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  • Hogarth Modernised. The Harlot’s Progress. by (HOGARTH). (HOGARTH). ~ Hogarth Modernised. The Harlot’s Progress. London: J. L. Marks [c. 1830s].
    A rare modernising of Hogarth’s hugely popular series, first published in 1732, with numerous later copies and adaptation in image and word. This set gives… (more)

    A rare modernising of Hogarth’s hugely popular series, first published in 1732, with numerous later copies and adaptation in image and word. This set gives extended captions describing the fall of Miss Ann Hackabout and updates the costumes and settings. We can locate only the Illinois copy anywhere. Not in the BM catalogue,

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  • Melaia; and other Poems. by COOK, Eliza. COOK, Eliza. ~ Melaia; and other Poems. London: [Cunningham and Salmon for] R. J. Wood, Dispatch Office, 1838.
    First edition of the second collection by this south London working class poet. ‘The sentiments expressed in Cook's poetry and prose reflect her efforts to… (more)

    First edition of the second collection by this south London working class poet. ‘The sentiments expressed in Cook's poetry and prose reflect her efforts to break free from the societal limitations imposed on her class and gender. A woman who prided herself on her tiny hands and feet, Cook dressed in unconventionally masculine attire and wore her hair short. J. Leach notes that Cook's dress 'proclaimed a determination to be herself' and relates how an 1851 story in the New York Times describes her as 'Tilting back in her chair, planting both feet on the fender', and 'bluffly order[ing] a glass of beer' (Leach, 157). Cook was also most probably a lesbian. She never married, and from 1845 to 1849 she was closely linked with the American actress Charlotte Cushman (1816–1876), to whom she wrote passionate poetic tributes ('To Charlotte Cushman')’ (Solveig C. Robinson in Oxford DNB).

    The frontispiece depicting ‘The Old Water Mill’ bears Baxter imprint and states ‘printed in oil colours’ while the title-page vignette (depicting an English ship at sea) is similarly printed. These examples date from the first decade of George Baxter’s patent for his colour prints in which an intaglio plate, usually aquatint, was printed first, and then colours added with up multiple woodblocks. In both prints the darker colours have a characteristic depth and sheen. Melaia was reprinted in 1840, but the first edition with Baxter prints is exceptionally scarce. Worldcat lists a single copy (UC Davis, Kohler collection), JISC lists UK copies at BL, Birmingham and Cambridge.

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  • Part I. [?all published] of the English, French and Bengallee primer, or, An easy Vocabulary of fifteen hundred common Words for the Use of Youth... a New Edition. by (INDIA). JOHNSON, W[illiam] B[radford]. (INDIA). JOHNSON, W[illiam] B[radford]. ~ Part I. [?all published] of the English, French and Bengallee primer, or, An easy Vocabulary of fifteen hundred common Words for the Use of Youth... a New Edition. Calcutta: India Gazette Press by Scott and Co, [n.d, c. 1825-32].
    A rare trilingual juvenile vocabulary, the French with syllabic divisions, the Bengali with full early manuscript transliteration (in a single hand). The vocabulary is extensive,… (more)

    A rare trilingual juvenile vocabulary, the French with syllabic divisions, the Bengali with full early manuscript transliteration (in a single hand). The vocabulary is extensive, covering everyday necessities, including basic anatomy and health, clothing, foodstuffs, church and school, animals (mainly domestic), numbers, character, minerals and gems, crime and law, behavioural traits, military terms, trade and commerce, science and geography. The subscribers list contains circa 120 names, of which 31 are native Indians. Sir Charles Edward Grey (Chief Justice on the Supreme Court of Bengal 1825-1832) heads the list with six copies, while the first of the Indian subscribers is Maha Rajah Budenauth Roy. Despite the title statements we can identify no earlier edition, nor further part. We can locate copies at Bodley and Library of the American Oriental Society (Yale) only.

