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‘Adam and Eve eating the forbidden fruit / Death how certain Death how sur[e] / Sin the wound. And Christ the cure’. ‘Emma. Preest. Her work / Tuts Hill House / July. 20. 1847 Aged /12. Years. Old’.

Emma Preest is possibly the Emma born on the 8th June 1835 at Bream Eaves, Gloucestershire and baptised in the Wesleyan chapel at Monmouth — certainly that would accord with her given age (12) in 1847 when she made this sampler. The identity of Tuts Hill house is not straightforward, there having been two houses so named in the vicinity of Tidenham, Chepstow. We can find no pictorial evidence of either of them as a three-storey, four bay house as in Emma’s depiction, and no Preest family associated with either. But if one accepts the likelihood of Emma being Gloucestershire born, both houses would have been some ten miles from her birthplace, suggesting the possibility she entered service at one of them at the age of 12 (quite possible) and that this may have been an ‘apprentice’ piece. Young girls were taught this kind of sewing not so much as a primer in reading (still less writing) as in household needleork and linen labelling.

The verse is a variation of a popular gravestone epitaph: ‘Life is uncertain, death is sure, Sin the wound, and Christ the cure. If we have correctly identified Emma Preest, she married in 1854, had several children and emigrated with her family after 1870 and died in 1915 at Shawnee, Perry County, Ohio, USA, aged 80.

A treatise onclassical Latin epitaphs by an Italian Jesuit. Its chapters include a key to common abbreviations (HSE: Hic sepultus est, here is buried; STTL: Sit Tibi Terra Levis, May the earth rest lightly upon you; HFC: heres faciendum curavit, their heir had [the tombstone] made, etc) and there follow a series of accounts of epitaphs for particular contexts: parents, children, men, women, mothers, spouses and even animals. Another considers satirical epitaphs: ‘salsis et ridiculis’. Of Proficio we have been unable to discover anything more; Tractatus de Epitaphiis was apparently not published in print but another manuscript copy is held by the Biblioteca nazionale Braidense in Milan (dateable to before 1625).

Our copy is almost certainly the Baldassare Boncampagni copy (item 454 in his 1892 catalogue, and 409 in the 1862 edition), described as ‘legato in pergamena ornata di dorature e stemma d. C. de G’. That catalogue gives 55 leaves (rather than 66) an error found also in the old pencil manuscript foliation of the last leaf of the manuscript marked ‘55’ recte 66, but the dimensions given in the catalogue also correspond precisely. Prince Baldassarre Boncompagni-Ludovisi (10 May 1821 – 13 April 1894), was an Italian historian of mathematics and aristocrat. His library contained some 650 manuscripts and 20,000 printed works and was sold in Rome in 1898. Parts of the manuscript collection are now held by the Universitetsbibliotek (Stockholm), Trinity College Library (Dublin), Cornell, as well as the Vatican library, Columbia (NY) and the Biblioteca Comunale in Treviso. Catalogo di manoscritti ora posseduti da D. Baldassare Boncompagni, Rome 1892.

First edition of this diminutive near-miniature tribute to Queen Victoria ‘Dedicated to Children in all Places of Her Imperial Majesty’s Dominions’.

First edition of a very scarce picture book. There is a portrait of the author and the finely-rendered miniature scenes include boys of the Lycée royale, a group of convent girls (’pension de demoiselles’), the Battle of Waterloo, English and Scots troops, various trades and crafts and several landscapes. Duplessi-Bertaux had died in 1818 and his miniatures owe something to Callot. This posthumous collection is preceded by a useful history of the art of etching in France. Worldcat lists the Getty copy only outside continental Europe.

Alphabet (upper and lower case), several decorative lines and two verses: ‘Is there ambition in my heart / search gracious God and see...’ [Isaac Watts] and ‘Teach me to live / that I may dread/ the grave as little / as my bed // Teach me to die ‘ that so I may / with joy behold /the judgement day’ [Thomas Ken, and later sued by Thomas Hardy in Jude the Obscure]. Needlework samplers remain one of the most widespread manifestations of the teaching and learning of basic literacy among girls and young women and, as here, reflect a strongly moralistic background.

A delightful woolwork sampler made by Emma Angelina Proctor at the the age of 11, with a single alphabet and numerous decorative animals, birds, flowers and ornaments. Needlework samplers remain one of the most widespread manifestations of the teaching and learning of basic literacy among girls and young women

First edition, apparently transcribed from a genuine Middle English original. The title-page notes: ‘The Manuscript to be disposed of. – Apply to the Printer’. pp. 61-70 is an ‘Astronomical and Astrological Appendix’ from a work published in 1647. Caleb Stower (d. 1816) was an interesting and prolific printer with Unitarian connections.

