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Original engraved copper plate for a frontispiece to the Confessions, showing Rousseau himself as an allegory of the ‘natural man’ and the naked female figure of truth, engraved for volume 12 of the monumental 18 volume large quarto Didot edition of the collected works (1793-1800). An excellent example of an eighteenth-century large format copper plate. Cohen-de Ricci 912; Ray, 95.

Second edition; we have been unable to locate a copy of the first. Europa rediviva is a sweeping view of Europe as a triumphant ‘brotherhood in war–one family, in peace!’ (p. 19). Eton-educated Henry Gally Knight (1786–1846) published a number of poems in the 1810s to generally positive reviews, but did not garner acclaim in earnest until his Architectural Tour in Normandy (1836), which established his reputation as an well-regarded, if amateur, antiquarian (Oxford DNB). He proceeded to publish several architectural studies and served as an MP for a short period of time. Not in Jackson. COPAC lists 1 copy only (BL), to which WorldCat adds 2 (UCLA, Wake Forest).

Wisdom as a woman. The print is a good example of the relatively short-lived fashion for the ‘back painted’ or reverse glass coloured mezzotint. The print is moistened and laid face down on a varnished sheet of glass and allowed to dry; once the paper is firmly fused with the varnish and glass, most of it is scraped away from the verso leaving a minutely thin layer of printed paper within the varnish. This is then varnished again on the verso to give a rich and distinctive translucency. Colours, usually in oil, are then added, again to verso. Over time the varnishes invariably darken, resulting in the rather subdued but still translucent hues found here.

‘Wisdom’ was probably part of a sequence of the Virtues published by Hinton, shortly after 1800. The British museum catalogue lists this print and another representing ‘Innocence’ (but neither are reverse glass treated).

A rare little almanac, with preliminary charts bearing three woodcut maps (one of the world, one of Europe, the other of France), small celestial charts, tables of longitude and latitude, and an emblematic woodcut frontispiece depicting Urania presiding over the heavens. The text is typical of contemporary almanacs— calendrical and political tables followed by popular songs and verses. Cadeau des muses was published at Falaise (Calvados, Normandy) between 1799 and 1855. All issues are institutionally rare, with Worldcat listing just a small handful of individual issues.

A very scarce early temperance movement sermon. ‘The use of liquor is inconsistent with any thing like pure and high spiritual enjoyment, clear spiritual views, and true devotion...’. Published in New York in the National Preacher in 1831 and rapidly reprinted within just a few months in several editions in London, where the Temperance movement was in its infancy. The British and Foreign Temperance Society issued its first report in 1831 (an extract is reproduced on p. 16 here). Worldcat/LibraryHub locate only a handful of copies of all issues, American and British (the former being extracts from the National Preacher).

First edition of this sermon on the tercentenary of the Reformation preached in Chapman’s independent evangelical chapel in Greenwich. An engraved portrait of the author, dated 1824, has been added. Worldcat/Library Hub locate copies at BL, Newcastle, Regent's Park College Library and Staatsbibliothek, Belrin only. No US copies.

A very neat collection of popular songs, most from the 1850s, of the sort circulated in ephemeral printed and manuscript song sheets. Highlights include: Est-ce le hatchich qui t’a mis comme ça: an uncommon reference to hashish in this context, and a song (in common with several others in the manuscript) for which we can find no printed source. Sung to the tune of ‘Aÿ chiquita’, this is a woman’s complaint to her suitor, with the chorus:

‘Est-ce l’absinthe, ou bien encore,
Le hatchich qui t’as mis, dis-moi,
Dans cet état que j’aborre,
Et tu veux m’aimer! Ah! Tais-toi.’

This is hardly Baudelaire, but a pleasing contemporary parallel to Les Paradis artificiels.