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  • Tales of Fashionable Life. by EDGEWORTH, Maria. EDGEWORTH, Maria. ~ Tales of Fashionable Life. London: [S. Hamilton, Weybridge, vol 1; Wood and Innes, vol. 2; W. Pople, vol. 3] for J. Johnson, 1809.
    First collected edition of the first series of Tales of Fashionable Life, Edgeworth’s most ambitious literary project. containing Ennui, Almeria, Madame de Fleury, The Dun,… (more)

    First collected edition of the first series of Tales of Fashionable Life, Edgeworth’s most ambitious literary project. containing Ennui, Almeria, Madame de Fleury, The Dun, Manoeuvring. In his preface, Richard Lovell Edgeworth notes his daughter's aim ‘to promote, by all her writings, the progress of education, from the cradle to the grave’, and that the present and envisaged volumes of the series were ‘intended to point out some of those errors, to which the higher classes of society are disposed’. A second series appeared in 1812, for which she received £1050 making her the most commercially successful novelist of her age.

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  • Selected Letters... adapted for the use of Learners by A. J. Lastdrager. by MONTAGUE, Lady Mary Wortley. MONTAGUE, Lady Mary Wortley. ~ Selected Letters... adapted for the use of Learners by A. J. Lastdrager. The Hague and Amsterdam: Van Cleef brothers, 1827.
    First edition of this Dutch-printed schoolbook, reproducing the English text of selected Montague letters with a foreword and extensive footnotes in Dutch, edited by educationalist… (more)

    First edition of this Dutch-printed schoolbook, reproducing the English text of selected Montague letters with a foreword and extensive footnotes in Dutch, edited by educationalist Abraham Johannes Lastdrager (1788-1855) who had founded a successful academy for young ladies in Amsterdam around 1820. The advert leaf lists a further thirteen educational titles in Dutch and French. No US or UK copies located in Worldcat or JISC.

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  • The Women of Hindu Homes. by (INDIA). [M’MORDIE, William]. (INDIA). [M’MORDIE, William]. ~ The Women of Hindu Homes. Belfast: James Hutchinson, 1880.
    First edition A very rare tract on Indian female domestic life, and in particular the relationship between mother-in-law and daughter-in-law. The only reference we have… (more)

    First edition A very rare tract on Indian female domestic life, and in particular the relationship between mother-in-law and daughter-in-law. The only reference we have encountered is a review that appeared in the early feminist journal, The Englishwoman’s Review of Social and Industrial Questions: ‘A useful little pamphlet describing the misery prevalent in India from the universal practice of children’s marriages, and the helplessly enslaved condition of daughters-in-law. Any publication which directs the attention of Englishwomen to the immense field for exertion which awaits them among the unfortunate women of the East, are welcome.’ The author had been a missionary in India and was, at the time of writing, a leading member of the Presbyterian General Assembly of Northern Ireland. Unlocated in library catalogues.

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  • List of Members of the Somerville Club, 405, Oxford Street, W... [Opened February 21st, 1881]. by (SOMERVILLE CLUB). (SOMERVILLE CLUB). ~ List of Members of the Somerville Club, 405, Oxford Street, W... [Opened February 21st, 1881]. London: Women’s Printing Society Limited, 1884.
    Apparently very rare (no copies located in the usual databases). The Somerville Club was the first women’s club founded in London, for graduates of Somerville… (more)

    Apparently very rare (no copies located in the usual databases). The Somerville Club was the first women’s club founded in London, for graduates of Somerville College, Oxford (the women’s college founded in 1879). It lists over 700 members and 47 committee members. The club was founded by the geologist and educationist Catherine Raisin (she appears in both lists here); other early members included the pioneer doctor Elizabeth Garrett Anderson, the physician, Matilda Ayrton and the journalist and educationist, Jane Chessar and Octavia Hill (founder of the National Trust). Its principals were democratic, insisting that class was no barrier to membership, and mutually sustaining, ‘to provide a place where women engaged in different kinds of work, and having different experiences of life, could meet together and learn to know and help one another’.

    The list was printed by the Women’s Printing Society Limited founded by Emma Paterson and Emily Faithfull in the 1870s.

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  • The Maid of Saragossa. Engraved by Samuel Cousins, A.R.A from the Original Picture in the Royal Collection, painted in Madrid by Sir David Wilkie. by WILKIE, David. Samuel COUSINS, engraver. WILKIE, David. Samuel COUSINS, engraver. ~ The Maid of Saragossa. Engraved by Samuel Cousins, A.R.A from the Original Picture in the Royal Collection, painted in Madrid by Sir David Wilkie. London: [J. Moyes for] F. G. Moon, [1837].
    First edition of this rare explanatory pamphlet issued to accompany the 1837 issue of Samuel Cousins’ popular engraving after Wilkie. The engraved key gives a… (more)

    First edition of this rare explanatory pamphlet issued to accompany the 1837 issue of Samuel Cousins’ popular engraving after Wilkie. The engraved key gives a numbered explanation of the picture while the text gives the historical account, complete with excerpts from Byron.

