BERNARD QUARITCH LTD

New AcquisitionsFebruary 2016

MASTERPIECES OF CHRISTIAN MEDIEVAL POETRY

1. ALORA, Jacobus. Aurea expositiohymnoru[m] una cum textu. Noviter emendata perJacobum a lora. (Colophon:) Naples, Sigismund Mayr, 10July 1504.

4to, ff. [56]; woodcut to title showing the crucifixion andevangelists’ symbols (used in editions of the MirabiliaRomae), engraved initial, text surrounded bycommentary; some discrete paper repairs to titletouching the woodcut and a few words, neat paperrepairs to edges of leaves A2-A6 (with small loss to toplines of A6) and E8, a few other small discrete repairs,the odd spots and marks, but a very good copy;nineteenth-century light-brown morocco by Lloyd,Wallis & Lloyd, gilt double fillet border to covers, spinegilt in compartments with direct lettering, gilt turn-ins; afew small marks and scrapes; trace of bookplate to frontpastedown.

£4750

The rare second printing of Jacobus Alora’s edition of thehighly popular medieval hymn commentary known asthe Aurea expositio, ascribed to one ‘Hilarius’ andprobably dating originally from the twelfth-century. Thenumber of editions printed in the fifteenth century andin the first decade of the sixteenth indicate that there wasan established public across much of Western Europe forthis work. Alora, who may have come to Naples fromAlora in Malaga in the wake of the Spanish conquest,describes himself in the colophon as a professor ofgrammar and poetry. His edition of the Aurea expositiofirst appeared at Salamanca in 1501 and it was reprintedseveral times, in different locations, over the next decade.In addition to the traditional commentary on each hymn,explaining sense and allegorical meanings, Aloraidentifies the metre and provides grammatical guidance.

The Aurea expositio includes some of themasterpieces of Christian medieval poetry. Hereare, for instance, St Ambrose’s hymns in four-linestanzas ‘Aeterne rerum conditor’, ‘Splendorpaternae gloriae’, and ‘Veni redemptor gentium’; theanonymous sixth-century morning hymn ‘Iam lucisorto sidere’ and the hymn for Compline ‘Te lucisante terminum’ (which is mentioned by Dante asbeing sung so sweetly in purgatory that it carriedhim beyond himself); the ‘Aurea luce et decoreroseo’, sometimes attributed to Elpis, wife ofBoethius; Fortunatus’ ‘Vexilla regis prodeunt’,written to celebrate Saint Radegund’s reception of arelic of the true cross from the Eastern Emperor, andthe ‘Pange lingua gloriosi proelium certaminis’,written in the metre of the Roman soldiers’ songs;the most famous of all Marian hymns, ‘Ave marisstella’, and the great sequence ‘Veni creatorSpiritus’, possibly by Stephen Langton, Archbishopof Canterbury; and Thomas Aquinas’ ‘Pange lingua’,in full rhyme.

This is the copy offered by Olschki in volume V ofthe Choix de livres anciens (1923) at 300 gold francs(no. 5519).

EDIT16 1221; Manzi, La tipografia napoletana nel ’500(1971) no. 3 (‘ignota a quasi tutti i bibliografi’);Sander 291; USTC 808835. COPAC records a singlecopy at Cambridge; OCLC adds only one other atDuke University Library.

BIBLIOTECA MINISCULA CATALANA

2. ARIBAU FARRIOLS, Buenaventura Carlos. La Patria. Edició de Eugènia Simon.Barcelona: Imprenta La Neotipia, 1921. [Offered with:]

VIDA (La) de Santa Eulalia verge. Edició Eugènia Simon. Barcelona, 1922.

Two miniature volumes (40 x 28 mm), I: pp, 110, [2], [4, blank], with an engraved frontispieceprinted in sepia, title-page printed in red and black; II: [6, blank], 41, [1], [4, blank], with a woodcutfrontispiece, printed in red and black throughout; very good copies, bound preserving the originalprinted stiff paper covers, in contemporary blue and green morocco gilt.

£275

Volumes I and II (all published) of the Biblioteca miniscula Catalana; a third volume, Lo Gayter y laNineta, was announced but never published. Both are one of c. 100 copies on normal paper.

‘Oda a la Patria’ is the best known work of the great Catalan writer, politican and economist CarlosArribau (1798-1862), first published in El Vapor in 1833 – a celebration of Catalunya and the Catalanlanguage. It is preceded here by a 74-page preface on Aribau and the poem.

The Life of Saint Eulalia, co-patron saint of Barcelona, was edited by Eugènia Simon from amedieval manuscript in the library of the University of Barcelona.

Rare. OCLC shows a set at Indiana only, plus a copy of La Patria at the Morgan Library andMuseum.

Bondy, Miniature Books, p. 179; Welsh 285 and 6948.

3. [ARISTOTLE]. CHARPENTIER, Jacques. Universae artisdisserendi descriptio. Ex Arist[otelis] Logico organo collecta & in librostres distincta. Paris, G. Buon, 1563.

4to, ff. 54; the odd smudge, small repair to lower outer corner in the title,but a very good copy, sympathetically bound in modern vellum; a fewearly marginalia concentrating on the incipit and the logic, contemporaryownership inscription on the title (Jacobus Philippus de Cherubinis).

£1250

First edition, very rare, of a treatise on logic in the form of an Aristoteliancommentary by Jacques Charpentier: Renaissance logician, philosopher,humanist and teacher, who wrote extensively on Peripatetic logic andnatural philosophy. His concerns with logic, method, education and theunity of the sciences brought him into a vivacious and not alwaysedifying controversy with Ramus, their acrimonies becoming so bitterthat Charpentier was by many long assumed to have been Ramus’smurderer.

‘[Charpentier’s] intellectual opposition to Ramus was founded onRamus’s claim to have shown that there was one single method commonto Plato and Aristotle; Charpentier, dedicated though he was to the unityof the philosophers, did not agree and was well enough read in theauthors to mount a formidable challenge’ (R. Goulding, DefendingHypatia, p. 52).

