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First published in 1766 and memorably called ‘that vivacious compost of obscenity and adventure’ (Charles Whibley, 1898) Le Compère Matthieu proved to be among the most popular satirical ‘philosophical novels’ of the ancien régime. As frequently suppressed as it was republished, it makes a strong showing among confiscations tabulated in the Robert Darnton’s Corpus of Clandestine Literature in France 1769-1789. Strongly materialist, anti-establishment and anticlerical it was wrongly (if understandably) attributed to Voltaire. It continued to be published after the Revolution, but no longer surreptitiously and the present edition (often referred to as the best) is known in elegant large papier vélin copies like the present, with the rather gothic plates avant la lettre. The fine binding is by Bozerian le Jeune (Virgil François Bozerian 1765-1826) perhaps the finest and certainly the most emblematic bookbinders of the Revolutionary and Napoleonic periods, who notably produced several hundred bindings for the French Imperial Library. This copy was in the library of Claude-Auguste Genard (1819–1908) of Grenoble, then that of New York collector (and early Grolier Club member) Frederic Robert Halsey (1847-1918). The Huntington Library purchased the Halsey library en bloc in 1915, but sold many duplicates or other unwanted volumes. Cohen-De Ricci, 336: ‘Les exemplaires in-8, sur papier vélin avec les figures avant la lettre sont recherchés’.

Two near-miniature volumes of psalms in shorthand by Joseph Forfitt, a London apothecary and a religious dissenter who was to become the first secretary of the Society for Promoting Religious Knowledge among the Poor. An industrious copyist, he apparently produced a number of evangelical manuscripts, often digesting or transcribing theological or liturgical texts, which were referred to on his death as ‘The Curious Manuscripts of Joseph Forfitt’ and ‘a library in themselves’ (The London Chronicle, March 10-12, 1763, advert for sale). These two tiny volumes are early examples and present the psalms in the abbreviated versions by Bishop Patrick Simon and Isaac Watts. Transcribing the psalms manually into shorthand in this period (and other similar manuscripts are known) served a dual purpose of mastering shorthand with known and easily verifiable texts and as an act of devotion, internalising the text through transcription in an alternative language. The miniature format of shorthand psalms has a precedent in Jeremiah Rich’s Whole Book of Psalms in Meter According to the Art of Short-Writing printed in 1660, but Forfitt’s manuscript uses a more up-to-date shorthand system, currently unidentified among the many systems in the years around 1700 (when shorthand experienced something of an explosion in use and interest).
It was potentially also conceived by Forfitt as having an evangelical end, reducing texts in volume for transmission in portable form, though his evangelism was primarily conducted through the distribution of printed bibles among the poor. The Society for Promoting Religious Knowledge among the Poor was founded by a group of London based dissenters, led by Benjamin Forfitt, with Joseph as treasurer and later secretary. Early members included the Countess of Huntington, John Newton, the Thorntons of Clapham, Henry Venn, George Whitefield and William Wilberforce. It sent bibles to poor communities in both Britain and America, the latter including enslaved and indigenous people. A letter published in 1761, Extract of a letter from the Reverend Mr Wright, in Cumberland County, Virginia. To Mr Joseph Forfitt, July 1761, returned thanks for Forfitt’s ‘endeavours to promote the glory of God in Virginia by spreading good books amongst the most ignorant and poor’.
Surviving examples of Forfitt’s manuscripts include A Select Collection of Psalm-Tunes and Anthems set in three Parts for the Voice and Musical Instrument called the Psalterer, quarto, 1737 (Maggs, English Literature prior to 1800. Part 6, 1950, £5, now Beinecke Osborn Music MS 17); a three volume Bible and Book of Common Prayer (1729-40) also in shorthand (Sotheby’s, 5 May 1981, £75 to Maggs);
A new version of the Psalms of David; Book of Common Prayer; The Book of Psalms in Metre, 1740, Bridwell Library, Southern Methodist University).