    David Wilkie’s celebrated painting of 1828, immediately purchased for the Royal Collection commemorates the two-month siege of Saragossa in 1808, when the local guerrilla leader Don José de Palafox y Melci led heroic, ill-equipped citizens to victory. This episode in the Spanish struggle for independence from Napoleon had also been commemorated in poetry and prose, most notably by Byron in ‘Childe Harold's Pilgrimage’. In the picture Agostina Zaragoza (the ‘Maid of Saragossa’) lights the fuse in the cannon which Palafox, dressed as a volunteer, directs with Father Consolaçion, an Augustinian friar. Worldcat lists the Harvard copy only.

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  • Wat-Tyler, ou Dix jours de révolte, roman historique... by (WAT TYLER). DEFAUCONPRET, Auguste-Jean-Baptiste. (WAT TYLER). DEFAUCONPRET, Auguste-Jean-Baptiste. ~ Wat-Tyler, ou Dix jours de révolte, roman historique... Paris: [Cosson for] Charles Gosselin; Lecointe et Durey, 1825.
    First edition, rare, of a historical novel on the English Peasant’s Revolt of 1381 and its leader, Wat Tyler. An original work by Defauconpret, better… (more)

    First edition, rare, of a historical novel on the English Peasant’s Revolt of 1381 and its leader, Wat Tyler. An original work by Defauconpret, better known as the French translator of Walter Scott, largely responsible for introducing Scott to an enthusiastic European audience. Besides his important Scott translations he published several novels of his own, usually historical. The first half-title verso advertises ‘Robin-Hood, ou Le Proscrit, par le même auteur’, which was published under the title Robert Fitzooth, surnommé Robin Hood, ou Le chef des proscrits (but not until 1828). No UK or US copies located.

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  • Lord Curzon in Indian Caricature: being a collection of Cartoons... by (INDIA). TÂLCHERKAR, Harischandra A. (INDIA). TÂLCHERKAR, Harischandra A. ~ Lord Curzon in Indian Caricature: being a collection of Cartoons... Bombay [Mumbai]: [Tatva-Vivechaka Press and lithographed at Ajinkya Art P. Works for] Babajee Sakharam & Co, [1903].
    First edition of this rather extraordinary survey of Curzon’s many appearances in caricature in Hindi Punch and other Indian comic papers, where he often appears… (more)

    First edition of this rather extraordinary survey of Curzon’s many appearances in caricature in Hindi Punch and other Indian comic papers, where he often appears in Indian dress and frequently as various Hindu deities (notably Ganesh). ‘This unpretentious little book is offered as a humble souvenir of the Delhi Durbar: in its pages our popular Viceroy, as representative in the great Coronation Durbar, of the greatest monarch of modern times, is the central figure. In a land of her-worship it is not to be marvelled that the energy, versatility and strong personality of Lord Curzon, added to his many loveable traits, should lend themselves easily to the genius of the Indian artist for caricaturing’ (author’s Preface).

    Despite this warm introduction, Curzon was subject to both approval and dissent through these images. The satire of British comic publications like Punch was enthusiastically appropriated by Indian artists - and India itself was frequently represented through the figure of Mr Punch - though their caricatures were also influenced by Indian artists such as Raja Ravi Varma. It is a fascinating fusion.

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  • The History of Wat Tyler and Jack Straw. by (WAT TYLER). (WAT TYLER). ~ The History of Wat Tyler and Jack Straw. ‘Printed and sold in London’, [n.d., c. 1760-1769.
    A popular eighteenth-century chapbook, one of several on the subject of Wat Tyler and the Peasant’s Revolt. The text is perjorative towards both Tyler, Straw… (more)

    A popular eighteenth-century chapbook, one of several on the subject of Wat Tyler and the Peasant’s Revolt. The text is perjorative towards both Tyler, Straw and his fellow rebels, seeing them as traitors to the realm. The final page bears the woodcut arms of the City of London and the text explains the (apocryphal) story that the incorporated dagger represents the weapon used by Sir William Walworth to slay Tyler (though the arms do indeed date from 1381, the dagger is actually the emblem of the martyrdom of St Paul). ESTC t36566, listing the National Library of Scotland copy only.

