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  • Grana angelica; ou Véritables pilules écossaises, laissées à la postérité par le Docteur Patrice Anderson, d’Edimbourg, Médecin de Charles I, Roi d’Angleterre; desquelles Charles II saisoit sa médicine ordinaire. Préparées avec fidélité par G. Anthony, demeurent à l’enseigne des armes d’Angleterre. by (ANDERSON, Patrick). George ANTHONY and LE BRUN et RENAULT, Père et Fils. (ANDERSON, Patrick). George ANTHONY and LE BRUN et RENAULT, Père et Fils. ~ Grana angelica; ou Véritables pilules écossaises, laissées à la postérité par le Docteur Patrice Anderson, d’Edimbourg, Médecin de Charles I, Roi d’Angleterre; desquelles Charles II saisoit sa médicine ordinaire. Préparées avec fidélité par G. Anthony, demeurent à l’enseigne des armes d’Angleterre. [Paris c. 1790].
    A rare French broadside advertising the virtues of ‘Scotch Pills’ or ‘Grana angelica’ invented by the seventeenth-century Edinburgh physician Patrick Anderson which continued to be… (more)

    A rare French broadside advertising the virtues of ‘Scotch Pills’ or ‘Grana angelica’ invented by the seventeenth-century Edinburgh physician Patrick Anderson which continued to be popular in Scotland, England and France well into the nineteenth century. The long text in 12 chapters outlines the supposed virtues of the pills as a cure for almost any complaint. This French version imitates the English broadsides of the second half of the eighteenth century (there are several in ESTC) which themselves mimicked the form of Royal proclamations with woodcut arms at the head. It also reproduces the purported trademark of Anderson and his successor Isabelle Inglish which seems to have been pirated as often as the pills themselves.

    ‘Some time after 1625 Anderson was appointed physician to Charles I. In 1635 he published in Edinburgh Grana angelica, a treatise in Latin which puffed his mild aperient pills, made with aloes, colocynth, and gamboge, and pronounced a sovereign remedy for cleansing the system after carouses. Anderson claimed to have brought the formula of the pill back from a trip to Venice about 1603. Although this formula was allegedly deposited in the Rolls House, Edinburgh, to protect his proprietary rights, attempts to trace the document there have proved unsuccessful. Charles II was said to have constantly used the pills, known as Scots Pills, as his ordinary medicine’.

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  • Mancher sucht sein Gluck im fremden land meines bluhet nur [an ihrer hand]. by (MOVEABLE ’BIEDERMEIER’ CARD). (MOVEABLE ’BIEDERMEIER’ CARD). ~ Mancher sucht sein Gluck im fremden land meines bluhet nur [an ihrer hand]. Nuremberg: Riedel, [n.d., c. 1830]
    A charming example of the early nineteenth century German moveable greetings card (popularly referred to as ‘Biedermeier’ cards, after their era). In this one the… (more)

    A charming example of the early nineteenth century German moveable greetings card (popularly referred to as ‘Biedermeier’ cards, after their era). In this one the legend reads ‘Mancher sucht sein Gluck im fremden land meines bluhet nur an ihrer hand’ [Some seek happiness in a foreign land, mine just blossoms in your hand] and the mechanism reveals a young lady hidden in a tree and dips the gentleman’s head towards her hand. The third moveable part (not now moving) is his articulated arm. The card is numbered ‘177’ in the lower left corner, giving some idea of the scale of production of these wonderful moveable paper artefacts.

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  • Catalogus gloriae mundi... In quo multa praeclara de praerogatiuis, praeeminentijs, maioritate, praestantijs, & excellentijs, continentur... Opus ad omnes publicas et quotidianas actiones dirigendas, controuersiasq́ue grauissimas dissoluendas, perquàm vtilissimum : in XII. libros diuisum. Nunc denuo accuratissime emendatum, ac nouis figuris elegantissime illustratum: ita vt facilè omnes caeteras editiones antecellere possit. by CHASSENEUZ, Barthélemy de. CHASSENEUZ, Barthélemy de. ~ Catalogus gloriae mundi... In quo multa praeclara de praerogatiuis, praeeminentijs, maioritate, praestantijs, & excellentijs, continentur... Opus ad omnes publicas et quotidianas actiones dirigendas, controuersiasq́ue grauissimas dissoluendas, perquàm vtilissimum : in XII. libros diuisum. Nunc denuo accuratissime emendatum, ac nouis figuris elegantissime illustratum: ita vt facilè omnes caeteras editiones antecellere possit. Frankfurt: Sigmund Feyerabend, 1579.
    A spectacular renaissance illustrated book, the first edition with the detailed and dramatic double-page etched plates by Jost Amman. First published at Lyon in 1529… (more)

    A spectacular renaissance illustrated book, the first edition with the detailed and dramatic double-page etched plates by Jost Amman. First published at Lyon in 1529 with single-page woodcuts (reprinted with the same woodcuts in 1546) there were also Venice editions of 1569, 1571 and 1576 with quarter-page woodcuts.