First edition with the English text of the Preparatoirlyk plan, van een tractaat van commercie (Plan of a Treaty of Commerce) projected between Holland and the United States. Though never concluded it is important as one of the earliest treaty negotiations by the American nation after the Revolution. The plan had been secretly negotiated at Aix-la-Chapelle in 1778 between William Lee, American commissioner to Berlin and Jean de Neufville, an Amsterdam banker professing to act on behalf of the city and was to be concluded when England acknowledged America as a free nation. A detailed treaty it contains thirty four articles outlining terms of trade between the two nations, and the form of passports and certificates for ships. It is subscribed Jean de Neufville and Samuel W. Stockton, the American lawyer, diplomat and public servant who was later to serve as Secretary of State of New Jersey from 1794 to 1795. It is followed by transcriptions (also in Dutch and English) of the associated diplomatic correspondence. An edition of the Dutch text only appeared also in 1780 which Sabin (65110) refers to as the ‘Original edition’, though it is not clear on what basis.
The draft was inadvertently made public in 1780 when the vessel in which the bearer of it, Henry Laurens, South Carolina merchant, planter, and revolutionary leader who served as President of the Continental Congress from 1777 to 1778 was apprehended at sea by the English. The Plan was found among the effects he threw overboard on his capture and Laurens was imprisoned for treason. The treaty was not strictly illegal, but the British Government was able to construe it and other retrieved papers detailing Dutch financial aid to the rebellious American colonies as being equivalent to actual aggression. Although it was neither authorised nor sanctioned by the States-General nor by Congress, it served as a pretext for England’s declaration of war against the Netherlands.
It was handed to the Dutch Estates General by the British Ambassador, General Joseph Yorke, debated and published here as one of the Extracts of the resolutions of the Estates General of the Netherlands. Sabin 63286: ‘Official edition of the Preparatory Plan’ (projected 1778 at Aix-la-Chapelle), with the correspondence relating to it, as it was presented by the Chev. Yorke, as found with the papers of Mr. Laurens, to the Prince of Orange, and sent by the States General to the Provinces. The subscription of the Treaty is changed in all the reproductions — Müller’. Cf. Sabin 65110 for the original Dutch edition (two editions, also 1780).

A popular pocket dream dictionary abridged from Vulson de la Colombière’s influential Le Palais des curieux first published in 1660 and widely disseminated in popular form. The foot of the final page includes a series of numbers offered as the most likely to be drawn in the national lottery. René Helot, La Bibliothèque bleue en Normandie (1928). 12

Mandiargues eroto-surrealist poem ‘Dalila Exaltée’ paired with Bona’s extraordinary etched plate, in the first volume of this important series whose aim was to create a dialogue between contemporary poetry and modern printmaking.
Published under the direction of Odette Lazar-Vernet, the Paroles Peintes series was dedicated to the presentation of otherwise unpublished poetry and original etchings by an international roster of modernist artists. It ran to five volumes between 1962 and 1975. This is the first volume and presents the work of Bona and André Pieyre de Mandiargues alongside the work of Chagall, Ernst and Braque, among others.
This copy is number 193 copies of 200 copies (there were also 58 hors commerce copies). The texts are 14 poems by Aragon, Arp, Albert-Birot, Follain, Guillevic, Joyeux, Laude, Lescure, Liberati, Mandiargues, Paulhan, De Solier, Tapié and Tardieu paired with 14 plates by Chagall, Magnelli, Zadkine, Gilioli, Ubac, Bissière, Jacobsen, Fiorini, Ernst, Braque, Dufour, Lepatre and Vieillard.
Bona de Mandiargues, or simply ‘Bona’ (1926-2000) remains one of the most intriguing women of the French Surrealist movement. Best known for her fabric collages (she cut up her husband’s clothes and called them ragarts) she also illustrated a number of books, including several with etched plates issued in limited editions. A frank memoir of Bona’s childhood in an Italian villa, Vivre en Herbe (Gallimard, 2001), recalls the early inspiration of her flamboyant artist uncle, Filippo de Pisis, but also episodes of disturbing abuse and the terrors of the Second World War. In Paris in the 1940s she met the poet Pierre de Mandiargues (she married him, twice) and was drawn into the circle of André Breton. Taking inspiration from journeys to Mexico, the world of the Surrealists and her own ‘inner eye’, she pursued a singular artistic vision. She notably took the motif of the snail as an emblem (admiring its wholeness, its hermaphroditism and its self-sufficiency). Though her work was exhibited regularly, her first institutional retrospective was held at the Nivola Museum in Sardinia (2022).