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  • [Manuscript pedigree]. by (HERALDRY). OFFLEY of Madeley. (HERALDRY). OFFLEY of Madeley. ~ [Manuscript pedigree]. [England, c. 1615].
    An early seventeenth-century heraldic pedigree of the Offley family of Madeley (Staffordshire) with the arms of their prominent dynasty of London guildsmen, which include Henry… (more)

    An early seventeenth-century heraldic pedigree of the Offley family of Madeley (Staffordshire) with the arms of their prominent dynasty of London guildsmen, which include Henry Offley (d. 1613) who had married Mary, the daughter of Sir John White Lord Mayor of London; and Thomas Offley (1501-1582), a successful wool and cloth merchant — Lord Mayor of London in 1556. Also in the lineage is Stephen Jenyns (1453-1523) another important London Lord Mayor with Wolverhampton origins whose arms are accompanied by an elaborate cartouche noting his mayoralty. An early docket on the verso (legible with ultra-violet light) reads: ‘The Pedigree of Stephen Jenings’.

    The youngest member of the Offley family shown is John (b. 1586). He was educated at Middle Temple and married in 1605. He was knighted in April 1615, served as sheriff of Staffordshire in 1616-17 and was a magistrate for the county by 1621. 1625-6 he was MP for Stafford. Another contemporary version of the pedigree is described in the Staffordshire Visitation of 1614:

    ‘Quarterly — 1. Argent, on a cross fleurettée azure a lion passant-guardant or [OFFLEY]; 2. Azure, a chevron between two eagles displayed in chief and a lion passant in base or [NECHELLS]; 3. Argent, a chevron gules between three plummets sable [JENNINGS]; 4. Azure, a tiger passant or [LANE]. CREST— A demi-lion rampant-guardant or, holding an olive branch vert, fructed gold’ (’Heraldic Visitations of Staffordshire in 1614 and 1663-64’, in History of Staffordshire, 1884).

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  • The Works. by CHAUCER, Geoffrey. CHAUCER, Geoffrey. ~ The Works. Stratford-upon-Avon: Shakespeare Head Press, Basil Blackwell, Oxford, 1928-1929.
    One of 375 numbered sets (number 266). The type of the Shakespeare Head Chaucer is Caslon Old Face and the illustrations of the Canterbury pilgrims… (more)

    One of 375 numbered sets (number 266). The type of the Shakespeare Head Chaucer is Caslon Old Face and the illustrations of the Canterbury pilgrims are adapted from the Ellesmere manuscript. ‘The first impression is of care in planning, of thought for the reader. A friendly craftsmanship comes from all the pen and brush work in these books. The illustrations enter as a pleasant surprise, rather than necessary parts of the plan. The edition seems complete without them, but we are delighted to find them’ (Franklin, The Private Presses, pp. 149-50). The set comprises The Canterbury Tales (in the first four volumes), Consolation of Philosophy, Troilus and Criseyde, The House of Fame, The Legend of Good Women, later minor poems, doubtful poems, A Treatise on the Astrolabe and The Romaunt of the Rose.

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  • The Fables of Aesop. by AESOP. Edward J[ulius] DETMOLD, illustrator. AESOP. Edward J[ulius] DETMOLD, illustrator. ~ The Fables of Aesop. London: [Henry Stone for] Hodder & Stoughton, 1909.
    Copy number 50 of 750 copies of the limited edition, signed by the illustrator. Edward Detmold was the longest surviving of the two tragic Detmold… (more)

    Copy number 50 of 750 copies of the limited edition, signed by the illustrator. Edward Detmold was the longest surviving of the two tragic Detmold twins who had attracted the attention of artists such as Edward Burne-Jones as children and young artists. Edward’s brother Maurice had committed suicide in 1908, after producing numerous highly regarded prints at the turn of the century. Edward himself continued to make prints and publish illustrated books until his own suicide in 1957. Animals and birds were their primary subjects and to varying degrees, their prints exhibit the clear influence of the Japanese master printmakers.

