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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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  • A Morning Ride mid Country Scenes. by (PANORAMA). (PANORAMA). ~ A Morning Ride mid Country Scenes. London: [G. Barclay for] George Rourledge & Co, 1852.
    Sole edition, very rare, and a remarkable survival, of this pioneering and original children’s panorama. The eight joined plates present a single sequential narrative —… (more)

    Sole edition, very rare, and a remarkable survival, of this pioneering and original children’s panorama. The eight joined plates present a single sequential narrative — cleverly seen from different vantage points — of a morning ride across several miles of rolling English countryside some thirty miles from London (as the milestone in the first image indicates). The two young riders (Edward and Walter) leave their large county house, pass through lanes with green fields on either side, an imaginary village with church, inn and shops, passing windmills, a watermill, bridges and (in the last 2 images) the newly-built railway with steam-trains. A good-natured and simple story, the panorama and accompanying text presents a telling microcosm of genteel English Victorian society, the participants all acting in their proper place in an ordered society. The gamekeeper’s daughter opens a gate for the boys, a family acquaintance of rank rides by in her carriage, a wagonner supplying the village shops is given a tip for ale, the father rides to hounds, while a ‘loutish’ farm boy mentioned in the text is silently omitted in the panorama. The text, printed in regular letterpress was evidently intended to be read by an adult to a child.
    The use and presentation of the panorama for narrative is striking, quite unlike most contemporary British panoramas or children’s books of this date or earlier. The title page indicates that it was to form part of a series: ‘Stories told in Pictures’ of which the advert leaf mentions two further titles ‘nearly ready’: A Noon-Day Ramble and An Evening Walk. Neither appears to have survived, or perhaps were never published. A Morning Ride is exceptionally rare, with only the Opie Collection (Bodleian Library) and Rhode Island School of Design copies located. Opie EE 190. Described in detail in Hannah Field in an essay in the 2015 collection Space and Place in Children’s Literature, 1789 to the Present entitled ‘The Story unfolds: intertwined Space and Time in the Victorian Children’s Panorama’

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  • Lettres du prince roÿal de Prusse aujourd’huy Roÿ, ecrittes de Remusberg à Mr de Voltaire à Cireÿ en Champagne, avec les reponses. by VOLTAIRE. [François-Marie Arouet de]. VOLTAIRE. [François-Marie Arouet de]. ~ Lettres du prince roÿal de Prusse aujourd’huy Roÿ, ecrittes de Remusberg à Mr de Voltaire à Cireÿ en Champagne, avec les reponses. [France], 1740 [or soon after].
    A contemporary manuscript copy of thirteen early letters from Voltaire’s famous correspondence with Prussian Crown Prince Frederick (later ‘the Great’): a copy derived from a… (more)

    A contemporary manuscript copy of thirteen early letters from Voltaire’s famous correspondence with Prussian Crown Prince Frederick (later ‘the Great’): a copy derived from a text circulated in manuscript by Voltaire himself, probably given to the Rault de Ramsault family, with whom he was acquainted. While the letters here are not in Voltaire’s hand, despite the wording of the title-page (‘donné par Mr. de Voltaire...’) they were presumably copied by the family from an authorial version now lost or unidentified. They date originally from June 1736 to June 1739, so covering the beginning of Voltaire’s and Frederick’s exchange — opening with Frederick’s first letter of 8 June 1736; Voltaire’s response of 1 September and followed by 10 further letters to 8 June 1739. After this, from page 59, there are copies of two further Voltaire texts: De l’Usage de la vie (written in 1736 in defence of his widely-criticised philosophical poem Le Mondain), and Ode sur l’ingratitude (also 1736) and the following texts by Frederick: Considérations du prince royal de Prusse sur le trône, aujourd’huÿ juin 1740 (a response to Voltaire’s enquiries about Russia, and not published in print until 1791) and ‘...Une Lettre du roy de Prusse à Mr le Marechal Comte de Saxe du 21 aoust 1749, au retour d’une visitte que luÿ fit ce ma[rech]al...’
    The title-page bears the statement, ‘Ce manuscrit fut donné par Mr de Voltaire à Mde de Ramsault ma mère chez qui il fit un long séjour. 1740’ and is signed ‘Ramsault de Tortonval’. Charles Antoine de Rault de Ramsault (1687 - 1774, French military engineer army officer and director of fortifications at Lille) had corresponded with Voltaire shortly before 1740 and had evidently taken one of his relations into his service. Voltaire had a copy of the Henriade sent to the Ramsaults in January 1738 (Letters, 20 January 1738) and also gave a personally annotated copy of the 1740 Amsterdam edition of his Oeuvres to Mme de Ramsault, which bore a similar inscription to the one found in our manuscript: ‘Cette édition fut donnée à ma mère par M. de « Voltaire qui l’a enrichie de ses notes. Ramsault de Tortenval. »’ (Voy. Catalogue de livres rares, etc. dont la vente aura lieu le lundi 6 décembre 1880. Paris: Labitte, 1880, n° 65, p. 20, cited by Bengesco 2122).