First edition, number 29 of 37 hors commerce copies (total edition 297 copies), inscribed by author and artist, with the fine etched plate printed by G. Leblanc signed by Bona. Critiquettes reproduces his short essays or prefaces, many reproduced from the Nouvelle Revue français. Beginning with a chapter on Bona (with whom Mandiargues would be reconciled and remarried to), there follow essays on surrealists Unica Zürn and Dorothea Tanning, as well as on Bellmer, Hundertwasser, Gail Singer, Baj, Jean-Jacques Lebel and Francisco Toledo.
Bona de Mandiargues, or simply ‘Bona’ (1926-2000) remains one of the most intriguing women of the French Surrealist movement. Best known for her fabric collages (she cut up her husband’s clothes and called them ragarts) she also illustrated a number of books, including several with etched plates issued in limited editions. A frank memoir of Bona’s childhood in an Italian villa, Vivre en Herbe (Gallimard, 2001), recalls the early inspiration of her flamboyant artist uncle, Filippo de Pisis, but also episodes of disturbing abuse and the terrors of the Second World War. In Paris in the 1940s she met the poet Pierre de Mandiargues (she married him, twice) and was drawn into the circle of André Breton. Taking inspiration from journeys to Mexico, the world of the Surrealists and her own ‘inner eye’, she pursued a singular artistic vision. She notably took the motif of the snail as an emblem (admiring its wholeness, its hermaphroditism and its self-sufficiency). Though her work was exhibited regularly, her first institutional retrospective was held at the Nivola Museum in Sardinia (2022).

A rare surrealist broadside, subscribed by André Breton, Bona and André Pieyre de Mandiargues among 29 others, against and exhibition and conference held at the Galerie Kléber by the right wing abstract artists Georges Mathieu and Simon Hantaï. The event, known as Les Ceremonies commemorated the Catholic Inquisition’s 1277 condemnation for heresy of the teachings of the Aristotelian scholar Siger de Brabant at the University of Paris, whereby the church attempted to halt the revival of classical thought in the Middle Ages. The Surrealists, shocked by the religious and deliberately reactionary nature of this event, responded with this broadside Coup de Semonce (’Warning Shot’) illustrated by Bona.
Bona de Mandiargues, or simply ‘Bona’ (1926-2000) remains one of the most intriguing women of the French Surrealist movement. Best known for her fabric collages (she cut up her husband’s clothes and called them ragarts) she also illustrated a number of books, including several with etched plates issued in limited editions. A frank memoir of Bona’s childhood in an Italian villa, Vivre en Herbe (Gallimard, 2001), recalls the early inspiration of her flamboyant artist uncle, Filippo de Pisis, but also episodes of disturbing abuse and the terrors of the Second World War. In Paris in the 1940s she met the poet Pierre de Mandiargues (she married him, twice) and was drawn into the circle of André Breton. Taking inspiration from journeys to Mexico, the world of the Surrealists and her own ‘inner eye’, she pursued a singular artistic vision. She notably took the motif of the snail as an emblem (admiring its wholeness, its hermaphroditism and its self-sufficiency). Though her work was exhibited regularly, her first institutional retrospective was held at the Nivola Museum in Sardinia (2022).

First edition, number 144 of 200 copies. Excerpts from the French philosopher Jean Grenier’s forthcoming autobiography (Gallimard, 1957) published for the ‘Chemin des Sources’ series by the Librairie Franco-Egyptienne in Cairo. It includes two small vignettes by Bona de Mandiargues (née Tibertelli), one a flying bird, the other a surrealist crouching fish-woman. Grenier is perhaps best remembered as mentor to the young Albert Camus at the Grand Lycée of Algiers. At the time of publication Bona was married to poet Pierre de Mandiargues, and was integrated into the surrealist circle around André Breton.
Bona de Mandiargues, or simply ‘Bona’ (1926-2000) remains one of the most intriguing women of the French Surrealist movement. Best known for her fabric collages (she cut up her husband’s clothes and called them ragarts) she also illustrated a number of books, including several with etched plates issued in limited editions. A frank memoir of Bona’s childhood in an Italian villa, Vivre en Herbe (Gallimard, 2001), recalls the early inspiration of her flamboyant artist uncle, Filippo de Pisis, but also episodes of disturbing abuse and the terrors of the Second World War. In Paris in the 1940s she met the poet Pierre de Mandiargues (she married him, twice) and was drawn into the circle of André Breton. Taking inspiration from journeys to Mexico, the world of the Surrealists and her own ‘inner eye’, she pursued a singular artistic vision. She notably took the motif of the snail as an emblem (admiring its wholeness, its hermaphroditism and its self-sufficiency). Though her work was exhibited regularly, her first institutional retrospective was held at the Nivola Museum in Sardinia (2022). Rare: Worldcat lists the Bn and Bibliothèque Jerôme Doucet copies in France, the Harvard copy in the US and another at the American University, Cairo.