Our copy is bound with part 1 of Charpentier’s Descriptionis universaenaturae, ex Arist[otelis] Pars prior, Paris, Buon, 1562 ([iv], 98, [7]), afortunate treatise on natural philosophy the second part of which waspublished four years later, in 1566.

IA 135.730. No copies in the US or in the UK. A single copy traced inpublic holdings worldwide (Bibliothèque Mazarine).

4. BABBAGE, Charles. Two autograph notes,signed (‘C. Babbage’) to William Brockedon and to ‘My dearSir’. Dorset Street [London], 11 July 1849 and 29 April 1851.

110 x 90 mm, pp. 2 + conjoint blank leaf; 1 + conjoint blankleaf; a little light foxing in the gutter of the second note,light creases where once folded, else very good.

£250 + VAT in the EU

Two notes written by the mathematician and computerpioneer Charles Babbage (1791-1871), addressed from theDorset Street home in London in which he lived from 1828until his death.

The first, sent in July 1849, is addressed to the painter,writer and inventor William Brockedon (1787-1854),inviting him ‘to look at some mechanical drawing’ withBabbage and ‘a few friends’. Babbage and Brockedon wereat one time neighbours in Devonshire Street and in 1840 thelatter executed a chalk drawing of Babbage, which survivesin the National Portrait Gallery. The year 1849 was asignificant one for Babbage, in which he completed thedesign of his Difference Engine no. 2, an elegant and moreefficient version of its predecessor.

The second note, addressed by Babbage to ‘My dear Sir’ inApril 1851, invites the recipient to join him and the naturalphilosopher Sir David Brewster (1781-1868) for dinner on 6May. This was penned just a few days before the openingof the 1851 Great Exhibition. While Babbage was deeplyupset at the time by his exclusion from the organisation ofthe Exhibition, Brewster successfully exhibited hisstereoscopic viewer of daguerreotype photographs, whichimpressed Queen Victoria.

JULIETTE & RHOMEO

5. BANDELLO, Matteo, trans. François de BELLEFOREST, and PierreBOAISTUAU. Histoires Tragiques, extraictes des oeuvres Italiennes … & mises enlangue Françoise … Tome premier … Antwerp, Jean Waesberghe, 1567. [With:] SecondTome des histoires tragiques … contenant encore dix-huit histoires traduites & enrichiesoutre l’invention de l’autheur … Antwerp, Jean Wasberghe, 1567.

Two vols, small 8vo, ff. 295, [1]; 297, [3]; title-page of vol I repaired and mounted at innermargin, title-page of volume II with a small marginal repair; else a good copy in recentlimp vellum; inscriptions on the terminal blank page of volume II – ‘Jay rescu ceslui livrele 24 fevr[ie]r 1593 du Jean Evesard Zölner …. Nobili et Ornatiss: D. Cæsari Avisodio[?]perdilecto & conferato suo amico Joannes Eberhardy Zölner Confluentinus [i.e. ofKoblenz] [etc.]’.

£2500

First collected edition of the first 36 stories translated by Boaistuau and Belleforest fromBandello’s famous Novelle (1554), a smorgasbord of comedy, tragedy, bawdry andhistory that ultimately lent its plots to numerous plays by Shakespeare, Webster,Massinger and Fletcher.

Boaistuau had published his translation of six stories from Bandello, the third of whichincludes the tale of Romeo and Juliet, in Paris in 1559. Belleforest’s continuation, withtwelve stories, appeared separately in the same year, then together with Boaistuau in aLyon editon in 1560; a ‘Second Tome’ of 18 more stories appeared in Paris in 1565, andfive later volumes eventually took the collection to 101 stories, in the later stagesexpanding from Bandello to other sources. The present edition was the first collectededition of the first 36 stories, and the first published in Antwerp; a third volumefollowed in 1569. ‘Belleforest’s versions add to the original narrative materialsmoralistic diatribes and discourses, anticlerical animadversions, letters, and poems, andthey effect alterations in emphasis and sometimes in plot which tend to sensationlise,sentimentalize, and reflect the translator’s attachment to the notions of courtly love’(Gillespie, Shakespeare’s Books).

Shakespeare’s debts to Bandello/Belleforest in Romeo and Juliet, Much Ado, and TwelfthNight, were indirect, based on sources that in turn were based on Belleforest, namelyBrooke’s Tragicall Historye and Painter’s Palace of Pleasure.

‘THE BODY AS A MACHINE’: BORELLI’S

FOUNDATION WORK OF BIOMECHANICS

6. BORELLI, Giovanni Alfonso. De

motu animalium. Edited by Carlo Giovanni di Gesù.Rome: Angelo Bernabò, 1680-1681.

2 volumes, 4to, pp. I: [12 (title, imprimatur on verso,dedication, editor’s address to the reader, proem)],

376, [377-387], [1 (blank)]; II: [4 (title, imprimatur onverso, editor’s address to the reader)], 520; Greek and

Latin types; 18 folding engraved plates, bound to

throw clear, wood-engraved title vignettes andinitials, letterpress tables in the text; scattered light

spotting and marking, light marginal damp-markingin some quires of I, a few quires in II browned, very

unobtrusive marginal worming in quires II, 2Y-3M, afew plates trimmed over platemark, touching caption

on pl. 16; near-uniform 20th-century half chestnut

morocco for the Royal Institution, spines incompartments, gilt morocco lettering-pieces in one,

directly lettered in gilt in 2 others, lowercompartments with Royal Institution crest and date

in gilt, both volumes uniformly stained black on the

top edges and red-speckled on the others; extremitiesvery lightly rubbed, some cracking on hinges,

otherwise a very good, crisp set; provenance: TheRoyal Institution (acquired from Richardson on 4

February 1805 for 2s 6d, according to the RI’srecords; gilt crests on spines; booklabels on lower

pastedowns recording deaccession in 2015).

£5000

First Edition. The mathematician and physicistBorelli (1608-1679) was, ‘after Descartes, [...] the

principal founder of the iatrophysical school, one of

the two opposing seventeenth-century medical

philosophies (the other being the school of

iatrochemistry) that grew out of an increasing

concern with the function as well as the structure ofhuman anatomy. Inspired by Harvey’s mathematical

demonstration of the circulation of the blood, Borelli[...] conceived of the body as a machine whose laws

could be explained entirely by the laws of physics.