    The letters are as follows:

    1. Lettre du P[rin]ce royal de Prusse à Mr de V à Berlin le 8 Juin [recorded elsewhere as 8 August] 1736. (Mr, quoi que je n’aie pas la satisfaction de vous connaître personnellement...);

    2. Reponse de M. de Voltaire à S. A. R. Mgr. Le Pr. R. de Prusse. [undated, c. 1 September 1736]. (Il faudrait être insensible, pour n’être pas infiniment touché de la lettre dont votre a. r. a daigné m’honorer...);

    3. 2e. Lettre de P. R. de Prusse à M. de Voltaire du 9. 9re. 1736. (Monsieur, c’est une épreuve bien difficile, pour un écolier en philosophie, que de recevoir des louanges d’un homme de votre mérite...);

    4. Reponse de Mr. de Voltaire au prince roÿal de Prusse [c. December 1736]. (’Monseigneur, j’ai versé des larmes de joÿe en lisant la lettre du 9 septembre...’);

    5. 3eme. Lettre du P. R. de Prusse à Mr. de Voltaire à Remusberg du 7. 9re... [7 November 1736]. (’Je suis infiniment sensible à l’honneur que vous me faites de placer mon nom à la tête du bel ouvrage...);

    6. 4eme. Lettre du meme prince [3 December 1736]. (’Monsieur j’ai été agréablement surpris en recevant aujourd'hui votre lettre avec les pièces, dont vous avez bien voulu l’accompagner...);

    7. Reponse de Mr. de Voltaire d’Amsterdam [?March 1737]. (’Mgr. je ne scai pas on commences, je suis engoué de plaisir de surprise et de reconnoissance...’);

    8. Reponse de Mr. de Voltaire à Cireÿ le 1er janvier 1739. (’Jeune héros, esprit sublime,
    Quels vœux pour vous pui-je former?...’);

    9. De S. A. R. de Remusberg 22. 9vre 1738. [22 November 1738]. (’Mon cher ami, il faut avouer que vous êtes un débiteur admirable...’);

    10. Lettre de M. de V. à Cireÿ le 15 fev. 1739. (’J’ai reçu les étrennes...’);

    11. Lettre de M. de V. à S. A. R. à Cireÿ le 25 avril 1739. (’J’ai l’honneur d’envoyer à votre A. R. la lie de mon vin...’);

    12. D. S. A. R. de Berlin le 8 Juin [elswhere given as 8 January] 1739. (’Mon cher ami, je m’étais bien flatté que l’Epître sur l’humanité pourrais mériter votre approbation...’).

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  • Costumes d’Ivanhoe au bal donné par... le prince et princesse d’Orange à Bruxelles, mercredi le 5 février 1823]. by [SCOTT, Sir Walter. Félicité LAGARENNE, artist. [SCOTT, Sir Walter. Félicité LAGARENNE, artist. ~ Costumes d’Ivanhoe au bal donné par... le prince et princesse d’Orange à Bruxelles, mercredi le 5 février 1823]. Brussels, 1823.
    Sole edition of this rare suite of ten hand-coloured lithographs commemorating a ball inspired by Ivanhoe, held in Brussels on 5 February 1823 by the… (more)

    Sole edition of this rare suite of ten hand-coloured lithographs commemorating a ball inspired by Ivanhoe, held in Brussels on 5 February 1823 by the Prince and Princess of Orange in honour of the British community in that city. The ball was an early expression of ‘Scottomania’, and of the revival of interest in medieval pageantry, that occupied European high society following the publication of Ivanhoe in 1819. There were thirty-two guests at the ball, all attending in elaborate costume and dancing a special quadrille which became the talk of the town and remained ‘the principal topic of conversation at Brussels’ several months later (according to the The Repository of Arts, May 1823). The additional printed programme (not necessarily issued with the plates) tells us that Lord Danlo was Ivanhoe, while the Black Knight was played by Mr de Janti, and Mrs Berkley taking the role of Rowena. Further down the list is Mrs Fielden (sic), as Alicia, wife of the Joseph Ffeilden who owned this copy – she can be seen on the left in Plate VII. Jowers, Theatrical Costume 3126. COPAC shows copies at NLS, Edinburgh, and V&A. Worldcat adds Paris-INHA only.