    A vast encyclopaedic work, the Catalogus gloriae mundi sought to set out the hierarchy of creation —animate and inanimate, from the heavens themselves to the governments, laws and sciences of humanity. Its particular value was in setting out orders of precedency and protocol in law and ceremony, which probably accounts for its interest to publisher Sigmund Feyerabend, who enlisted Amman to create large emblematic plates for this edition, derived from the earlier woodcut illustrations. They are:

    1. A genealogy with insignia of royal houses (including European houses and those of Persia, Egypt, Israel etc); 2. Adam and Eve in the Garden of Eden; 3. a mandala depicting the ranks of the hierarchy of the heavens; 4. a sitting of the papal court; 5. an imperial council; 6. a regal council; 7. a judicial court; 8. the nobility; 9. the military ranks; 10. The liberal arts and sciences (14 female personifications); 11. the mechanical arts (7 female personifications); 12. a geocentric cosmography. Andresen, A. Jost Amman, 32-43; The New Hollstein: German Engravings, Etchings and Woodcuts 1400-1700, 1998, VI.144. A very scarce book. Worldcat lists non-European copies at Folger, Getty and Huntington libraries only.

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  • L’Ombre immortelle de Catherine II au tombeau d’Alexandre Ier. by LE NORMAND, Marie-Anne Adélaïde. LE NORMAND, Marie-Anne Adélaïde. ~ L’Ombre immortelle de Catherine II au tombeau d’Alexandre Ier. Paris: Mlle Le Normand, auteur-éditeur,... Dondey-Dupré père et fils,... et chez les principaux libraires de la France et de l’étranger, 1 Février 1826
    First edition of Le Normand’s panegyric for Alexander I and her prophecies for the state of Russia following the Emperor’s death in 1825. Marie-Anne Lenormand… (more)

    First edition of Le Normand’s panegyric for Alexander I and her prophecies for the state of Russia following the Emperor’s death in 1825. Marie-Anne Lenormand (1772–1843) was a celebrated (or notorious) clairvoyant, publisher, and self-publicist Famed throughout Europe for her exclusive clientele, she popularised cartomancy and spawned an enormous wave of imitators. At the height of her career she claimed to have advised the likes of Robespierre, Talleyrand, Metternich, the Empress Josephine and Emperor Alexander himself; others argued that the whole thing was a sham, and she was frequently arrested, spending several weeks in prison.

    The title verso here gives a list of Le Normand’s other prophesies, both published and forthcoming. Though the half-title verso bears an author’s statement, requiring authorised copies to be signed by her, this copy is unsigned (though genuine).

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  • Le Cook de l’enfance et de la jeunesse, ou Choix des particularités les plus intéressantes, des détails les plus instructifs et les plus curieux contenus dans les relations des trois voyages de ce célèbre navigateur autour du monde; précédé d’une notice sur sa vie... avec quatre jolies gravures. by (COOK, Captain). CHAMPAGNAC, J. -B. -J. (COOK, Captain). CHAMPAGNAC, J. -B. -J. ~ Le Cook de l’enfance et de la jeunesse, ou Choix des particularités les plus intéressantes, des détails les plus instructifs et les plus curieux contenus dans les relations des trois voyages de ce célèbre navigateur autour du monde; précédé d’une notice sur sa vie... avec quatre jolies gravures. Paris: [Cosson] Fruger et Brunet, 1836.
    First edition. A juvenile Cook in French, describing his voyages to the Pacific, including New Zealand, Batavia (Jakarta), Tahiti and the Sandwich Islands. the plates… (more)