Others include Les Cris de Paris, Les Chemins de fer and Les Anges de la charité ou les inondés de 1856 and there are songs attributable to Pierre Dupont and Charles Durand, both popular in the 1850s and 60s. Some are in dialect and typically, the subjects tend towards love, drink and gastronomy, but there are also a couple alluding to the language of flowers. The compilation is scrupulously neat—and is presumably, in part, an exercise in penmanship.

Some twenty years’ accounts kept on behalf of a Burgundian landlord, of 5 métayer tenant farmers, who farmed on his land, with his resources, in exchange for a share (notionally a half) of the profit. These were principally livestock farmers raising cattle and sheep, so the accounts provide interesting first-hand details of the economics of the French meat and wool industries of the period. All the farmers are named on the title-page, but Isac Lebeuf’s farm was run after his death by his widow, Marie, so the account for 1736 is in her name. Prices are given for animals bought as stock and then sold to butchers or sheared and the fleeces sold. The accounts give a very clear and intelligible picture of the initial capital of each farm, of introduced stock, of running costs and of the shares of yearly profits.

An illustrated chansonnier, highly decorated, and including songs such as: Souvenir de ‘70, Les Femmes soldats, Le Baiser, l’Anglaise, Le Testament du Libre-Penseur, Marche du Bataillon d’Afrique, L’Africaine, Départ pour Madagascar, La Pucelle de Bellville, Les Prisonniers morts pour la liberté.

These notebooks are a fascinating example of a popular method of collecting popular French cabaret songs, all neatly copied up with headings and illustrations (usually suitably suggestive) copied from contemporary song sheets (an example of one of these loose sheets is loosely inserted). We have seen several similar examples, in which the illustrations are apparently traced using carbon paper from printed (or other manuscripts) exemplars. Their context is usually military or naval and they represent a significant form of popular or naive art.

The decorative title, with elaborate borders describes Arbez Carme as ‘employé au Magasin des Vivres de Réserve du 23me Reg[im]ent d’Inf[anter]ie a Bourg, Ain’. Military records record his birth in 1876 in Jura, his occupation as a perruquier (wigmaker) and his recruitment in 1896.

A interesting and unique copy of this monumental pictorial record of European coins and medals struck in the Napoleonic era, including many commemorative medals of battles and truces. A printed book, with a London imprint, with portions (including title) in manuscript copy, and plates dissected, partly copied in manuscript and re-arranged. It is difficult to interpret the unusual hybrid form here, but it would appear to be a contemporary collector or curator’s production allowing the illustrations to be consulted alongside their descriptions in the text. The plates in the printed edition presented the coins and medals in a different order to the text, with corresponding numbers linking the illustrations, but turning from text to plate may have been a tiresome business. The fact that the titles, preliminary text and indexes are given as manuscript copies is less easy to explain, though at least one of the manuscripts indexes is more comprehensive than that of the printed edition. Many of the illustrations are marked with a small flower shaped inkstamp, perhaps also a collector’s demarcation.

Millin de Grandmaison (1759-1818) had been curator of the Cabinet des médailles et antiques of the former French royal library but died before this survey could be published. The manuscript was passed to the British-born James Millingen, formerly of the French mint, later an antiquary and dealer, who collated it and published it in London in both French and English versions. The imprints are faithfully copied in manuscript in our version, but it is likely a French rather than a British production.

First edition. An elegant anonymous satire on fashionable dress for women, directed especially against the painful pursuit of an artificial figure: ‘Come here, you two girls, that look full in my face, / And you that so often are turning your back [the Graces], / Put on these cork rumps, and then tighten your stays / ‘Till your hips, and your ribs, and the strings themselves crack. / Can ye speak? can ye breathe? - Not a word - Then ‘twill do. / You have often dress’d me, and for once I’ll dress you.’ Jackson, p. 59.