The largest and most elaborate of Diane de Bournazel’s recent books, Rondes de nuit explores the possibilities and mysteries of the night, both from the human perspective of sleep, rest and dreaming, as well as the unseen life of the natural world in darkness and the infinite expanses of the night sky. At the centre of every page is a circular void, corresponding with depictions of the full moon at either end of the book, which can be seen in every opening. Each circular hole is illuminated to form a rebus or mandala, sometimes reminiscent of the visionary medieval manuscripts of the contemplative mystic, Hildegard of Bingen (notably Scivias and Liber divinorum operum). Elsewhere, figures float in space (one can be rocked back-and-forth as a moveable part) or participate in an eternal dance of life (and death). Lest we should see this as an evocation of the books of a distant past, a tiny floating space station against the night sky reminds of the artist’s contemporaneity.

First and only edition of this elegant little volume, a collection of witty verses and songs dedicated by the obviously cultivated members of the Normandy Société du Havre to their wives and daughters, sometimes on the occasion of a marriage or some other event. The sole copy located is in the Le Havre municipal library.

First edition. Copies of Louis XVI’s will were widely circulated in facsimile at the time of the Restoration of the monarchy after the fall of Napoleon. They were first printed as official copies engraved from the original manuscripts, circulated to members of the houses of representatives and issued for sale, as here in their officially sanctioned version engraved directly by Piquet from tracings of the original manuscript. The final page of the four-page facsimile of Louis’ will bears the imprint: ‘Calqué par Pierre Picquet sur l’original écrit de la main du Roi’. Picquet is described as ‘graveur d’écritures’ in the imprint, a speciality for which he appears to enjoyed royal patronage. His finely-engraved copies were widely pirated by enterprising engravers and booksellers and sold to the public in Paris in various other forms. Besides his facsimiles, Picquet engraved several writing manuals.
Louis XVI’s last will and testament, written on December 25, 1792, in the Temple prison, is a deeply personal, religious document in which the deposed king proclaimed his innocence, forgave his enemies, and entrusted his family to God. He reaffirmed his Catholic faith, urged his son not to seek revenge for his death, and expressed hope for the unity of France. It is accompanied here by a letterpress account of the king’s last days, together with the circumstances of his and Marie-Antoinette’s will. There are also engraved copies of both their signatures, together with those of their children Élisabeth Marie and Louis (both also executed).

First edition in French of Il letterato buon cittadino discorso filosofico e politico (Rome, 1776) by the Italian noble traveller and philosophe. According to Barbier it was published in an edition of 100 copies, a limitation reflected in the thick paper used for its printing. It includes Gonzaga’s Réflexions sur la poesie, ecrites in François and Essay analytique sur les découvertes capitales de l’esprit humain, addressed to the Royal Society in London in 1777. The prince evidently was well received in both French and English circles as he travelled in Europe. While Gonzaga was in London he inscribed a copy of the present edition to the young William Beckford (see Book Collector, 55, p. 574) and dined with Samuel Johnson and Hester Thrale. Johnson commented wryly that Thrale ‘has added to her conquests the Prince of Castiglione’ (letter to Henry Thrale, 9 April, 1777). Barbier II, 855.