    First edition. A juvenile Cook in French, describing his voyages to the Pacific, including New Zealand, Batavia (Jakarta), Tahiti and the Sandwich Islands. the plates being: Mort de Capitaine Cook (frontispiece); Indien courant un Muck; Habitans de l’Ile Mallicalo and Débarquement du Capitaine Cook dans la baie de Karakakooka. The appendix contains an interesting ethnographic essay ‘Des deux variétés de l’espèce humaine recnnues dans l’Océanie’, two others on the geography of Oceania and on previous voyages to the region followed by biographies of participants in Cook’s voyages (Cook, Banks, Solander, the Forsters, Clark and Bligh). Worldcat and Library Hub locate no UK or North American copies (though there is one at the University of Hawaii)

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  • de l’Étranger a Londres. Album de croquis amusants contenant tous les renseignements utiles sur Londres et ses environs. by GUIDE COMIQUE GUIDE COMIQUE ~ de l’Étranger a Londres. Album de croquis amusants contenant tous les renseignements utiles sur Londres et ses environs. Paris: Imprimerie Jouaust père et fils, 1862.
    Sole edition of this comic guide to London and the English, issued to coincide with the Great Exhibition. The four letterpress pages give some limited… (more)

    Sole edition of this comic guide to London and the English, issued to coincide with the Great Exhibition. The four letterpress pages give some limited information for visitors: English money, the major sites (headed of course with the Crystal Palace), several hotels, inns and restaurants, carriage and boat fare, a few useful phrases and some baffling tips on British manners ― but this is really a vehicle for the 14 comic plates. They depict 46 numbered scenes or characters including: a coachman and a sweep, The Times newspaper, two pugilists, judges, beggars, hawkers, a Scotsman, huge barrels of drink (labelled ‘Monster Cask’) and a ratcatcher. The cover attributes the lithographs to ‘Mr Cric’ and the text to ‘Mr Crac’ and gives Paris and London booksellers’ addresses, with a price of ‘1 Shelling’. Worldcat lists the Vanderbilt University copy only; no British copies located in Library Hub; the CCFr lists a single copy in France (Bar le Duc).

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  • [A bound collection of 54 plates] by MOTZ, Johann Michael, heirs of; and Albrecht SCHMIDT. MOTZ, Johann Michael, heirs of; and Albrecht SCHMIDT. ~ [A bound collection of 54 plates] Augsburg [n.d. but soon after 1750].
    An interesting collection of 54 rare hand coloured plates by Augsburg publishers Johann Michael Motz and Albrecht Schmidt, very much in the style of the… (more)

    An interesting collection of 54 rare hand coloured plates by Augsburg publishers Johann Michael Motz and Albrecht Schmidt, very much in the style of the recreational and educational prints of the slightly earlier Augsburg engraver-publisher Martin Engelbrecht. Like Engelbrecht’s these prints were intended for popular consumption and were often cut up for albums or other decoupage projects. All are very rare, notably the fine 4-plate suite of the continents here (Europe, Asia, Africa and America) and a very substantial part of the biblical sequence by Schmidt. There are also plates for the four, two hunting plates and another after Boucher. The album was evidently put together c. 1800 from two or more constituent parts, perhaps already quite well used to judge by the variation in condition across the collection and by the various patterns of previous stab holes. An early owner/user has added some amusing pencil drawings to the rear endpapers.

    Comprising:

    1. Les Amans Surpris (after Boucher, c, 1750), Motz.
    2. Les Plaisirs au jardin & La musique, 2 plates, Motz.
    3. Europa, Asia, Africa, America, 4 plates, lower lines of verses and imprint cropped, but Motz after I. Waxmuth.
    4. Der Frühling, Der Sommer, Der Herbst, Der Winter, 4 plates, Motz.
    5. Das Feuer, Das Wasser, Die Lufft, Die Erde, 4 plates, Motz.
    6. Der Morgen, Der Mittag, Der Abend, Die Nacht, 4 plates, Motz after Stockhman[n].
    7. [Hunting], 2 untitled prints, Motz after Stockhman[n].
    8. [Old Testament. Genesis] 14 plates, numbered 5-12, 37, 40, 45-48 each with gold borders, Albrecht Schmidt. [of 56?]
    9. [Old Testament, Genesis, the story of Joseph]. 13 plates, numbered 1-5, 7-14. Motz.
    10. [The Prodigal Son]. 6 plates, numbered 1-2, 5-8, Motz after C. Vogt (stubs of plates 3 & 4, evidently cut out).