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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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  • A Collection of Votes and other Proceedings of the hon[oura]ble the House of Commons in the yeare 1688/[9]. by (BILL OF RIGHTS). (BILL OF RIGHTS). ~ A Collection of Votes and other Proceedings of the hon[oura]ble the House of Commons in the yeare 1688/[9]. [London, end of the seventeenth century].
    A contemporary or early manuscript copy of the ‘The Votes and other Proceeedings of the honourable House of Commons’ for the first year of the… (more)

    A contemporary or early manuscript copy of the ‘The Votes and other Proceeedings of the honourable House of Commons’ for the first year of the reign of William and Mary, 1688/9, recording the dramatic political background to the Glorious Revolution and with a complete copy of the Declaration of Rights (commonly called the ‘Bill of Rights’) and the more comprehensive ‘Heads of Grievances’ from which it was distilled. Along with Magna Carta, the Bill of Rights is one of the landmarks in the development of constitutional law of England (and by extension, America) setting out basic civil rights which would shape the structure of government into our own era. It set firm limits on the powers of the crown while confirming the place of parliament in legislation and the right to free speech within it. It also guaranteed the right to bear arms, but limiting it to Protestant subjects in defence against the perceived Catholic tyranny of the deposed James II. The Bill of Rights directly reflected the philosophy of John Locke and stands as one of the landmark documents in the development of civil liberties in the United Kingdom and a model for later, more general, statements of rights including the United States Bill of Rights, the French Declaration of the Rights of Man and of the Citizen, the United Nations Universal Declaration of Human Rights and the European Convention on Human Rights.

    It is included here, with much other parliamentary business, in a yearly manuscript volume of ‘The Votes of the House of Commons’. A distinct class of the record, the ’Votes’ were kept by a clerk of the House and recorded business transacted on each day's sittings, including the bills read, orders and resolutions passed, divisions, licences, and the like. Like the better known manuscript ‘Journals’ of the House of Commons the ‘Votes’ are primarily concerned with deeds, not words, and do not typically record the text of speeches or the acts themselves, though certain important determinations such as the Declaration of Rights are given in full. Copies of the Clerk’s originals could be made for members of parliament and there was a limited circulation of the texts in folio volumes such as this one, but they were not published in print until much later.

    The fine calligraphic title here originally read ‘1680’, and error corrected, with the final ‘0’ deleted and substituted with an ‘8’. The front free endpaper is inscribed with a note to the binder: ‘Titled Votes 1688 & Marbled on the Leaves’. Included is a note from 1948 from the Commons Librarian to a former owner. While it is impossible to be certain of the date of this manuscript version, both the hand and the binding would place it within a decade or so of 1688. Frankle, Robert J. ‘The Formulation of the Declaration of Rights’. The Historical Journal, vol. 17, no. 2, 1974, pp. 265–279. cf. D. Menhennet, The Journal of the House of Commons: A Bibliographical and Historical Guide, 1971; M.F. Bond, Guide to the Records of Parliament (1971).

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  • pour l’année 1828, imprimé pour la Famille Royale et la maison de sa Majesté. by CALENDRIER DE LA COUR CALENDRIER DE LA COUR ~ pour l’année 1828, imprimé pour la Famille Royale et la maison de sa Majesté. Paris: [Carpentier Méricourt for] Le Doux-Hérissant, [1828].
    One of the last French royal Calendriers issued in the last years of the restored Bourbon monarchy (before the July Revolution of 1830). In addition… (more)

    One of the last French royal Calendriers issued in the last years of the restored Bourbon monarchy (before the July Revolution of 1830). In addition to the calendar it contains details of all the French royal households and of monarchies all over the world as well as French military commanders.