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  • The Canterbury Tales. by CHAUCER, Geoffrey. CHAUCER, Geoffrey. ~ The Canterbury Tales. Waltham Saint Lawrence, Golden Cockerel Press, 1929-1931.
    Number 381 of 485 copies on paper (there were also 15 on vellum). Along with Troilus and Criseyde and The Four Gospels, The Canterbury Tales… (more)

    Number 381 of 485 copies on paper (there were also 15 on vellum). Along with Troilus and Criseyde and The Four Gospels, The Canterbury Tales is one of the high points of the Golden Cockerel Press. It perhaps stands above above all in Gill’s masterful designs, forming, as Colin Franklin pointed out an integral part of the book’s success — ‘not quite illustration but far transcending decoration’. ‘The balance of text and illustration goes further than typography... Most of the borders are leaf and stem, but among the leaves, hiding or beckoning, climbing or leaning out, are girls and men, kings and boys, priests and nuns who take part or seem to be commenting on the stories. A young man is whistling across the page, two fingers at his mouth, to a girl; Chaucer himself waves to a little god of love facing across his own poem; a sad lover looks over to Christ crucifies; Pan blows pipes and a naked girl, hearing him, prepares to climb her tree; a nineteen-twentyish girl climbs up, and a sad young bearded man looking like Robert Gibbings sits, supporting the whole tree’s weight, opposite; Chaucer is writing with confidence under the leaves, taking it down by dictation from the naughty spirit looking down and over the lines. So the pattern continues, affectionate and cheeky, erotic, enjoyable and relevant, decorative and explanatory, a balance of taste and eye’ (Franklin). Franklin, The Private Presses, 137-144.

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  • Troilus and Criseyde. by CHAUCER, Geoffrey. CHAUCER, Geoffrey. ~ Troilus and Criseyde. Waltham Saint Lawrence, [1926-] 1927.
    Number 183 of 225 copies. Troilus and Criseyde is the first of the three outstanding Golden Golden Cockerel Press editions produced by Robert Gibbings and… (more)

    Number 183 of 225 copies. Troilus and Criseyde is the first of the three outstanding Golden Golden Cockerel Press editions produced by Robert Gibbings and Eric Gill (the others being The Canterbury Tales and the The Four Gospels). The Middle English text was edited by Arundell del Re, the compositors were F. Young and A.H. Gibbsand the pressman, A.C Cooper.

    Gill’s woodcuts include portraits of Chaucer: one depicting him with Cupid whispering in his ear, the other shows him writing Troilus. There are four full page illustrations, one at the beginning of each book, while every page has a tall border facing each other across each opening. In these Gill successfully re-imagined the borders of medieval manuscripts in which the images do more than simply decorate the margins, but work in interplay with the text — marking, illustrating and commenting with varying degrees of transparency, subtlety, eroticism and humour. ‘They rank very high in the range of Gill’s work’ (Franklin, p. 142).

    Provenance: Sotheby’s, 10th July 2001, lot 369.
    Franklin, The Private Presses, 137-144.

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  • Ulysses. by JOYCE, James. Henri MATISSE, illustrator. JOYCE, James. Henri MATISSE, illustrator. ~ Ulysses. New York: Limited Editions Club, 1935.
    Number 58 of 1500 copies, signed in pencil by Henri Matisse (a further 250 copies of the edition were additionally signed by Joyce). This is… (more)

    Number 58 of 1500 copies, signed in pencil by Henri Matisse (a further 250 copies of the edition were additionally signed by Joyce). This is the first illustrated edition of Ulysses, though Matisse chose to supply illustrations of the Calypso episodes of Homer’s Odyssey corresponding to the six episodes of the novel as his artist’s response to Joyce’s text (which, it is often said, he never finished reading). He thus confounded both the publisher, George Macy, and most of the public on its first publication. The Limited Edition Club edition owes its existence to the lifting of the American ban on the novel in December 1933. Henri Matisse, L’Oeuvre gravé, 235-240; Slocum & Cahoon, 22.