First edition of this juvenile guide to the manners, customs and costumes of peoples of the known world. The plates include: France, England, Russia, Spain, Italy, Switzerland, Greece, Turkey, Persia, East Indies, China, Japan, Barbary (North Africa), Egypt, Canaries, Africa, United States, Mexico, Brazil, Peru, Argentina, Java, Australia and New Zealand.

One of Aubert’s Récréations instructives series for young people. The ownership inscription is of Amédée Girod de l’Ain, lawyer and politician who became Minister of Public Education and Religious Affairs in 1832. Gumuchian, 5038.

First edition, one of 250 copies (of a total edition of 280). Thomas Willement was one of the pioneers of the nineteenth-century gothic revival. He worked alongside his better-known contemporary Pugin on several projects, but never very happily: Pugin later (unfairly) accused Willement of being only interested in money. Willement is perhaps best known for his stained glass in the medieval style (St George’s Chapel, Windsor, Hampton Court, Barbados cathedral). Davington priory (acquired by him in 1845) was an exercise in the complete medieval revival of a much altered priory house and church, involving polychromatic painted decoration, stained glass, and designs for encaustic tiles, together with purchases of furniture and fittings. Much of the work described in the Historical Sketch remains intact. 250 copies of this descriptive publication were printed on ‘foolscap quarto’ paper, with a further 30 copies on tinted ‘crown quarto’.

An exceptionally rare near-miniature Japanese erotic book, clandestine and issued under a pseudonym, of which this is probably only the second recorded copy (the other apparently in the Wellcome Colection, but unlocated by us in their online cataogue). The thirteen erotic tales are describe the sexual encounters as though depicted in ‘infinity mirrors’, represented graphically in many of the illustrations here. Japanese books of this diminutive size and type rarely survive complete and intact. ‘The only copy known is in the library of the Wellcome Institute for the History of Medicine in London’, Peter Kornicki, The Book in Japan: A Cultural History (1998), p. 233n. We have been unable to locate any copy, including the Wellcome copy noted by Kornicki.

One of 70 copies on papier vergé, with the author’s initials (total edition 76). An enlarged edition of Asselineau’s biographical account of France’s most celebrated cabinet maker, pioneer of the distinctive inlaid marquetry technique which still carries his name. The book first appeared in 1854 (13 pages) and was reissued in 1855 (16 pages), with important biographical documents added to this 1872 edition.

First edition of this graphic companion to the life of the great French corsair captain Du Guay-Trouin, and specifically to the Memoires (Amsterdam, 1740), for the use of young mariners who are urged to examine and draw copies of the detailed engravings. The work includes a précis of his exploits (the text also engraved) a glossary of marine terms.

Besides the two maps, the engraving is the work of the remarkable Ozanne family: Nicolas (or Nicolas-Marie) and his sister, Jeanne Françoise, whose names appear as artist and engraver respectively at the foot of the title plate. Hailing from Brest, the young Nicolas (1728-1811) had begun a career as a naval artist when his father died, leaving him responsible for three siblings (a brother and two sisters) all of whom he enlisted as contributors to his business. He rose to some prominence and was named as a royal ‘dessinateur de la marine’ in 1757, still assisted by his siblings. Jeanne François (1735-95) seems to have been the most active of these, and is named as engraver in several other collections and single plates besides this one, usually marine prints.

Duguay-Trouin is remembered as one of the greatest French naval commanders. In 1704-1705 he commanded the ship Jason and captured the British ships of the line HMS Elizabeth and HMS Coventry; then on 21 October 1707, together with Claude de Forbin, he achieved his greatest victory against a British squadron, in the Battle at the Lizard (part of the War of the Spanish Succession); in 1709 he captured the British ship of the line HMS Bristol, while the triumph of his career came on 21 September 1711, in an 11-day battle, where he captured Rio de Janeiro, then believed impregnable. The two double-page maps (both signed ‘Drouet’) depict his battles around the French and British Coasts and his capture of Rio. Une famille d’artistes brestois au XVIIIe siècle: les Ozanne, Charles Auffret (Rennes, 1891). Borba de Moraes, p. 273; Bosch 244; Polak 7235; Rodrigues 908; not in Sabin.

A large and striking broadside printed on vellum by an unknown press, presumably in France around the year 1700. The text is of 20 ‘maximes du sage’, wise and stoic counsels for the government of the mind, spirit and body. The typography is competent but occasionally irregular, reflecting the difficulty of handling such a large sheet of vellum in the press, but also suggesting the possibility of a private press. The floral borders are stylised, with decorative swags and ribbons at the head, but with recognisable lilies, rose, carnations and iris on either side, and blue chine bowl with tulips, fritillaries and other flowers at the foot.