Borelli was the first to recognise that bones werelevers powered by the action of muscle, and devoted

the first volume of his work to the external motionsproduced by this interaction, with extensive

calculations on the motor forces of the muscles. Thesecond volume treats of internal motions, such as the

movements of the muscles themselves, circulation,

respiration, secretion and nervous activity. Borelliwas the first to explain heartbeat as a simple

muscular contraction, and to ascribe its action tonervous stimulation; he was also the first to describe

circulation as a simple hydraulic system’ (Norman).

Borelli’s ‘great work’ (Osler) is generally considered

the foundation text of biomechanics and its authorthe father of the discipline. De motu animalium was

researched and written over a long period of time,but only published after the author’s death, due to

the difficulties of acquiring a patron for the book. In

late 1679, Borelli had secured Queen Christina ofSweden’s agreement to fund the costs of printing,

and dedicated the work to her; however, Borelli diedin December 1679 and the volume was seen through

the presses by his benefactor, Carlo Giovanni di

Gesù.

Eimas Heirs 496; Garrison-Morton 762; Krivatsy 1578;Nissen ZBI 465; Norman 270; Osler 2087.

7. BOARETTO, Ange. Twenty-two large prints with paintand ink additions, five large photographs of Boaretto in his studio byJean-Yves Giscard, and an exhibition guestbook/scrapbook withsignatures, cuttings, ephemera and photographs. France, 1960s-1980s.

Two reversed calf portfolios, the first containing twenty-two colourlithograph prints, with various levels of additional work in paint and ink(c. 56 x 38 cm), and five mounted gelatin silver prints of Boaretto in hisatelier (35 x 49 cm, stamp of the Centre Georges Pompidou to verso); thesecond an exhibition or studio guest-book, with press cuttings, 50+ gelatinsilver prints (various sizes, including portraits, images of Boaretto’s workand atelier, vernissages, etc.), a few small drawings and lithographs andnumerous signatures and inscriptions.

£5000 + VAT in EU

A fascinating archive relating to the work of the master-shoemaker andnaïve artist Ange Boaretto (b. 1920), known as ‘Ange’ and ‘Le Bottier’.Boaretto, born in Padua, but raised and naturalised in France at Cagnes-sur-Mer in Provence, crafted shoes for clients including Picasso and PaulEluard (he later married the bookseller Cécile Eluard, daughter of PaulEluard and Gala), and at around age 40 also turned to painting andprinting, slowly refining an unusual (unique?) technique that employedthe same press he used for leather work.

Boaretto exhibited regularly in the South of France from the1950s, a member of the group ‘Naïfs en liberté’, but the high pointof his career was the exhibition of ‘Le Bible du Bottier’, at theCentre Georges Pompidou in 1979, a group of images withaccompanying text for which Francis Ponge wrote anintroduction. Two prints from the exhibited series (‘Ledenicheur’ and ‘La chasse au canard sauvage’) are included here,the first in two different versions, as are a group of five largemounted photographs showing Boaretto in his atelier, alsoincluded in that exhibition.

Boaretto’s unusual technique allowed for almost infinite variationin strength, tone, hue, and paper type, as well as augmentationwith overpainting, hand-stamps etc. The nineteen other printshere represent a total of ten subjects, two in multiple versions(‘Coucher de soleil’ and ‘Danse du feu’). Deceptively simplerural scenes, they also have darker notes – a cockfight, a boarcornered by dogs, a lurid village festival. ‘Art naïf, certes, – nonsans quelques ruses – mais nulle idéologie passéiste et aussi,comme le dit Francis Ponge, images et texte conjugués d’un art devivre viril, où se réinventent la saveur énigmatiques desanciennes devises, des emblèmes ou imprese’ (Blaise Gautier).

The guest-book covers a period from 1960 to the mid 1980s, andparticularly the Pompidou exhibition, and including cuttings andephemera, a wide array of photographs, two letters from BlaiseGautier (who wrote a blurb of Boaretto for the Pompidouexhibition) and one from the photographer Lucien Clergue, acard with an original drawing by Jean-François Ozenda, and aninvitation (with an original print) to a 1974 exhibition ofBoaretto’s work at the bookshop of Cécile Eluard.

The guest-book also features tributes and signatures from, amongmany others, the surrealist Louis Aragon (‘de la part de Cécile’),the writer Gerard Oberlé, the editor and translator Henri Parisot,and Isabelle, Princess of Orléans-Braganza.

List of prints available on request.

SNAPSHOT OF A FAMOUS BREWING TOWN IN 1769

8. BURTON UPON TRENT. Manuscript titled ‘Attorments [sic] of the tenants of the Right Honble LordPagett in his Manor of Burton’. [Burton upon Trent], 30 November 1769.

Small 4to, pp. [48] written on the rectos only, followed by 54 blank leaves; neatly written in dark brown ink andsigned by various signatories; some light foxing, a little staining to blank leaves at end; well preserved incontemporary stiff vellum; somewhat rubbed and marked; some modern pencil notes identifying some of thesignatories.

£650

A unique snapshot of some of the leading figures in Burton upon Trent, East Staffordshire, in 1769, this manuscriptcontains 94 entries in which Burton residents acknowledge themselves to be the tenants of Henry Bayley, 9th lordPaget, heir of the recently deceased Henry, 2nd earl of Uxbridge, pay him one shilling in rent, and, in most cases, signtheir name. The manor of Burton was granted by Henry VIII to Sir William Paget, his secretary of state, in 1546,passing down the family line – in spite of its confiscation under Elizabeth I – to Henry Bayley. His inheritance of themanor occasioned the compilation of this manuscript on 30 November 1769, when he collected the tidy sum of 4pounds 7 shillings in rent from the signatories.