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  • Mémoires de Léotard. by (CIRCUS). LÉOTARD, Jules. (CIRCUS). LÉOTARD, Jules. ~ Mémoires de Léotard. Paris: [Simon Raçon et comp[agnie], 1860.
    Rare first edition of the memoirs of the great circus performer Jules Léotard, pioneer of the flying trapeze who inspired the 1867 song ‘The Daring… (more)

    Rare first edition of the memoirs of the great circus performer Jules Léotard, pioneer of the flying trapeze who inspired the 1867 song ‘The Daring Young Man on the Flying Trapeze’. A second edition of his Mémoires appeared in the same year, with the same pagination, but giving ‘deuxième édition’ on the title — almost all library copies appear to be of this later edition. The superb comic lithograph by Durandeau shows Léotard trapezing over the city of Paris, while adoring female fans cry out to him from the rooftops (some flying heart-shaped kites). With Blondin, Léotard was one of the first great celebrities of the circus, when he visited London in 1861, Charles Dickens wrote: ‘I have been beguiled into seeing Léotard, and it is at once the most fearful and most graceful thing I have ever seen.’ (Letter to Macready, June 11, 1861).

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  • anciens et modernes, composant la deuxième partie de la bibliothèque M.V***, de Chartres, les Vendredi 15, Samedi 16, Lundi 18, Mardi 19 Juin 1855 et le le lendemain s’il y a lieu, à 7 heures du soir. 21, rue des Grands-Augustins. 21, Par le ministère de Me Charles Charpentier commissaire-priseur à Paris, rue de Helder, 14; assisté de M. A. Aubry, Libraire-Expert, à Paris, rue Dauphine, no 16. by VENTE DES LIVRES VENTE DES LIVRES ~ anciens et modernes, composant la deuxième partie de la bibliothèque M.V***, de Chartres, les Vendredi 15, Samedi 16, Lundi 18, Mardi 19 Juin 1855 et le le lendemain s’il y a lieu, à 7 heures du soir. 21, rue des Grands-Augustins. 21, Par le ministère de Me Charles Charpentier commissaire-priseur à Paris, rue de Helder, 14; assisté de M. A. Aubry, Libraire-Expert, à Paris, rue Dauphine, no 16. Paris: M[ada]me de Lacombe, 1855.
    A book auction bill, advertising the second part of the auction sale of what was evidently an immense private library belonging to the unidentified (by… (more)

    A book auction bill, advertising the second part of the auction sale of what was evidently an immense private library belonging to the unidentified (by us) M. V***, de Chartres. Buyers premium is advertised at 5% and the catalogue was issued by auctioneer Charpentier and book expert Auguste Aubry. No copy of the catalogue (of either part) is recorded in the Bibliothèque nationale catalogue.

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  • Jurons !!! pas de diminutions...... by LES VAMPIRES. LES VAMPIRES. ~ Jurons !!! pas de diminutions...... Paris: H. Platel. Cheyère, [n.d. 1826].
    A very rare satirical print depicting two blood-sucking landlords expelling a bewildered tenant. In the hand of one of the ‘vampires’ a note reads ‘eviction’… (more)

    A very rare satirical print depicting two blood-sucking landlords expelling a bewildered tenant. In the hand of one of the ‘vampires’ a note reads ‘eviction’ [congé], ‘end of lease’ [fin de bail] and ‘increase’ [augmentation] and all the notes scattered on the ground make reference to the real estate business. The caption reads ‘We promise, no reduction’. Paris (like London) was in the throes of a vampire craze in the 1820s, following the publication of Polidori’s The Vampyre in 1819. Charles Nodier’s melodrama Le Vampire was performed in Paris in June 1820, and spawned a host of spinoffs in popular culture and the press.

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  • [An Album of 50 Watercolours depicting Women’s Fashion. by (FASHION). (FASHION). ~ [An Album of 50 Watercolours depicting Women’s Fashion. Paris, 1867-8].
    A wonderful collection of contemporary fashion designs for the year 1867-8. The title-page, (marked ‘5ème volume) is an emblem of the ever-changing nature of fashion… (more)