No other example of the broadside has been located, though the text is almost identical to that of a fine manuscript on vellum probably made at the behest of Louis XIV (1638-1715) for the philosophical education of his son Louis, the Grand Dauphin (1661-1711) (sold at Sotheby’s Paris, 6 July 2017, collection of Mme Djahanguir Riahi, lot 28). A quotation of a fragment of the text appears in the Clef du cabinet des princes de l'Europe, 21, October 1714, p. 237, appearing also as advice to princes, but we have not found any other printed version of the complete text.

‘Adore le Createur de l’Univers, & l’aïme de toute ton Ame: Honore ceux qui t’ont mis au monde; obeïs aux loix; revere les Puissances: Faits à autruy comme tu voudrois qu’on te fît à ton mesme. Sois humain, civil & bien faisant à tous les hommes. Aïme tes proches, aïme tes amis; mais plus que tour aime ta Patrie, & procure le bien public. Respecte les gens de bien, fuy les méchans, & ne hante que ceux à qui tu veux ressembler, Reconnois les biensfairs, n’attire pas les injures, Connois-toy toy-mesme, mesure tes desseins à tes forces, ta dépense à ton bien, & l’un & l’autre à la raison. Exerce moderement ton corps, applique fortement ton esprit: Ecoûte beaucoup, parle peu, regle tes pensées & pese tes paroles. Abhorre le menteur & le mensonage, mais souviens-toy que toutes vertitez ne sont pas toûjours bonnes à dire, Pardonne beucoup aux autres, rien à toy, & sois plûtost ennemy de tes vices. Que censeur de ceux d’autruy, Songe que le repentir suit de pres la faute, & que le premier fruit des bonnes actions est la plaisir qu’il y a de les faire. Ne prens jamais de mauvaises voyes pour arriver a une bonne fin. Tiens les flateurs pour tes plus grands ennemis, pour tes meilleurs amis ceux qui te voyent plutost à cause de toy qu’à cause d’eux-mesmes. Prens conseil, mais forme tes resolutions toy-mesme. Sois ferme non pas opiniâtre, & si tu as à changer d’avis, que ce soit par raison, non par legereté. Desire ce que t’est propre, supporte ce qui t’arrive. Sois le maître non pas l’esclave de tes passions, qu’elles servent à t’avancer, non pas à t’égarer. Modere tes desirs, tu augmenteras tes biens, il est assés riche qui est content, & il est content qui est sage’.

A wonderful satire on contemporary women’s fashion. The 1820s had seen considerable change in women’s fashions, with neoclassical straight lines and sparse adornments giving way to a more exhuberant and romantic style with more emphasis on curvaceous shapes, cheekily satirised here with wine glass and fruit. BM Satires 15611.

53 invitation cards to the notorious Parisian annual costume ball. The ball was inaugurated in 1892, and apart from the war years, ran until 1966, with attendance restricted to students and alumni of the École, both men and women, as well as a few ‘artistic personalities’ who had contributed to the preparation of the ball. They were held in several major venues scattered throughout Paris over the years, with most taking place at the Moulin Rouge, the Salle Wagram, and the Parc des Expositions at the Porte de Versailles. Although in its early years the ball was simply an elaborate party, from 1900 each ball had a specific historic theme, often derived from an ancient text or inspired by an ‘exotic’ foreign culture, around which various contests were arranged. With the addition of a theme the balls became more elaborate often turning into debaucherous, romping affairs with guests soon discarding the period costumes that they were required to wear to gain entrance. The nudity, dancing and merrymaking often continued into the following day, the ball usually ending, with a shout of ‘Vive les Quat’z’ Arts!’, around seven o’clock in the morning, followed by a procession through the Latin Quarter, the Louvre, and a march over the Pont du Carrousel to the Théâtre de l’Odéon, where the partygoers would disband.

Not surprisingly The Bal des Quat’z’Arts quickly became one of the premier events of the summer season. The invitations were elaborately designed to match the spectacle of the events, and correspondingly were often thematically orientalist, exotic, or primitive, with overtly erotic and sexual imagery. They are a tour de force of the evolution of artistic style, showing the progress from Art Nouveau to modernist primitivism, up through psychedelic design, though in retrospect they exhibit a troubling degree of predatory sexism and cultural appropriation. The ball is famously depicted in a series of photographs by Brassaï of 1930 and numerous other photographic records exist of the ball, allowing a comparison of the themes of the printed invitations and the costumes worn on the night.