Burton is a town of great significance in the history of brewing, and several of the signatories in this manuscript arelocal brewers. The most famous are William Bass (1717-1787) and William Worthington (d. 1800), founders of the Bassand Worthington brewing dynasties. Bass moved to Burton around 1756 to work as a carrier, only turning to brewingin 1777. In addition to serving the domestic market he exported ale to Russia via the river Trent and Hull.Worthington, originally a cooper, bought his first Burton brew house nine years before this manuscript. Otherimportant Burton brewers whose names appear are Henry Evans (d. 1805) and Charles Leeson (d. 1794).

There are other significant signatories too: the lawyer Isaac Hawkins (d. 1800), whose estate paid for the church ofHoly Trinity, Burton; Abraham Hoskins (d. 1804), lawyer, high bailiff of Burton, director of the Burton Boat Companywhich leased shipping rights on the river Trent from lord Paget, and builder of the folly Bladon Castle, whosedaughter married into the Bass family; and Christopher Ley (d. 1779), surgeon and apothecary, who is recorded asworking as a man-midwife in the mid-1750s. The other signatories include brick makers, a grocer, a miller, farmers, aspade maker, and eleven women, including Dame Wilmott Gresley. Several individuals, unable to write their name,left their mark, which was witnessed by William Wyatt (d. 1773), long-serving bailiff of Burton and land surveyor,who mapped Burton and other places in the manor between 1757 and 1760.

The signatories were not just successful business people: many of them appear in the list of subscribers to Poems onseveral occasions by the blind Lichfield poet, Priscilla Pointon, published in Birmingham the year following thecompilation of this manuscript.

9. [BRITISH EMPIRE SHAKESPEARE SOCIETY.] ‘“Mr. Wu” and Much AdoAbout Nothing, 1930’. Reading, January 1930.

11 gelatin silver prints, ranging from approximately 6 x 3¾ inches (15.2 x 9.4 cm.) to 5¾ x 7inches (14.6 x 18 cm.), of which 10 mounted on album pages and 1, signed ‘Yours lovingly,Marjorie’, mounted on beige card and loosely inserted; a little rubbing to surface of prints,some small losses to surfaces; 2 programme cut-outs (14 x 10 cm.) pasted on versos precedingboth series of photographs; in beige card wrappers tied with cord, titled in ink on upper cover;some tearing holes punched for cords, a few light marks to upper cover, oblong 4to (25.7 x30.2cm.).

£200

An album illustrating scenes from Much Ado About Nothing – performed in collaboration withthe British Empire Shakespeare Society – as well as a 1913 play titled Mr Wu.

Instead of capturing the actors during a performance, scenes and poses seem to be recreated tofully portray the costume, props and character portrayals. The Shakespeare performance wasmade in traditional Elizabethan costume by male and female actors.

The plays were put on by The Mary Hay Players and were produced by Mary Hay(presumably not the famous American actress). The Marjorie whose signature features herewas the Property Mistress for the productions, as well as playing Ursula (Much Ado) and HildaGregory (Mr Wu). Much Ado About Nothing ran for three performances with costumes by H. &M. Rayne and The Earley Circle. The wigs were produced by “Gustave”. Mr. Wu ran for fournights with original costumes and scenery from the Strand Theatre, London.

The British Empire Shakespeare Society was founded in 1901 by Greta Morritt with theobjectives of: promoting a passion for Shakespeare’s works by supporting reading societies

and offering prizes for the best acting of, and essays on, the Bard. By 1939 there were 10,000

members throughout the Empire. ‘The language used to promote B.E.S.S.’s goals was thelanguage of religious mission and social gospel. From the Society’s slogan – “Using no other

weapon but his name” – to the ways in which members and the press described the society,

Shakespeare was discursively becoming the saviour of the Empire’.

Hinojosa, L., The Renaissance, English Cultural Nationalism, and Modernism, 1860-1920.

TINY ALMANAC

10. CONSEILLER DES GRACES (Le) dédié aux Dames, année 1817. A Paris:Marcilly, [1816.]

Miniature book (c. 27 x 18 mm), pp. 64, with seven full-page engraved illustrations within thepagination; pp. 62-3 are an advertisment, p. 64 is a paginated blank; slightly dusty andthumbed but a very good copy in contemporary black morocco, gilt.

£325

First and only edition of a delightful microscopic almanac, engraved throughout and with 25pages of illustrated verse at the front.

Welsh 2008; Grand-Carteret 1793; Spielman 102; not in Bondy.

A SUMMER HOLIDAY FIT FOR A DUKE – IN PHOTOGRAPHS

11. [DUCHESS OF BEDFORD, and friends.] ‘Holland, Norway and Spitsbergen in the S.Y. Sapphire. June 22nd toAugst 6th, 1901’.

133 photographs, ranging from approximately 2⅛ x 2⅛ inches (5.4 cm x 5.4 cm) to 3¼ x 3¼ inches (8.2 x 8.2 cm) visible in circular,rectangular and square album page windows + 2 photographs, approximately 4½ x 5½ inches (11.3 x 14 cm), mounted on the frontpaste-down, all excepting a handful captioned below and initialled above in ink, some album pages titled; in a plain orange clothalbum with ‘Sunny Memories’ embossed in gilt on upper cover; spine repaired, cover rubbed and dustsoiled, large 4to (32.5 x 28cm).

£850

An entertaining and intimate series taken by the Duchess of Bedford and others during a summer cruise with the Duke and sonHastings.

The album focuses on the jokes among the group, instead of on the common topographical views and formal portraits, alluding tonicknames and specific episodes alongside lines from authors including Shakespeare, Milton, Byron and Wordsworth.

A series of images pokes fun at the women’s wild, wiry hair after swimming and winkling at Trondheim. They strike variousposes with a line on the witches of Macbeth, and captioned ‘Ancient Britons’ and ‘A sea urchin (Echinus dentatus)’! Anothergroup portrait shows the ladies in Elizabethan, Tudor and Rococo fancy dress, while the Duchess poses as an old lady inspectacles. But more convincing are the four images of the future Duke as the ‘Marchioness of Tavistock’ in a white dress, hat andparasol.