    A wonderful collection of contemporary fashion designs for the year 1867-8. The title-page, (marked ‘5ème volume) is an emblem of the ever-changing nature of fashion ― two richly-dressed women stand between marker posts for the years 1867 and 1868, one in deep winter attire with bonnet, scarf, cape and muff, the other in the light spring garments of the following year. Between them an elegant dandy stands with a velocipede (suggesting modernity, movement and rapidity) and above is a cartouche enclosing a naked woman below the legend: ‘Comment l’habiller-t-on?’ (‘how will they dress?’). The final leaf is similarly emblematic, with a splendidly-attired young woman in green stepping from 1868 to 1869 over a running stream.
    Anonymous and evidently once part of a sequence, these brilliant watercolours depict Parisian fashions at their most colourful and sumptuous. Those showing off fabrics with new chemical or aniline dyes of green, mauve and blue are often heightened with gum arabic, adding a lustrous sheen, evocative of rich and heavy silks then much in vogue. Skirts are full and often multi-layered, with arrangements for lifting the outermost layer for walking. Special attention is paid to the backs of these outfits, with a good number seen from the side or behind, showing the elaborate ruffles and bows (which would develop into fully-blown bustles in the following decade). There are stripes, plaids, pleats, ruffles, embroidery, lace and beadwork. Hairstyles are also carefully depicted, with long and thick tresses in a variety of braids and tresses, as well as luxuriantly loose styles.
    The anonymous artist was a highly accomplished fashion artist, brilliantly equipped to render details and textures of fabrics, dress and deportment, of the type employed by designers and couturiers to show off to prospective customers their latest creations. This is a remarkable record of a golden age of Parisian dressmaking at the height of nineteenth-century haute couture when designers such as Charles Worth were claiming the city as the focus of the fashionable world.

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  • Les Hermaphrodites. [L’Isle des Hermaphrodites nouvellement descouverte. Avec les moeurs, loix, coustume & ordonances des habitans d’icelle]. by [ARTUS, Thomas, sieur d’Embry]. [ARTUS, Thomas, sieur d’Embry]. ~ Les Hermaphrodites. [L’Isle des Hermaphrodites nouvellement descouverte. Avec les moeurs, loix, coustume & ordonances des habitans d’icelle]. [N.p ?France, N.d. c. 1605].
    First edition of Artus’s satire on Henri III of France (assassinated in 1589) who was reputedly fond of cross-dressing and whose court was widely criticised… (more)

    First edition of Artus’s satire on Henri III of France (assassinated in 1589) who was reputedly fond of cross-dressing and whose court was widely criticised for decadence and immorality.

    Les Hermaphrodites describes a realm populated by men who dress as women, not strictly hermaphrodite but preoccupied by dress, hairstyle, makeup, extravagant gesture and speech. Also concerned with the laws and customs of the hermaphrodite kingdom, the satire operates by presenting Henri’s court as both dissolute and against nature. In so doing it reflects in great detail contemporary attitudes (both positive and negative) to gender-blurring of any sort, whether social or sexual. At one point, for example, Artus writes ironically that cross-dressing was perfectly permissible: ‘Chacun pourra s’abiller à sa fantasie, pourveu que ce soit bravement, superbement, & sans aucune distinction ny consideration de sa qualité ou faculté’, thus combining his disapproval with a suggestion of the negation of natural order or rank.
    The engraved title depicts a figure of ambiguous gender (perhaps Henri himself) in male breeches, but full-hipped, with a suggestion of female breasts and a floral coiffe, with the legend ‘A tous accords’. Below it is the text:

    ‘Je ne suis masle ny femelle
    Et sy je suis bien en ceruelle
    Le quell des deux je doibs choisir
    Mais qu’importe à qui on ressamble
    Il vault mieux les avoir ensemble
    On en reçoit double Plaisir.’

    Henri’s sexuality was the subject of numerous contemporary satires. His taste for cross-dressing was well-known and his sexual orientation a matter of speculation, since he enjoyed close relationships with his male mignons (providing plenty of ammunition for moralistic detractors) but also well-publicised affairs with a succession of mistresses.

    The second part of the book is Discours de Jacophile a Limne. Les Hermaphrodites was republished in 1724 with the title Description de l’isle des Hermaphrodites. This reprint is comparatively common, while the first edition is notably rare.

    The arms of the contemporary binding are of the Clausse de Marchaumont family, probably those of courtier Henri (d. 1613), the eldest son of Henry II’s secreatary of state Cosme Clausse, who served as Henry III’s ambassador to the Swiss states.