There were different invitations for men, women and committee members, and most included a tear-off coupon, which often survivive. This group contains examples from the following years, all complete with their coupons except where specified: 1895 (by Caran d’Ache); 1901 (without coupon) 1902 (without coupon); 1904 (m, without coupon); 1906 (?f); 1908 (f without coupon); 1909 (f); 1912 (f); 1913 (f, without coupon); 1914 (poster, folded once); 1920 (f); 1922 (m); 1923 (f); 1924 (f); 1927 (f, without coupon); 1928 (f); 1928 (m, without coupon); 1929 (m); 1929 (comité, without coupon); 1929 (f); 1930 (comité, without coupon); 1931 (m without coupon); 1931 (f without coupon); 1932 (m, without coupon); 1933 (m, without coupon); 1934 (m); 1939 (f?); 1946 (m); 1947 (m 2); 1948 (m) 1948 (f, without coupon); 1949 (m) 1949 (f); 1950 (m) 1950 (f); 1951 (m) 1951 (f) 1951 (additional); 1952 (m) 1952 (f ) 1952 (additional); 1953 (m) 1953 (f); 1954 (m?); 1955 (m) 1955 (f); 1956 (m) 1956 (f); 1958 (m) 1958 (?); 1959 (m); 1964 (m); 1966 (m?), plus one unidentified year.

An extensive military manuscript, unpublished in print, consisting of order issues by the Savoyard minister of war, comte Bogin in 1752-3, setting out detailed procedures for ordering, drilling and manoeuvring in the infantry regiments of the armies of the King of Sardinia, Charles Emmanuel III. Presumably a contemporary copy of orders sent out to the regiments themselves, each part ends with the dated subscription (in copy) of Bogin at Turin. The manuscript is highly detailed, with 43 chapters across the two parts, covering rifle exercise (including bayonets), flag bearing, drilling, marching, battle formations and the conduct of firing in battle. The mid-eighteenth century Savoyard/Sardinian armies counted over 30 infantry regiments among their forces.

The island of Sardinia had been ceded in 1720 by the Habsburg and Bourbon claimants of the Spanish throne to the Duke of Savoy, Victor Amadeus II. The Savoyards united it with their historical possessions on the Italian mainland, while the monarchs of the House of Savoy ruled from their mainland capital of Turin, but styled themselves primarily with the royal title of Sardinia, ‘rois de Sardaigne’, as superior to their original lesser dignity as Dukes of Savoy.

An exceptional (and exceptionally rare) seventeenth-century devotional image depicting the battle in the heart between good and evil. This is an emblem of repentance in which the male subject looks down in tears upon an enlarged heart, in which the dove of the holy spirit is surrounded by tongues of fire and tears and personifications of the vices are driven outwards: a peacock (pride), ram (luxury), pig (gluttony), tortoise (sloth), leopard (anger), snake (envy) and a toad (avarice). An angel presides at the top left bearing a bible and crucifix, while the devil flees to turns his back and flees to the bottom right. It is one of twelve illustrations on the States of Man (or, Tableaux énigmatiques ou d'Images morales) conceived by the Jesuit Vincent Huby (1608-1693) for use in religious retreats and published in Paris in 1682 by Pierre Gallays.

These large printed placards were used specifically for instruction at week-long Jesuit retreats for lay-people. They were exhibited singly or in pairs, while an instructor explained the significance of the emblem. ‘The arguments dealt with the phases of the spiritual life—and its dangers—based on concrete examples taken from everyday life. The order of presentations varied with the director of Exercises. Those relating to the good and paradise were often presented early in the week; sin, attrition, contrition, penitence, a good death, and paradise, while warnings against slackening, relapse, a bad death and hell were addressed towards the week’s end’. (Silvia Mostaccio. ‘Shaping the Spiritual Exercises: the Maisons des retraites in Brittany during the Seventeenth Century as a Gendered Pastoral Tool.’ Journal of Jesuit Studies 2, 2015659-684).

According to Huby’s account of his excercises, ‘Using these placards is extremely helpful... they make the verities we want to make known more sensible and the impression is that much stronger and more easily made than if they only heard it. Everyone is quite gratified, the savants as well as the ignorant’ (La Retraite de Vennes ou la façon dont la retraite des hommes se fait dans Vennes, sous la conduite des pères jésuites, et les grands biens que Dieu opère par elle. 1678, trans. Mostaccio).

Huby’s spiritual method was specifically developed for the Jesuit’s missionary activity in Brittany (La Retraite was published first in Vannes) but the engraved placards were printed in Paris by Gallays, notable for other popular prints and almanacs (the engraver’s name is not recorded). Though the complete set of twelve plates is known from Huby’s instructions, no complete extant set has been located and the Bibliothèque nationale holds only a single print. This example is number 3 (numbered at foot). Huby also devised a series specifically for women (also exceptionally rare); his method became popular and his manual reprinted several times, while the imagery of the placards found its way into numerous books of emblems and later devotional paintings. cf. Images du Grand Siècle: l’estampe française au temps de Louis XIV (1660-1715), Bibliothèque nationale, 2015, 77 (single image ‘L'estat d un homme dans le quel le Diable estant rentré victorieux’)

A nice collection of eleven physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7).

A nice collection of physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

A nice collection of eight physiologies, one of the many such little books illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.