The initials inked above each photo seem to be only the women’s and appear to refer to the photographer of the image; certainlymultiple lenses are indicated by the note ‘The Midnight Sun viewed by 4 different cameras’. M. Bedford holds a camera inanother series, with a couple of others on the pebbles at her feet. The thorough captioning and initialling throughout, as well as agroup portrait introducing the album, help identify the full group as: the (11th) Duke of Bedford, his wife Mary Russell (Duchessof Bedford), their son Hastings “Spinach” Russell (Lord Tavistock, later 12th Duke), (Mrs/Miss) M. Bedford, Mr. Findlay, Miss I.Marshall, Miss J. Tooth, and Miss F. Green.

The stops during the cruise which are illustrated here are fjords in Svalbard, of which Magdalena Bay was their most northernanchorage, Torghatten and Trondheim in mainland Norway, Maarken in Holland, and Meikleour. The latter shows frolics andface-pulling on the lawn, captioned ‘Two little sisters from Bedlam’ and ‘Lunatics at large’ and presumably represents a stopoverin Scotland to see the Marquess of Lansdowne’s estate – the Marchioness was a relative of the Duke.

The yacht Sapphire appears to have been the Duke’s: he went on to build S.Y. Sapphire II in 1912. 242 foot in length and steam-powered, Sapphire II was clearly an upgrade to the more modest Sapphire featured here.

MEMOIRS OF A ‘PRINCE PLEIN D’HONNEUR’

12. ESTE, Rinaldo d’. Memoires de monsieur le cardinal Reynardd’Este, protecteur & directeur des affaires de France en cour de Rome. Depuisl’an 1657 jusques au dernier de Septembre 1673 ... où on void tout ce qui s’estpassé de remarquable, tant à Rome qu’en d’autres lieux ... Premiere [- seconde]partie. Cologne, Henry Demen, 1677.

Two parts in one vol., 12mo, pp. [x], 413, [1]; [ii], 318, [6, contents]; woodcutinitials, head- and tailpieces; quite tightly bound, light toning, small mark tohalf title of part I; a very good, attractive copy in contemporary calf, gilt filletborder with corner fleurons to covers, spine gilt in compartments with gilt-lettered red morocco labels, edges red, marbled endpapers, paper label at foot ofspine; corners a little worn; book label of Mde De Lailly to front pastedown.

£500

Rare first edition of this memoir of the career of the influential Italian cardinalRinaldo d’Este (1618-1673), compiled by one of his entourage who served withhim for 16 years. Born in Modena, son of duke Alfonso III, Este was brought upin France, entered the church, and rose quickly. Elected cardinal in 1641, hebecame the leader of the French faction at Rome, the ‘protecteur de la France’ atthe papal court. Over the coming decades, Este played a tricky role in balancingthe interests of Modena, the pope, and Louis XIV, especially under the papacy ofthe Spanish-backed Alexander VII. While his timidity prevented him fromscaling greater heights, there is no doubt that he played a significant role in theEuropean politico-religious affairs of his day. Louis XIV described him as a‘prince plein d’honneur’, and a man ‘de grande suffisance et dextérité dans lemaniement des affaires’, making him abbot of Cluny in succession to Mazarin.The Memoires contain transcriptions of some of Este’s considerablecorrespondence, including letters to Henri-Auguste de Loménie, comte deBrienne, secretary of state for foreign affairs under Mazarin.

No copies are recorded on COPAC; OCLC notes only one copy in the US, atYale.

ENVIRONMENTAL FACTORS CAUSING THE SPREAD OF SCABIES IN AN EIGHTEENTH-CENTURY PRAGUE WORKHOUSE

13. GULDENER VON LOBES, Edmund Vincenz. Beobachtungen über die Krätze gesammelt in demArbeitshause zu Prag. Prague: Johann Gottfried Calve, 1791.

8vo (168 x 108mm), pp. [viii (title, blank, dedication, preface, contents)], 188 [p. 188 misnumbered ‘180’], [3 (errata)], [1(blank)]; woodcut rules and type ornaments at the head of each page; contemporary boards covered in blue-marbledpaper, manuscript paper title-label on spine, all edges stained red; extremities somewhat rubbed and lightly bumped withsmall losses to marbled paper at edges, spine label with slight losses at edges, cracking on upper and lower hinges,nonetheless a very crisp, clean copy in a contemporary binding; provenance: early manuscript note on front free endpapergiving reference to this work in the Allgemeine Deutsche Bibliothek; errata on final 3 pp. neatly struck through and added tothe text by the same early hand.

£600

First edition. Dr Edmund Vincenz Guldener von Lobes (1762-1827) is probably best known today as a municipalphysician of Vienna who, late in his career, became a legal witness in the case against Salieri, who was rumoured to havepoisoned Mozart; he had also been named a honorary citizen of Vienna for his medical services to the Viennese volunteercorps as it was formed in the war against Napoleon in 1797. This treatise on scabies, however, represents a youngGuldener von Lobes, with a gift for observation and an engaging style, in the war against the dermatological epidemic ofscabies.

Beobachtungen über die Krätze presents observations on scabies based on cases in a Prague workhouse in 1785-88, andaddresses the same pressing medical questions of the time that inspired Johann Ernst Wichmann’s Aetiologie der Krätze(1786), the work which ‘definitely established the parasitic aetiology of scabies’ (Garrison-Morton 4016): what are thehistorical origins of the disease; how is it spread; whom does it affect; how can it be treated; and how can it be prevented?The workhouse was next to the Vlatava, and the occupants, who spun cotton and sharpened feathers in cramped anddamp conditions, provided a useful microcosm for these observations on the pathology, course, and details of scabies.

A near-contemporary assessment of the work in Ferdinand Hebra’s Atlas der Hautkrankheiten of 1856 (Engl. transl. OnDiseases of the Skin, 1868) was that it was ‘full of errors’: ‘even men of reputation, such as […] Guldener von Lobes, failed toliberate themselves entirely from the views of their day, although in many respects their opinions concerning scabies wereperfectly correct’ (pp. 185 & 231, English edition). In spite of Hebra’s critical judgement, however, Beobachtungen über dieKrätze provides a particularly interesting record of medical history and the study of environmental factors that facilitatethe propagation of disease. The work proved popular and a second edition was published in 1795.

