination, expertly done with unusual and quirky details. The borders include numerous recognisable birds, insects and flowers rendered in impressive detail. Colours are applied very skilfully as are metallic highlights, including burnished and liquid gold, often on raised or otherwise textured grounds. Best of all is the colophon or tailpiece, which includes an entwined pair of longtailed dragons looking more like dinosaurs than medieval beasts.

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  • Ulysse (Fragment) [in “900” Cahiers d’Italie et D’Europe 1. Cahier d’Automne 1926, ed. Massimo BONTEMPELLI et al, offered with the three succeeding issues of “900” all in hardbound deluxe editions of 300 copies only] by LYDIS, Mariette, illustrator. (James JOYCE). [Auguste MOREL, translator]. LYDIS, Mariette, illustrator. (James JOYCE). [Auguste MOREL, translator]. ~ Ulysse (Fragment) [in “900” Cahiers d’Italie et D’Europe 1. Cahier d’Automne 1926, ed. Massimo BONTEMPELLI et al, offered with the three succeeding issues of “900” all in hardbound deluxe editions of 300 copies only] Rome and Florence: “La Voce”, 1926
    The earliest portrait of Leopold Bloom? Mariette Lydis contributed one illustration to the first issue of “900”, placed with the fragment of Ulysses in the… (more)

    The earliest portrait of Leopold Bloom? Mariette Lydis contributed one illustration to the first issue of “900”, placed with the fragment of Ulysses in the French translation by Auguste Morel. The image is clearly identifiable as a Leopold Bloom-like figure, yet is perhaps not a direct illustration (what are we to make of the Ostende tourist poster in the background?). It is dated 1925 in the lower corner and is captioned ‘Illustration’ at the foot. No earlier illustration of Bloom is known (nor indeed any earlier illustration of Ulysses) and the standard idea of him is drawn partly from Joyce’s own inept sketch of him made in Paris in 1926.

    Joyce was nominally a joint editor of the radical literary review “900”, with Massimo Bontempelli. Mariette Lydis was Bontempelli’s lover at this period (her letters to him are preserved at the Getty Institute) and probably also know Joyce. She sketched his portrait the following year in Paris.

    The Ulysses excerpt translated by Morel is episode 4, ‘Calypso’, introducing Leopold Bloom with his morning visit to the butcher’s shop for a kidney for Molly’s breakfast. James Joyce is listed among the journal’s editors on the half-title verso (along with Bontempelli, Ramón Gómez de la Serna, Jerog Kaiser and Pierre Mac Orlan). Among the adverts at the end of the volume is a full-page for the forthcoming German edition of Ulysses by Rheinverlag of Zurich (the book appeared in the autumn of 1927). Another advert is for the journal Critica Fascista (a ’Fornightly Fascist Review’). Slocum & Cahoon, A Bibliography of James Joyce (953), D25 (p. 113).

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  • Poems & Songs. Illustrated with numerous engravings. by BURNS, Robert. BURNS, Robert. ~ Poems & Songs. Illustrated with numerous engravings. London: [Richard Clay for] W. Kent & Co. (late D. Bogue), 1860.
    Cf. King Victorian Decorated Trade Bindings 733 (Albert Warren, probably the same binding, but edition of Menzies, Edinburgh, 1858). Victorian Decorated Trade Bindings (British Library… (more)

    Cf. King Victorian Decorated Trade Bindings 733 (Albert Warren, probably the same binding, but edition of Menzies, Edinburgh, 1858). Victorian Decorated Trade Bindings (British Library & Oak Knoll, 2003).

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  • The Poetical Works. by POE, Edgar Allan. POE, Edgar Allan. ~ The Poetical Works. Edinburgh: [Muir and Paterson for] William P. Nimmo, [n.d., c. 1860s].
    Not in King, Victorian Decorated Trade Bindings (British Library & Oak Knoll, 2003). (more)

    Not in King, Victorian Decorated Trade Bindings (British Library & Oak Knoll, 2003).

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