Sole edition. ‘And Enoch walked with God. Gen. V. 24.’ Apparently by an anonymous follower of the evangelical Church of England preacher, William Romaine — a spiritual meditation occasioned by a daily walk — a trope clearly derived from Romaine’s spiritual classic The Walk of Faith (1771), a work recommended in a postscript here: ‘Reader, if the perusal of this letter has been profitable unto you, and you desire to be further instructed how to live by Faith, and walk humbly and happily with your God, ---- I would recommend to you a Treatise of the Life of Faith, and one of the Walk of Faith; both by the Rev. Romaine Rector of St. Ann Blackfriars...’

First and only edition, issued the year after the Easter Rising, showing hundreds of Dublin businesses seeking exports all over the world. Among the many listings and advertisements for brewers, distillers, foundries, printers, publishers, linen manufacturers, shipyards, engineers and so on, are found two one-third page adverts for the Yeats sisters’ Cuala Industries and the Dun Emer Guild. The two firms had been founded under the Dun Emer name by Elizabeth and Lily Yeats in 1902 producing Arts and Crafts printing, embroidery, rugs and tapestry, before dividing in 1904. The Cuala advert shows the Yeats’s Churchtown bungalow and reads: ‘Embroidery—Lily Yeats. Hand Press—Elizabeth C. Yeats. Editor of the Press—W.B. Yeats.’ The Dun Emer advert shows a woman working at a loom and offers ‘Hand-woven Carpets & Tapestries, Embroideries, Enamels, Bookbinding’.

There are also historical and topographical accounts of the city. This was the first appearance of the Dublin Year Book and it was apparently not reprinted. Scarce. Worldcat lists US copies at NYPL, Illinois, Kansas, Chapel Hill and South Carolina. We also find copies at the University of Cork, UCD, LSE and BL.

A complete manuscript course of stenography, or shorthand ― the art of writing ‘aussi vite que la parole’, finely written with numerous thumbnail drawings. Divided into four parts (introduction, pronunciation, punctuation and an atlas) with an errata, a table of contents and two sheets of stenographic examples or exercises.
The ‘Atlas’ supplies description of the stenographic signs in 13 charts, with 51 finely drawn vignettes giving the figurative equivalent of the stenographic signs and their pronunciation. Among them we find the links of a chain for representing an open ‘a’ (as in anneaux), a radiating halo for an ‘o’ (as in oréole), a drunkard for the ‘i’ (ivrogne), a gallows for the ‘p’ (potence), a cat for the ‘ch’ (chat), and so on, including a funnel, lyre, clock, umbrella, falls, arrow and gondola, the morphology of the signs given an ideogrammatic cue as a mnemonic. The whole represents a complete teaching system aimed at the aspiring stenographer.

Sole edition, one of 50 copies on chine. An illustrated collection of epithets on love and the relationships between men and women, a witty reflection of the sexual politics of fin-de-siècle Paris. The conceit of the title, and the charming accompanying vignette, involves communication (or perhaps miscommunication) via headphones and a phonographic machine operated by Cupid. It is a nice example of the contemporary fascination with the potential of electronic communications, with echoes of the science-fiction fantasy La Fin des livres by Albert Robida published in the same year, in which a new world of literature was a network of wires and headphones and of the Theatrophone apparatus recently exhibited at the Paris exhibitions. Worldcat lists 3 copies only: Bibliothèque nationale, British Library and Yale.

Sole edition: tales and snippets based on the argot, gossip and jokes of the Porcherons quartier of Paris, at the foot of the slope to Montmartre. It includes the woeful tale of a young clerk and a prostitute and a Catéchisme poissard. It purports to be the work of a washerwoman, ‘Mame Fanchon’. The term ‘Poissarde’ (literally, a fishwife) refers, in general, to coarse and vulgar language and is frequently to be found in chapbooks of the period. Worlcat: Flanders Heritage Library (Antwerp) only.