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  • Florilège [spine title]. by [JEAN, prêtre]. [JEAN, prêtre]. ~ Florilège [spine title]. [France, c. 1890s].
    A curious florilegium, with extensive lithographed devotional text, presumably after the handwriting of author (’Jean, prêtre’) and a series of handcoloured lithographs. The latter include… (more)

    A curious florilegium, with extensive lithographed devotional text, presumably after the handwriting of author (’Jean, prêtre’) and a series of handcoloured lithographs. The latter include 31 of flowers (marigold, violet, primula, iris, cornflower, honeysuckle etc) which are paired with a description and devotional meditation on the opposite page. The others depict a hermit, a memento mori, a decorative contents list and (at the end) women in a religious procession with a banner. At least one them is signed ‘Jean’. The prefatory text is from Chateaubriand’s Le Martyrs: ‘En achevant ces mots, Zacharie s’arrêta, me montra le ciel où nous devions nous retrouver un jour, et, sans me laisser le temps de me jeter à ses pieds, il me quitta après m’avoir donné sa dernière leçon. C’est ainsi que Jésus-Christ dont il imite l’exemple, se plaisoit à instruire ses disciples, en se promenant au bord du lac de Génésareth, et faisoit parler l'herbe des champs et le lis de la vallée’.

    Although marked ‘Deposé’ on the first leaf, we have been unable to find any other copies or record of its publication. It was presumably printed in very small numbers.

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  • Description des objets d’arts qui composent le cabinet de feu M. le Baron V. Denon. [1] Monuments antiques, historiques, modernes; ouvrages oreintaux, etc... [2] by (DENON, Dominique Vivant). (DENON, Dominique Vivant). ~ Description des objets d’arts qui composent le cabinet de feu M. le Baron V. Denon. [1] Monuments antiques, historiques, modernes; ouvrages oreintaux, etc... [2] Paris: Hippolyte Tilliard [sold by Tilliard frères and Treuttel et Wurtz in Paris and Treuttel et Wurtz in London], 1826.
    First editions of the complete sale catalogues of Denon’s celebrated collections, a marked-up set from the collection of Frédéric Villot (1809-1875), Louvre conservateur of pictures… (more)

    First editions of the complete sale catalogues of Denon’s celebrated collections, a marked-up set from the collection of Frédéric Villot (1809-1875), Louvre conservateur of pictures and an important collector in his own right.
    Besides his erotic novella, Point de Lendemain, Denon (diplomat, artist and director of the Musée Napoleon at the Louvre) is primarily remembered for his role in Napoleon’s expeditions of 1798-9 and as author of Voyage dans la Basse et la Haute Égypte (1802). Among the most influential and important French collectors, he acquired obsessively but with discrimination, both for Napoleon and himself. His posthumous sales of 1826-7 included over 3000 lots of antiquities, pictures and prints, with eight important Egyptian papyri included in the first sale and his own drawings from the Egypt exhibition in another. The three volumes are very scarce complete and comprise: I. Monuments antiques, historiques, modernes; ouvrages orientale, etc. (ed. L.J.J. Dubois, 1390 lots); II. Tableaux dessins et miniatures (ed. A.N. Perignon, 977 lots); III. Estampes et ouvrages a figures (ed. Duchesne Aîné, 801 lots).

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  • The Maritime Flags of all Nations [cover title]. by HEATHER, William, publisher. HEATHER, William, publisher. ~ The Maritime Flags of all Nations [cover title]. London: W. Heather, at the Navigation Warehouse, Leadenhall-Street, 1807.
    A rare pictorial guide to naval ensigns. This 1807 issue in book form is made up from all 18 portions of an engraved chart first… (more)

    A rare pictorial guide to naval ensigns. This 1807 issue in book form is made up from all 18 portions of an engraved chart first issued by Heather in 1800, with an added letterpress label. The flags include all the known naval ensigns, including those of privateers and pirates. 125 naval ensigns begin with the principal British flags and continue with those of all the major European countries and their principal ports, then China, Persia, the United States and the major trading companies, such as the Dutch and British East India Companies. There are two pirate flags, entitled ‘Rovers’, and ‘Algerine Rover’ [Barbary Pirates]: the ‘Rover’, coloured red, is marked with a winged hourglass, a raised arm holding a cutlass and a skull and cross bones; the ‘Algerine Rover’ is also coloured red but marked with a skull.

    The 1800 chart bore an engraved dedication at the head ‘To the Right Honourable the Master Wardens, elder Brethren of the Trinity House’ not used in the book, though the Trinity House arms are added as a cover label. Rare, especially in book form. Worldcat lists the National Maritime Museum and UCLA copies only.