Zurich-born artist, watercolourist and art publisher Rudolf Dikenmann shaped the image of Switzerland for travellers and collectors with his highly finished aquatint views, printed in tints of black and blue and painstakingly coloured and finished by hand, sometimes resembling enamel painting. ‘The Zurich art publishing company of Rudolf Dikenmann (1793-1884) and his son Johann Rudolf Dikenmann (1832-1888) shaped the image of Switzerland... simply because of the sheer volume of the views produced in the Dikenmann studio. The ‘engravings’ were produced from sketched originals, using the aquatint technique. They came on to the market in their thousands: in petit or folio format, as vignettes on notepaper, as a simple black print or as a two-tone print in blue/black. Some of the high-quality typographic prints were coloured by hand by Dikenmann’s daughters Anna and Louise, and by his younger brother Johannes. Rudolf Dikenmann, who had worked for Peter Birmann in Basel after completing his apprenticeship with Orell Füssli & Co. in Zurich’ (Felix Graf, ‘The Image of Switzerland in the time of Gottfried Keller’, Swiss National Museum blog).
These four views, collected by a contemporary English traveller, are after designs by Heinrich Siegfried and comprise: Hôtel Baur au Lac de Zurich; Luzerne prise du Schweizerhof; Les Glaciers de Grindelwald and Lugano prise du pied du Mont Salvador.

Velcurio’s popular textbook of Aristotelian physics, printed at Lyon by Louis Cloquemin and Étienne Michel, here with an early English binding and provenance.
Johannes Velcurio or Johannes Bernhardi of Feldkirch (1490-1534) was professor of rhetoric and physics at the university of Wittenberg, where he was a humanist colleague of Melanchthon. This posthumously published Commentarium on Aristotle’s physics first appeared in Tubingen in 1542 and ran to at least twenty five editions before 1595, including those from in Basel, Erfurt, Cologne, Tübingen, Strasbourg, Wittenberg, Lyon, and London. The fourth book is devoted to Aristotle’s De anima. In England, as elsewhere it was used as a university textbook and appears, for example, among the small textbooks purchased by students at Cambridge (see P. Gaskell, Books bought by Whitgift’s Pupils in the 1570s, Transactions of the Cambridge Bibliographical Society, 7, 3 (1979), pp. 284-293). It is unclear who the ‘John Freeman’ who inscribed the title-page in Greek at an early date was, but several John Freemans appear in the Cambridge University registers in the last years of the sixteenth century.
The binding bears identical blindstamped centrepiece tools to a contemporary London binding illustrated by David Pearson in English Bookbinding Styles 1450-1800 as Fig 3.35 (BL 1492.f.43, Selneccer, Evangeliorum et epistolarum dominicalium, Frankfurt, 1575) with similar spine bands and blind-ruled borders. At the front and rear are two endleaves (each) using waste apparently from an unidentified edition of Justinian’s Institutes, each with further early notes (mainly pen tests).

First edition, much extending and improving Smart’s earlier work of 1707, Tables of simple Interest and Discount. Dedicated to the governor or the Bank of England, William Thompson, his deputy, Humphrey Morice and the bank’s directors, they proved to be among the most used tables of interest of the eighteenth century. There were two further printings in 1747 and 1780. Included are tables of simple and compound interest, discount as well as tables to calculate the value of annuities on lives and numerous worked examples of their use. It concludes with a survey of the history of British currency and coinage, which includes consideration of unlawful usury and coin clipping, as well as other legal considerations. In the 1707 Tables of simple Interest and Discount Smart described himself as of ‘the Town Clerk’s office, London’, whereas by 1726 he could describe himself as ‘of Guildhall, Gent.’ Other sources show he was Clerk to H. M. Commissioners of Lieutenancy for the City of London, 1714-1739, and Deputy Town Clerk until his death in 1742. Of Tables of Interest, Discount, Annuities, McCulloch wrote in his 1871 Dictionary of Commerce: ‘They are carried to 8 decimal places, and enjoy the highest character, both here and on the Continent, for accuracy and completeness. The original work is now become very scarce.’ The work also holds a significant place in the history of actuarial science, since he noted in his discussion of annuities the need for accurate tables of mortality and the systematic recording of ages of death by parish clerks (p. 113), a recommendation that was soon adopted for bills of mortality, at least in London.
The owner of this copy, Thomas Best (1753-1815), was part of the wealthy Best brewing family of Kent, was educated at Eton and Cambridge, and became an officer in the West Kent militia. Goldsmiths’ 6485; Kress 3666.