A Napeoleonic-era manuscript course in classical and modern French history made for a woman or girl, Caroline Hémart. Probably prepared by a tutor, the texts are enthusiastically neo-classical in tone: the opening ‘Élements de chronologie’ serve as a grounding in ancient history (with definitions of terms such as ‘Olympiade’) of Europe and the near East, based on the text of Napoleonic scholar, Luc de Lancival. The manuscript concludes with 27 stanzas of a heroic poem, ‘Ode à Clio’ by M. Le Comte François de Neufchateau (published c. 1807), which is, again, a glorious version of history seen through still-rosy Napoleonic lenses.

A superb collection of over 300 spontaneous sketches made in situ in Paris of popular films and entertainments of the 1950s, including the classics Les Vacances de M. Hulot, Buñuel’s El, Le Ballon Rouge and other French films by Renoir and Meliès, Sophia Loren in Neapolitan Carousel, Bob Hope and Lucille Ball in Fancy Pants, Jerry Lewis and Dean Martin in Artists and Models and Marilyn Monroe in Bus Stop.

Ryutchi Souzouki (1904-1985) had been a well-regarded and well-connected Montparnasse figure, counting Ernst and Foujita among his friends in the twenties and thirties and frequently exhibiting alongside the surrealists. Born in Yokohama, he spent much of his life in Paris, though his Japanese citizenship prevented him from exhibiting during the war years and probably accounted for his increasing isolation in the post war period. A solitary figure, until his death in poverty, he continued to work, experimenting with automatic drawing and making sketches, such as these, from popular films and entertainments, such as the tableaux vivants of the Casino de Paris, the Folies bergères, conjuring performances and the opera, instantaneously capturing their spirit on scraps of hotel stationery, recycled scraps or cheap spiral-bound notebooks. They are witty, touching and always engaging responses to what he saw in the cinemas and theatres of Paris. Following his death, the contents of his studio, including the many albums he had carefully collated in his final years (like ours) were conserved by his concièrge and dispersed at auction in 1985.

A rare satirical elegy and epitaph for the celebrated electrical eel, who could no longer rise to the occasion. A reissue of the sheets of the first edition of 1777 with a cancel title, of this elaborate addition to the corpus of salacious 1770s pamphlets devoted to the subject of the electrical eel, a topic of serious scientific enquiry and popular merriment. This one continues the phallic joke and manages to draw in the hapless Chevalier D’Eon (whose sex was then popularly debated) alongside the lecherous Earl of Harrington.

‘If the Gymnotus Electricus, lately exhibited to the Public, be really dead, it is to be hoped that we shall have no more of these witty indecencies’ (Monthly Review, Nov. 1777). ESTC: Harvard and Princeton only worldwide of this issue. ESTC gives the pagination [4], 29, [1], but both the 2 copies reported have only pp [2] before title, as here, though it is perhaps likely the work was issued with a half-title or initial blank not present in surviving copies.

An interesting manuscript prospectus of a large and still-unpublished account of the French revolution. François-Jean Baudouin had been a printer and bookseller to the Assemblée nationale in the revolutionary period, later becoming a journalist and publisher. He evidently wrote a long first hand account of the politics surrounding the Revolution, which remained unpublished. It was apparently in the hands of one Tacheron, a doctor to the XI Légion at the opening of the nineteenth century, who wrote this manuscript prospectus of it, transcribing part of the introduction and giving a detailed précis or analyse of its 16 chapters. He notes that it would run to some eight or ten octavo volumes, probably suggesting he was intending to publish it. In the event it seems never to have been published and since the whereabouts of the manuscript is now unknown, this 43-page summary is witness to a major work of Revolutionary history.

‘François-Jean Baudouin, imprimeur-libraire, né à Paris en 1759, mort en 1838. Elu député suppléant du tiers aux Etats Généraux, il dut à cette circonstance d’être nommé imprimeur de l’Assemblée Nationale, privilège qu'il conserva jusqu’en 1809. Il fut aussi propriétaire du Logographe, journal dont il envoyait tous les jours le premier exemplaire à Louis XVI... Il publia en 1810, un Projet de règlement pour l’imprimerie et la Librairie...’.
Larousse II, 387.