NLM/Blake p. 190.

14. [HOLY BIBLE (The) containing the Old Testament and the New newly translated out ofthe original Tongues and with the former Translations diligently compared … London: John Field, 1658.]

Two vols, 24mo, pp. [1198], wanting the general engraved title-page (A1); with a separate letter-presstitle-page to the New Testament, dated 1658; ruled in red throughout, dusty and soiled at theextremities, else a very good copy in an early eighteenth-century Scottish herringbone binding of blackmorocco, with turnip, wheel, star and floral tools, gilt edges, silk bookmarks (three per volume), Dutchfloral paper endleaves; each volume preserved in a book-bag of the same date, worn.

£1800

An attractive ‘Pearl Bible’, so called for the miniature type in which it was printed, and for its beauty.This is the rarer, and more correctly printed of two 24mo Bibles of 1658 with John Field’s imprint, one ofwhich may or may not be a Continental piracy; the present has the text ending on Ddd12v. The BMCatalogue calls this edition ‘spurious’, Lennox & Fry ‘genuine’ but there seems to be no clearjustification for either argument, nor for the suggestion, sometimes voiced, that it was printed atCromwell’s request for the use of the Commonwealth Army.

Of the present edition, ESTC shows BL only.

Wing B2253; Darlow & Moule 664-665.

THE MAJORITY OF THE FUTURE EARL OF GAINSBOROUGH –‘CELEBRATED … WITH GREAT REJOICINGS, AND ALMOST

UNPARALLELED MAGNIFICENCE’

15. [LORD CAMPDEN.] ‘The Coming of Age of LordCampden’, Exton, 20th October 1871.

2 albumen prints, 7¾ x 10⅞ inches (19.8 x 27.7 cm) and 9 x 11 inches(22.7 x 27.8 cm), both mounted on original album pages; title, location,date and names of sitters noted in contemporary hand in ink in margins;one with 2 albumen prints on verso, approx. 8 x 9 cm, captioned‘Channel Isles, Port du Moulin, Sark, The Coupée, Sark’ below in ink.

£250A visual record of the guests who attended a week of lavish festivities atExton Park. Thirty-eight guests are shown and individually named,including Lord Beaumont, Lord and Lady Denbigh, Lord Carnegie,Lord Bute and Lord Gainsborough and wife Lady Noel. A man,possibly a servant, is visible peering through the windows behind inboth photographs.

The Coming of Age celebrations of Charles William Francis Noel, later 3rdEarl of Gainsborough, took place at Exton Hall and the neighbouringvillages of Ridlington and Langham. Highlights of the celebrationsincluded a cricket match, a High Mass, and a banquet to which the tenantsof the surrounding villages were invited, preceded by games andamusements in front of the Hall. During a visit to the Noel family’s ArmsInn, each guest was presented with a glass of ale, brewed during the yearof Charles Noel’s birth, and at one of the feasts they were fed ‘an immensebaron of beef, supplied by Mr. T. Pollard, of Stamford, and weighingbetween 40 and 50 stones’, as well as a 120 lb. birthday cake adorned with‘Charles William Francis Viscount Campden, born 1850, at Broadway’.

A very full account of the celebrations was reported by the GranthamJournal and other local publications. Much of the content of these articleswas compiled and reprinted by The Tablet, 28th October 1871, p. 21-25,which can be viewed online: http://archive.thetablet.co.uk/article/28th-october-1871/21/general-news. The ‘Miss Berkeley’ portrayed here islikely the Augusta Mary Catherine Berkeley who would become Noel’sfirst wife five years later. Noel inherited the earldom in 1881 on the deathof his father. He sold the Gainsborough art collection at a sale held byChristie's, London on 27th July 1922.

16. MALEBRANCHE, Nicolas. Méditationschrestiennes; par l’auteur de la Recherche de la vérite ́...Cologne, Balthasar d’Egmond, & compagnie [recte Amsterdam,Blaeu], 1683.

12mo, pp. 364, [2]; with woodcut printer’s vignette on title; avery good copy in contemporary sprinkled calf, panelledspine decorated in gilt, red morocco lettering-piece; spineend a little chipped, joints starting but holding well;eighteenth-century monastic French provenance inscriptionon title, two contemporary inscriptions in Greek (citationsfrom St. John’s and St. Matthew’s Gospels) on front and rearblanks.

£450

First edition, published with a false imprint (as declared inRahir and as transparent from Malebranche’scorrespondence). To some extent this work was ‘a follow upto his Conversations chrétiennes (Christian Conversations),published in 1677. In that earlier text, Malebranchepresented a defence of the Christian religion that emphasizesthe Augustinian theme of our dependence on God forknowledge and happiness’ (Stanford Encyclopedia ofPhilosophy). Here he develops the moral themes, arguingthat ‘moral virtue requires a love of the “immutable order”that God reveals’ (ibid.). Of particular interest is MeditationVIII. Here he attacks the view of those who – albeit throughsincere piety – believe themselves to be under ‘uneprotection de Dieu toute particuliere’, discussing the notionof ‘amour-propre’ and its effects on faith and morals.

Cioranescu 44869; Quérard V, p. 461.

‘THE FIRST COMPREHENSIVE PHILOSOPHY OF SOCIETY’ (PMM)

17. [MONTESQUIEU, Charles de Secondat, Baron de.]Considerations sur les causes de la grandeur des Romains et de leur decadence.Amsterdam, Jaques Desbordes, 1734.

8vo, pp. [iv], 277, [1], without the errata leaf occasionally found; title in red andblack, small loss to blank fore edge of Q5 and Q6, the odd spot; a very goodcrisp copy in contemporary calf, spine gilt in compartments, remains of label,upper joint cracked but holding firm, edges sprinkled red; a little worn;Bunbury crest at head of spine.

£1250

First edition, first issue. Montesquieu’s Considerations ‘was immediatelyrecognized as a major work, and it has remained the most popular and widelyread of his books. Its facts may have been superseded but neither its style, amasterly succinctness, nor its matter – it is the first comprehensive philosophyof society – have lost their value’ (Printing and the Mind of Man).