By an otherwise unidentified female artist, this is a rare large-format album of lithographs of the famous catholic Bavarian passion play at Oberammergau. The artist’s name is given only as initials ‘M. C. S. D’ on the plates and wrapper, but this copy bears a contemporary manuscript addition to the initials, which thus reads ‘M. C. S. Dawkins done by Herself’. It is additionally inscribed ‘with love’ to Major M. G. Best.
Performed decennially since 1634, the Oberammergau plays told the story of Christ’s passion, with a large cast drawn from local villages forming immense tableaux vivants with spoken biblical texts in the vernacular. In the nineteenth century it became a major attraction for well-to-do Grand Tourists and drew significant numbers of English visitors (so much so that the pioneering travel agent Thomas Cook established an Oberammergau office in 1880). The passion play was widely reported in contemporary English-language journals, adding to its attraction among English visitors (mainly protestant) who were curious about this ancient catholic theatrical tradition. We have been unable to discover anything substantial about the artist, but its fair to assume she made the journey to Oberammergau herself. WorldCat lists the V&A copy only in the UK. In the US there are copies at the University of Saint Mary of the Lake (IL) and WRHS (OH).

First edition of this souvenir account of a balloon ascent and parachute descent made by the pioneering French aeronaut, Élisa Garnerin, in Italy. An early pioneer of parachuting, Élisa had already made numerous drops in Paris and further afield in France, her performances often attracting enormous crowds. More than any other contemporary woman, it might be said without undue irony that her career was one of ups and downs — her celebrity as a balloonist and parachutist met with considerable opposition from the police, who found the crowds she drew to be troublesome, and her business probity was frequently questioned by her associates.

The illustrations in this pamphlet include a version of her circular portrait by Bouchardy made in Paris using the physionotrace apparatus invented by Gille-Louis Chrétien designed to copy physical features and simultaneously reduce them to an engraved plate. The folding plate shows Élisa borne aloft in an elegant gondola beneath her balloon, and then the gondola released from the balloon for her parachute descent.

First edition of the first technical manual on etching, by one the greatest engravers of his era, which remained the fundamental source for artists and printers well into the nineteenth century. En Français dans le Texte calls Bosse ‘Remarquable technicien, il sut garder à l eau-forte sa légèreté tout en lui donnant la rigueur du burin’. Several chapters here are devoted to preparation of the plates and the varnishes, others cover the actual techniques of engraving and etching, and the final section is devoted to the construction of the press and its operation. The illustrations are frequently reproduced in histories of engraving and print. Bigmore, Bibliography of Printing 72; Cicognara 251, En Français dans le Texte 92.

A rare and outlandish canard depicting a winged harpie, with the caption ‘Ce monstre afreux son corps est de la force d’un taureau / d’un an il a vingt deux pieds de longueur’.
This is a version of several contemporary ‘Peruvian monster’ prints issued as satirical allusions to Marie Antoinette, who was widely accused of accused of rapaciously squandering the royal treasury. They were inspired by a pamphlet of 1784 titled Description historique d’un monstre symbolique pris vivant sur les bords du lac Fagua près de Santa Fé par les soins de Francisco Xaveiro de Meunrios, comte de Barcelone — the pseudonym Francisco Xaveiro de Meunrios probably referring to Louis Stanislas Xavier, Count of Provence, Louis XVI’s brother. Harpie prints then appeared in considerable number (the Bibliothèque nationale holds at least thirteen, most printed in Paris, a number of which are dated to 1784) and were popular in both Paris and other French cities. Not found in WorldCat or among the similar prints in the BnF.

An attractive and elaborate example of German devotional Klosterarbeit, typical of enclosed communities, usually (but not always) convents of nuns. The decorative border here is an exuberant baroque combination of flowers, leaves and stems enclosing the parchment painting, within a border of gold cut-paper stars on a feathery cut blue paper. Dating these pieces is not easy, since traditional styles were both conservative and enduring. The support here is laid paper with a partially visible watermark with monogram (SME or SVE?)which we have so far been unable to identify (the applied silk work partially obscuring it). A small manuscript note on an old paper reinforcement at the back bears script in what appears to be an eighteenth-century hand.

Saint Paul appears with his customary attributes of a sword, recalling his martyrdom (he was beheaded in Rome in AD 67) and book, representing his letters in the New Testament.