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  • Designs on the Dances of Vaslav Nijinsky. by (DANCE). BARBIER, George, illustrator. (DANCE). BARBIER, George, illustrator. ~ Designs on the Dances of Vaslav Nijinsky. London: C. W. Beaumont & Co, 1913.
    First edition in English (following the French edition of the same year, Barbier’s first illustrated book). 148 of 400 copies, all on vellum paper. The… (more)

    First edition in English (following the French edition of the same year, Barbier’s first illustrated book). 148 of 400 copies, all on vellum paper. The foreword by Francis De Miomandre was translated by C. W. Beaumont. The bookseller, publisher and dance historian Cyril Beaumont was instrumental in promoting and documenting the performances of Nijinsky and the Diaghilev’s Ballets Russes in London, and here published a suite of Barbier’s iconic prints with an introductory text.

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  • Histoire véritable et merveilleuse d’une jeune Angloise, précédée de quelques circonstances concernant l’enfant hydroscope, & de beaucoup d'autres traits & phénomenes les plus singuliers dans ce genre. Suivie d’un parallele rapports que ces phénomenes paroissent avoir entr’eux, de quelques vues patriotiques à ce sujet, & d'une maniere, rien moins que physique, d’envisager ces miracles de la Nature. Ouvrage soumis aux lumieres des savans naturalistes, physiologistes, chymistes, à celles des Sociétés & Académies des Sciences; enfin aux observations des curieux & amateurs d’Histoire Naturelle. Avec les autorités & piéces justificatives. by (LESLEY, Jenny, ‘the Girl lynx’). (LESLEY, Jenny, ‘the Girl lynx’). ~ Histoire véritable et merveilleuse d’une jeune Angloise, précédée de quelques circonstances concernant l’enfant hydroscope, & de beaucoup d'autres traits & phénomenes les plus singuliers dans ce genre. Suivie d’un parallele rapports que ces phénomenes paroissent avoir entr’eux, de quelques vues patriotiques à ce sujet, & d'une maniere, rien moins que physique, d’envisager ces miracles de la Nature. Ouvrage soumis aux lumieres des savans naturalistes, physiologistes, chymistes, à celles des Sociétés & Académies des Sciences; enfin aux observations des curieux & amateurs d’Histoire Naturelle. Avec les autorités & piéces justificatives. Paris: Imprimé à Physicopolis & se trouve à Paris Chez Lottin le jeune, Librarie rue S. Jacques, vis-à-vis la rue de la Parcheminerie, 1772.
    First edition of this satirical consideration of ‘interior vision’, divination and the cases of the French boy who could divine water and British girl who… (more)

    First edition of this satirical consideration of ‘interior vision’, divination and the cases of the French boy who could divine water and British girl who could see through solids, including into the human body and mind. The ‘jeune Angloise’ was Jenny Lesley, of the isle of Torry (off the north coast of Ireland), the 19-year old ‘Girl lynx’ who could see into the human body, head and mind. Her powers are described in a purported letter from a’ Lord Norton’ which is given in both French and English, the latter as ‘Original of My Lord Norton's letter’ (pp. 75-81). The book is a spoof on pseudoscience, and the characters fictitious, and plays on the rivalry between French and English scientists in this era. The author suggests a marriage of the French boy and English girl.
    ‘Inspired by Maupertuis’s speculations about cross-breeding, [the author] goes on to suggest that the Royal Society and the Paris Academy of Sciences really ought to preside over (and pay the expenses of) the marriage and breeding of this girl, in order to produce more such gifted lynx-people. “There is no need to mention what advantages would result from a lynx race, for the good of humanity; what light [lumières], what vision, what insight, these living telescopes, born in the sanctuary and under the auspices of physics, could communicate to savants, the authors and the cause of their existence!”44 He went on to calculate how long it would take for the trait to multiply in subsequent generations, and how useful these people, bred in academies would be for police work, for uncovering court intrigues, and so on’ (Mary Terrall, ‘Speculation and Experiment in Enlightenment Life Sciences’, A Cultural History of Heredity I:17th and 18th Centuries, 2002, p. 39.
    Outside continental Europe, Worldcat lists copies at University of London (Harry Price collection), McGill and McMaster universities. There is also a copy at Trinity College Cambridge.

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  • Quarles’ Emblems illustrated by Charles Bennet and W. Harry Rogers. by QUARLES, Francis. QUARLES, Francis. ~ Quarles’ Emblems illustrated by Charles Bennet and W. Harry Rogers. London: James Nisbet and Co, 1861.
    King 579 (William Harry Rogers, King’s example in red). (more)

    King 579 (William Harry Rogers, King’s example in red).

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