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  • Essais politiques et militaires. Enrichis de diverses maximes & remarques tirées des anciens auteurs. Par le sieur De Mouchembert. by (DALLINGTON, Robert). MOUCHEMBERG, A.-M. de. (DALLINGTON, Robert). MOUCHEMBERG, A.-M. de. ~ Essais politiques et militaires. Enrichis de diverses maximes & remarques tirées des anciens auteurs. Par le sieur De Mouchembert. Paris: Nicolas Buon, 1627.
    First edition in French of Aphorismes Civill and Militarie (London, 1613) comprising 246 political and military aphorisms selected from the Italian historian Guicciardini, designed to… (more)

    First edition in French of Aphorismes Civill and Militarie (London, 1613) comprising 246 political and military aphorisms selected from the Italian historian Guicciardini, designed to teach the lessons of history in a pithy and pragmatic form, in the spirit of Montaigne. The original had been dedicated by the English courtier Robert Dallington to Henry, Prince of Wales and later also to Prince Charles. Mouchemberg’s free translation, retaining the structure of the original, with glosses and apparatus, was dedicated to Antoine Coiffier-Ruzé, Marquis d’Effiat, who had negotiated the marriage of the Prince of Wales (later Charles I) with Louis XIII’s sister, Henrietta Maria of France in 1625. Mouchemberg later published a continuation of another British work — Argenis by John Barclay.

    Dallington (1561-1636) is an interesting figure in European literary culture. Initially educated at Cambridge (Corpus Christi College) but without taking a degree, he published translations from the Hypnerotomachia as The Strife of Love in 1592, dedicated to the memory of Sir Philip Sidney and to the Earl of Essex (into whose circle he was drawn). He made at least two grand tours, one in a party with Inigo Jones. His View of France was first published in 1604 and his Survey of … Tuscany in 1605, both written for private circulation. Rare: Worldcat lists the British Library as the only location outside continental Europe, with no North American copies.

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  • Factum pour les religieuses de Sainte-Catherine-lès-Provins contre les Pères cordeliers. by [VARET, Alexandre-Louis]. [VARET, Alexandre-Louis]. ~ Factum pour les religieuses de Sainte-Catherine-lès-Provins contre les Pères cordeliers. [n.p., n.d.], ‘Imprimé avec approbation l’an de Notre Seigneur Jésus-Christ’ [ 1668].
    First editions of two significant anticlerical polemics. Factum pour les religieuses de Sainte-Catherine-lès-Provins is a celebrated example of the power of popular print over conventional… (more)

    First editions of two significant anticlerical polemics. Factum pour les religieuses de Sainte-Catherine-lès-Provins is a celebrated example of the power of popular print over conventional legal process. In the 1660s a faction of nuns at Saint-Catherine sought to overthrow the tyranny of their abbess who was in league with the local Franciscans. Unable to access regular legal channels (as women and nuns) they appealed directly to the local parlement with this devastating Factum detailing a host of abuses committed by the Franciscans in their convent. The Factum was ‘purportedly addressed to their judges but intended for broad public distribution. In it they charged that the Franciscans ran Sainte-Catherine as a personal brothel, seducing and sometimes physically forcing the nuns into sexual relationships with friars while simultaneously plundering the convent’s treasury. The titillating Factum pour les religieuses de Sainte-Catherine-lès-Provins contre les pères cordeliers told a story that borrowed narrative inspiration from contemporary novels and pornography. It quickly became a sensation. The Franciscan order denounced the work as an illegal defamatory libel, and most copies of the original appear to have been seized and burned. But the Factum was quickly bootlegged, became a hot commodity in the clandestine book trade and earned, from the evidence of its multiple editions, a very broad readership (Tuttle). Indeed, several early editions survive, almost all issued without genuine imprints, and the first edition is extremely rare. Among the nuns’ many complaints is the accusation that friars brought pornographic books into the convent including Maximes d'amour, L’Ecole des filles and Catechisme d’amour and that one of them supplied a novice with a cipher to ‘write filth’ (pour écrire des ordures).