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  • ‘adapted to spike cranes in a war of the future with pigmies’
    Nashional Taste!!! Dedicated without Permission, to the Church Commissioners... by [CRUIKSHANK, George]. [CRUIKSHANK, George]. ~ Nashional Taste!!! Dedicated without Permission, to the Church Commissioners... London: G. Humphrey, April 7 1824.
    Architect John Nash is impaled on the spire of his new All Souls church in Langham Place, Marylebone, completed in 1823 as part of his… (more)

    Architect John Nash is impaled on the spire of his new All Souls church in Langham Place, Marylebone, completed in 1823 as part of his grand plans for the costly ‘improved’ swathe of London stretching from the lower end of Regent’s Street to Regent’s Park. With its rotunda and idiosyncratic steeple thhe landmark church was not universally admired. This plate is subtitled: ‘Dedicated without Permission, to the Church Commissioners. Providence sends Meat, The Devil sends Cooks, Parliament sends Funds, But, who sends the Architects?!!!’
    Dorothy George describes it thus: ‘An illustration of the debate of 30 Mar. when H. G. Bennett demanded the name of the architect of the church being built in Langham Place. ‘He should also like to hear what this mass of deformity had cost’, and professed himself ready to subscribe towards the cost of demolition. Under pressure, Arbuthnot admitted that the architect was Nash.... [who] is reputed to have commented to his assistants on this print: ‘See, gentlemen, how criticism has exalted me.’ The Times, 10 April, derided the spire as adapted to spike cranes in a war of the future with pigmies, envisaged by the architect’. BM Satires X, 1952.

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  • Die Jugend in den Erholungstagen auf dem Lande... mit 6 kupfern begleitet mit deutsch-französisch-italineisch und böhmischen text. by GRÜNER, V. R. GRÜNER, V. R. ~ Die Jugend in den Erholungstagen auf dem Lande... mit 6 kupfern begleitet mit deutsch-französisch-italineisch und böhmischen text. Vienna: [J. P. Sollinger for] Friedrich Wihelm Pfautsch, [n.d., c. 1830].
    First (and presumably only) edition of a rare and delightful large format illustrated children’s book depicting boys and girls enjoying country life, including gardening and… (more)

    First (and presumably only) edition of a rare and delightful large format illustrated children’s book depicting boys and girls enjoying country life, including gardening and open air reading. The text is quadrilingual: German, French, Italian and Czech. This exceptionally well preserved copy bears a contemporary prize label, recording it as a prize to one Anna Kalser at the Pilsner Kreishhaupt-Schule (Bohemia). Very rare: no copy found in Worldcat. KVK records a single copy (Austrian National Library) of a variant issue (also undated) in 8vo format (paginated pp. 33, not 15 as in our oblong 4to, with the plates folded uncoloured).

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  • Les Osages. by DELPECH, François Séraphin [after a drawing by] Louis-Léopold BOILLY. DELPECH, François Séraphin [after a drawing by] Louis-Léopold BOILLY. ~ Les Osages. Paris: Aubert, 1827
    In 1827 members of the Osages Tribe from the Ohio River Valley in Arkansas and Missouri, travelled to Paris with Louisiana resident David DeLaunay. They… (more)

    In 1827 members of the Osages Tribe from the Ohio River Valley in Arkansas and Missouri, travelled to Paris with Louisiana resident David DeLaunay. They were initially lionised by Paris society before being abandoned by their host and forced to fend for themselves. This celebrated lithograph shows Kihegashugah or Little Chief (age 28), Minckchatahooh or Little Soldier (age 22), and Grétomih (age 18 and cousin to Kihegashugah’s wife). It was issued as part of Delpech and Boilly’s Grimaces series (with three plates depicting the Osages) but was also issued separately, as here, without the captions found in the Grimaces version.

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  • Alphabet des Métiers. by (JIGSAW). (JIGSAW). ~ Alphabet des Métiers. Paris: Becquet for Huet [and sold by] Clochez et Sevette, [c. 1860s].
    A rare French jigsaw set in three parts — a wonderful and complete alphabet illustrated with trades and crafts (male and female) including the: an… (more)

    A rare French jigsaw set in three parts — a wonderful and complete alphabet illustrated with trades and crafts (male and female) including the: an armourer, laundrywoman, gilder, epicier, florist, glovemaker, herbalist, printer, gardener, ‘kiosque’ vendor, milkwoman, blacksmith, fancy goods seller (’nouveautés’), goldsmith, pavier, ironmonger, restaurateur, sculptor, dyer, factoryworker, tailor, wood engraver (’xylographes’ —a good solution for the letter ‘X’) and zincworker.