Described by Rochebilière as ‘very rare and unknown to Brunet, Quérard, orany editor of Montesquieu’, this issue contains a number of phrases and noteswhich were considered dangerous and were suppressed in the second issue,including a footnote on p. 130 regarding Charles I and James II of England,stating that if their religion had permitted them to take their own lives then theformer would have avoided ‘une telle mort’ and the latter ‘une telle vie’.

Provenance: with the crest of Sir Henry Edward Bunbury, seventh baronet(1778-1860) (British Armorial Bindings database, Bunbury stamp 3). Bunburyhad a distinguished military and political career, was the brother-in-law of theWhig politician Charles James Fox, and voted for the Reform Bill. He acquireda fine library and art collection, his books being sold at Sotheby’s between 1894and 1932.

Rochebilière, no.781; Tchemerzine IV, p. 927; cf. PMM 197.

THE CELEBRITY-AVIATORS OF PARIS

18. NOYER, Alfred, photographer and publisher, and César GIRIS,sculptor. ‘De Lambert…’ and ‘Santos Dumont…’, 2 caricature postcards.Paris, Alfred Noyer, circa 1910.

2 gelatin silver prints, 5½ x 3½ inches (14 x 9 cm), printed on split-backpostcards (blank), numbered (32 and 33 respectively), titled ‘De Lambert.Autour de la Tour de La Terreur du piéton Parisien’ and ‘Santos Dumont.Monsieur et Madamoiselle Santos’ and with artist’s credit ‘Giris’ andphotographers’ credit ‘A.N. Paris’ below; some oxidation at edges.

£300Lively caricatures of two aviation pioneers, both renowned to Parisians.

Brazilian Santos Dumont was cheered by Paris crowds in 1901 as he crossedthe finish line in a dirigible aircraft to win the Deutsch de la Meurthe prize;he had succeeded in flying a round trip from Saint Cloud to the Eiffel Towerin under half an hour in his dirigible aircraft, after a previous failed attemptand several trials. In 1909 the Comte de Lambert – the first person in Francetaught to fly by Wilbur Wright – repeated a similar feat in a Wright plane,circling 300 feet above the Tour.

The small terracotta figurines featured here were the work of Italian artistCésar Giris possibly around the time he opened his Paris studio in 1907 and,on advice from Medardo Rosso, began producing these celebrity sculptures.The faces were immediately recognisable, without any satirical harshness.

As a product of Alfred Noyer’s large commercial studio, these photographsare unusual in comparison to the majority of their commercial output in bothprocess – not the halftone lithography commonly found – and content –contrasting from the seaside figures, patriotic First World War views, and artreproductions for the Salon de Paris.

HAPPINESS OF THE LIFE TO COME

19. VILLETTE, Charles Louis de. Essai sur la felicité de la vie a-venir.En dialogues. Dublin, S. Powell, 1748.

8vo, pp. [vi (title and list of subscribers)], 435, [1]; some browning to margins oftitle, list of subscribers, and final few leaves, very occasional small marks, else avery good copy in contemporary calf, flat spine with gilt-lettered black moroccolabel; upper joint slightly cracked (holding firm), extremities a little rubbed;armorial bookplate of Sir Edmund Antrobus.

£400

First edition of this essay on the afterlife by the Huguenot minister Villette,arranged in eleven dialogues between Theocrite, Philemon, Eugene, and Cleobule.Villette was born in Lausanne in 1688 and served at French churches in Carlow andKilruane before moving to Dublin as minster of the French church at St Patrick’s in1737. His Essai tackles questions around the body and soul, sensations andemotions, and physical and spiritual pleasure and pain, in this life and after death,as well as the punishment of the wicked. For Villette the afterlife holds the promiseof an end to physical infirmities and imperfections, enhanced faculties andsensation, superior intellectual and moral pleasures, and greater knowledge andlove of God. In his preface Villette acknowledges his debt to the naturalphilosophers Thomas Burnet and William Whiston. The subscribers to the Essaiincluded George Stone, archbishop of Armagh, and Robert Jocelyn, BaronNewport, the Lord Chancellor of Ireland. An English translation was published inBath in 1793 with the title Essay on the happiness of the life to come.

Later in his career Villette would engage with the philosophy of FrancisHutcheson, disagreeing with him on questions of aesthetics by arguing thatjudgements of beauty depend on reason and reflection in his Oeuvres mêlées (1750),but defending Hutcheson’s idea of moral sense in his Dissertation sur l’origine du mal(1755).

Conlon 48:822; ESTC T33267 (recording 5 copies in the UK and none in the US).

‘WELLINGTON’S CORRESPONDENCE ON THE 1828-1829 RUSSO-TURKISH WAR REPRINTED THE YEAR THAT THE LAST RUSSO-TURKISH WAR BROKE OUT‘

20. WELLINGTON, Arthur WELLESLEY, 1st Duke of. The Eastern Question.Extracted from the Correspondence of the Late Duke of Wellington. London: John Murray, 1877.

8vo, pp. 47, [1 (blank)]; disbound, stitched through 3 holes, with 3 additional stab marks [inpreparation for sewing] and traces of glue across spine; historical vertical crease from folding inhalf, lightly creased, outer ll. very lightly marked, generally a good copy; provenance:manuscript name ‘Wellington’ on title, presumably to identify work when previously bound ina Sammelband.

£250

First and only edition. This collection of letters, despatches and memoranda from thecorrespondence of Arthur Wellesley, 1st Duke of Wellington, dates from 28 February 1828 to 15December 1829, a period very shortly after Wellington had been elected British prime minister– a post that he would hold until the fall of his government in November 1830. Most of theletters are addressed to George Hamilton-Gordon, 4th Earl of Aberdeen, who had becomeWellington’s Foreign Secretary in 1828, and they document world history as well asWellington’s growing trust in Aberdeen. They concentrate particularly on the Eastern crisis,and conclude with a number of letters Treaty of Adrianople of September 1829, which broughtto an end the Russo-Turkish War of 1828-1829. The title carries, as an epigraph, a quotationfrom the Earl of Ellenborough, first used in 1829 and repeated by Gathorne Hardy in the Houseof Commons on 16 February 1877: ‘The Ottoman Empire stands, not for the benefit of the Turksbut of Christian Europe; not to preserve Mahomedans in power, but to save Christians from aWar of which neither the object could be defined, nor the extent, nor the duration calculated’.