    Elixir Jesuiticum also issued without a formal imprint was directed against the Jesuits and contains an interesting dedication to English Archbishop William Laud. Factum: cf. Gay II, 225 and see Tuttle, ‘From Cloister to Court: Nuns and the Gendered Culture of Disputing in Early Modern France.’ Journal of Women's History (2010) 22, 2, pp. 11-33; Elixir Jesuiticum: VD17 12:115207Y

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  • The Chronicles of Engand, France, Spain etc. etc... with Notes and Illustrations. by FROISSART, John, Sir. FROISSART, John, Sir. ~ The Chronicles of Engand, France, Spain etc. etc... with Notes and Illustrations. London: [Woodfall and Kinder for] George Routledge and Sons, [n.d. c. 1870s-80s]
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  • Lives and Letters of the Devereux, Earls of Essex, in the Reigns of Elizabeth, James I, and Charles I 1540-1646. by DEVEREUX, Walter Bourchier, editor. DEVEREUX, Walter Bourchier, editor. ~ Lives and Letters of the Devereux, Earls of Essex, in the Reigns of Elizabeth, James I, and Charles I 1540-1646. London: John Murray, 1853.
    First edition. This copy with the inscription to the first volume: ‘Philip James Digby Wykeham from his sincere friend and schoolfellow Henry W. May on… (more)

    First edition. This copy with the inscription to the first volume: ‘Philip James Digby Wykeham from his sincere friend and schoolfellow Henry W. May on his leaving Eton. Election Saturday 1859.’

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  • Rhétorique françoise, a l’usage des jeunes demoiselles. Avec des exemples tirés, pour la plupart, de nos meilleurs orateurs & poëtes modernes. Quatrième edition corrigée & augmentée. by [GAILLARD, Gabriel-Henri]. [GAILLARD, Gabriel-Henri]. ~ Rhétorique françoise, a l’usage des jeunes demoiselles. Avec des exemples tirés, pour la plupart, de nos meilleurs orateurs & poëtes modernes. Quatrième edition corrigée & augmentée. Avignon: Louis Chambeau, 1773.
    First published in 1745, Gaillard’s was a popular guide to rhetoric for the use of young women. This copy has an early female gift/ownership inscription.… (more)

    First published in 1745, Gaillard’s was a popular guide to rhetoric for the use of young women. This copy has an early female gift/ownership inscription. Though many of the examples in the guide are traditional examples of rhetorical excellence, the introduction provides and interesting discourse on celebrated female rhetorician, mentioning Elizabeth I of England as a supposed translator of Sophocles and Marie Stuart’s Latin oration at the French royal court.

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  • [An Album; or Selections from many Authors; interspersed with Drawings and Poetry]. by JORDAN, Ann. JORDAN, Ann. ~ [An Album; or Selections from many Authors; interspersed with Drawings and Poetry]. [British Isles, 1828 and later, to c. 1885].
    A good and typical illustrated commonplace album with transcribed verses, drawings and watercolours. The selections are very much representative of the contemporary fashion among women… (more)

    A good and typical illustrated commonplace album with transcribed verses, drawings and watercolours. The selections are very much representative of the contemporary fashion among women for such manuscript collections, with poems by Byron, Goldsmith and others, verses of friendship, loss and leave-taking, nature poems, riddles and aphorisms. A nicely self-aware inclusion here is Benjamin Franklin’s humorous ‘Paper a Poem’ relating paper types (gilt paper, copy paper, brown paper, foolscap, touch paper, waste paper and so on) to human analogues. The relatively few poems by women include Ann Radcliffe’s ‘To the Nightingale’ and ‘To Anne’ (unattributed here but by Mary Anne Browne, 1812-1845, entitled by her ‘Written in an Album’). Most of the contents have been entered within a few years of 1828 followed by a scatter of much later entries of the 1870s and 80s towards the end.

    The best account of the album genre in the history of reading and writing we have come across is by the late William St Clair in The Reading Nation in the Romantic Period (2004, pp. 224-9) in a passage which could aptly serve as a description of Ann Jordan’s album.

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  • [Embroidered sampler]. by PREEST, Emma. PREEST, Emma. ~ [Embroidered sampler]. [Gloucestershire, July 20 1847.
    ‘Adam and Eve eating the forbidden fruit / Death how certain Death how sur[e] / Sin the wound. And Christ the cure’. ‘Emma. Preest. Her… (more)

    ‘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.

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  • Victoria the good Queen and Empress. by (QUEEN VICTORIA). [BULLEY, Eleanor A.]. (QUEEN VICTORIA). [BULLEY, Eleanor A.]. ~ Victoria the good Queen and Empress. London: Gardner, Darton & Co, 1897.
    First edition of this diminutive near-miniature tribute to Queen Victoria ‘Dedicated to Children in all Places of Her Imperial Majesty’s Dominions’. (more)

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

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