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  • Exposition Publique des Produits de l’Industrie Française; Catalogue des Produits IndustrielsQui ont été exposés au Champ-de-Mars pendant les trois derniers jours complémentaires de l’an VI; avec les noms, départemens et demeures des artistes et manufacturiers qui ont concouru à l’exposition; suivi du Procès-Verbal du Jury nommé par l’examen de ces produits. by (EXHIBITION CATALOGUE). (EXHIBITION CATALOGUE). ~ Exposition Publique des Produits de l’Industrie Française; Catalogue des Produits Industriels
    Qui ont été exposés au Champ-de-Mars pendant les trois derniers jours complémentaires de l’an VI; avec les noms, départemens et demeures des artistes et manufacturiers qui ont concouru à l’exposition; suivi du Procès-Verbal du Jury nommé par l’examen de ces produits.
    Paris: Imprimerie de la République; Vendémiaire an VI [October 1798].
    The very rare catalogue for the first exhibition of industrial products, held in Paris in 1798, the forerunner of the great universal exhibitions of the… (more)

    The very rare catalogue for the first exhibition of industrial products, held in Paris in 1798, the forerunner of the great universal exhibitions of the following centuries.
    Organised by the Minister of the Interior, François de Neufchâteau, with a view to ‘offering a panorama of products from the different branches of industry in order to encourage emulation’ this was the first great exhibition held in France. Its origins went back to the previous year and the initiative of the Marquis d’Aveze, who visited the factories of Sèvres, Gobelins and Savonnerie and was appalled both at the starving condition of the workers and at the superabundance of exquisite luxury goods with insufficient commercial outlet. With Neufchâteau, he arranged for an exhibition to be held at the Chateau de St Cloud but on the very day selected for the opening (18th Fructidor 1797) the Directory sent out its decree for the expulsion of the nobility — the Chateau de St Cloud was occupied by a company of dragoons and the Marquis expelled. The exhibition eventually took place the following year at the Chateau d’Orsay and on the Champ-de-Mars (on the spot where the spoils of the Italian campaign had been exhibited six weeks previously) and in a series of sixty arcades designed by David in fashionable Grecian style. Sixteen departments and 110 exhibitors were represented and as a note at the beginning of the catalogue explains, the number would have been even greater but for the speed with which the exhibition was organised, which made it impossible to get word to more distant departments of the country in time. It was a great success and the decision was taken to hold it annually.
    The pamphlet sets out the list of exhibitors and is followed by the statement of the Jury given on the 5th Vendemiare, a list of the twelve firms singled out for particular distinction by the jury, and a further list of another twelve firms meriting an ‘honourable mention’. The jury consisted of Vien, Gallois, Darcet, Chaptal, Mollard, Moitte, Gilet-Laumont, Duquesnoy, Ferd and Berthoud. It sets out its criteria clearly: the key merit of any work is the invention and its principle appeal in public terms is its utility. In the context of ongoing hostility with Britain, it is interesting to see that the jury confesses a preference for those products which rival or outshine their British counterparts. A couple of firms which did not choose to exhibit are nonetheless singled out for mention in the address: Boyer Fonfrede, a textile merchant, Didot jeune, the publisher, and Delaître, a cotton weaver. The prize winners included firms of international repute, such as Breguet, the clock maker, Lenoir, inventor and maker of mathematical instruments, and Conté, an engineer who first applied machine-ruling to engraving. Having made known its decision to hold the exhibition on an annual basis in future, the address concludes with resounding praise for the new face of France, delivered by the Revolution from subservience to its neighbours and slavery to ‘routine’, the enemy of all true art. Rare: no printed copy listed in the holdings of the Bibliothèque nationale (which has a manuscript transcription) and only 3 copies known in libraries in France. Worldcat lists copies at Yale, Northwestern, Oregon and the British Library. Sandoz and Guiffrey, Arts appliqués et industries d’art aux expositions, 1912, pp. 1-5; Douyere-Demeulenaere, Expositions publiques des produits de l’industrie francaise, Répertoire méthodique, 2008.

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