The Eastern Question was compiled and published in 1877, presumably in response to the lastRusso-Turkish War (1877-1878), which had broken out in April 1877 and would end in 1878with the Treaty of San Stefano.

Partridge Wellington B11.

21. WILDE, Oscar. The Importance of Being Earnest.London, Leonard Smithers and Co., 1899.

8vo, pp. [xvi], 152 with a half-title; browned in places; a good copy,uncut, in the original cloth, embossed with gilt; rubbed and lightlysoiled, with wear to spine ends and corners, spine letteringoverwritten in pen; later gift inscription to front free endpaper, and amanuscript note loosely inserted.

£1500

First edition; number 85 of 1000 copies printed. Wilde’s best-knownplay, an entertainingly witty farce, mocking the conventions ofVictorian society.

The inscription is from the writer Kay Dick to the novelist BrigidBrophy and her husband Michael Levey (art historian and Directorof the National Gallery), and reads, ‘A Christmas token for Brigidand Michael with my love – Kay / 1968’. The note similarlyaccompanies the gift.

ANIMAL MAGNETISM:MESMERISM IN THE EIGHTEENTH AND NINETEENTH CENTURY

RAYMOND DE SAUSSURE’S COLLECTION

Mesmerism: a multifaceted social phenomenon with a lasting influenceWhen in February 1778 Franz Anton Mesmer arrived in Paris and began divulginghis notion of a fluid pervading all bodies, which was to be manipulated for the cureof several disorders, the reaction of contemporary society was as remarkable as itwas polarized. From devoted followers and disciples to staunch opponents of thetheatrical ‘cult’ far removed from the orthodoxy of established medical bodies,countless men of science, of philosophy and of polite society manifested strongly-held positions in a great number of publications.Robert Darnton’s classic work (Mesmerism and the end of the Enlightenment in France,1968) underlined the political and social implications of the doctrines of animalmagnetism (a synonym of mesmerism), evidencing that, particularly in the works ofsuch disciples as Bergasse and Carra, the notion of man as a naturally social creatureliving in perfect harmony with nature in an ideal primitive state would havepervaded contemporary readership far more effectively than Rousseau’s Socialcontract, written in a style that made it fit only for the better-educated few.As well as forming the ground for the formation of Pre-Romantic and Romanticsensibilities, mesmerism and its related early studies of hypnotism andsomnambulism are in fact at the origins of psychiatric, neurological andneuroscientific concepts which developed in the era of psychoanalysis.

Raymond de SaussureRaymond de Saussure, the son of the linguist Ferdinand de Saussure, underwentanalysis first with Sigmund Freud, then, having acted as founding member of theParis Psychoanalytic Society, with Franz Alexander at the Berlin PsychoanalyticInstitute. After a few years spent in New York during and after the Second WorldWar, he returned to Switzerland and in 1955 co-founded the Geneva Museum of theHistory of Science. He was then co-founder of the European PsychoanalyticFederation with Wilhelm Solms-Rödelheim in 1966, and served as its president untilhis death in 1971. Saussure’s passion for the history of his subject and the collectionof its primary sources was particularly manifested in his collaboration in the set-upof the Abraham A. Brill Library of the New York Psychoanalytic Society andInstitute, perhaps the largest psychoanalytic library in the world.

Saussure’s published work is a testament to his dedication to the study of the

origins of psychoanalysis and psychiatry. Two of his major works were published,one in the year of his death, and one posthumously two years later, which havedirect bearing on the collection of books on animal magnetism which he assembledand which we offer here: Mesmer et son secret, 1971, and, with Léon Chertok, LaNaissance du psychanalyse, de Mesmer à Freud, 1973. The collection we offer gathersthe direct sources for Saussure’s research, and the pencil marks or notes he left inthe books stand as particularly interesting pointers towards the dynamics by whichwhat many consider to have been a ‘fad’ in fact carried the foundations of ascientific discipline which has changed the way humanity describes itself.

The collection consists of around 140 titles spanning chronologically overabout 150 years, from the initial flurry of publications produced in 1784 duringand after the Royal Commission’s enquiry into Mesmer’s practices, to the‘revival’, in a more modern key, of ‘magnetic’ phenomena in the nineteenthcentury, with the documenting of psychological conditions such as dualpersonality and somnambulist, and theories exploring the power of mind overbody through suggestions.

Ferdinand de Saussure and mesmerismA further, tantalizing level of interest is the relation between Raymond deSaussure’s dedication to the subject of mesmerism and the complex ‘affinity’that his father Ferdinand de Saussure, the celebrated father of modernlinguistics, nurtured for phenomena related to animal magnetism.Traditionally portrayed as the man who brought linguistics and semiotics inline with modern epistemology, Saussure in fact often transcended theboundaries of categorical reasoning. Very recent studies of the immensecorpus of Saussure’s unpublished archival material, in particular the work ofBoris Gasparov which concentrates on examining Saussure’s intellectualheritage, show that Saussurean notions of cognition and language are to belinked to early Romantic theories of cognition and the transmission of culturalmemory. Gasparov (Beyond pure reason: Ferdinand de Saussure’s philosophy oflanguage and its early Romantic antecedents, Columbia Press, 2013) notes, forinstance, Saussure’s affinity with late mesmerism and his interest in acceding tosubconscious phenomena of the mind for the explanation of linguisticphenomena such as the invention of anagrams.Though it is impossible to fathom to what extent Ferdinand de Saussure’scuriosity for the world of the subconscious prompted or informed Raymond’sown endeavours and his collecting habits, it is certainly stimulating to followthe lead of new research on Ferdinand and be able to access a body of workswhich his son assembled and in which – we now know - he himself wouldhave found inspiration. The collection we offer has not been on the marketbefore, and comes by descent from the estate of Raymond de Saussure.

Raymond de Saussure’s collection on animal magnetism

Together £30,000

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