New Acquisitions February 2016

BERNARD QUARITCH LTD
New Acquisitions
February 2016

MASTERPIECES OF CHRISTIAN MEDIEVAL POETRY
1. ALORA, Jacobus. Aurea expositio
hymnoru[m] una cum textu. Noviter emendata per
Jacobum a lora. (Colophon:) Naples, Sigismund Mayr, 10
July 1504.
4to, ff. [56]; woodcut to title showing the crucifixion and
evangelists’ symbols (used in editions of the Mirabilia
Romae), engraved initial, text surrounded by
commentary; some discrete paper repairs to title
touching the woodcut and a few words, neat paper
repairs to edges of leaves A2-A6 (with small loss to top
lines 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, spine
gilt in compartments with direct lettering, gilt turn-ins; a
few small marks and scrapes; trace of bookplate to front
pastedown.
£4750
The rare second printing of Jacobus Alora’s edition of the
highly popular medieval hymn commentary known as
the Aurea expositio, ascribed to one ‘Hilarius’ and
probably dating originally from the twelfth-century. The
number of editions printed in the fifteenth century and
in the first decade of the sixteenth indicate that there was
an established public across much of Western Europe for
this work. Alora, who may have come to Naples from
Alora in Malaga in the wake of the Spanish conquest,
describes himself in the colophon as a professor of
grammar and poetry. His edition of the Aurea expositio
first appeared at Salamanca in 1501 and it was reprinted
several times, in different locations, over the next decade.
In addition to the traditional commentary on each hymn,
explaining sense and allegorical meanings, Alora
identifies the metre and provides grammatical guidance.

The Aurea expositio includes some of the
masterpieces of Christian medieval poetry. Here
are, for instance, St Ambrose’s hymns in four-line
stanzas ‘Aeterne rerum conditor’, ‘Splendor
paternae gloriae’, and ‘Veni redemptor gentium’; the
anonymous sixth-century morning hymn ‘Iam lucis
orto sidere’ and the hymn for Compline ‘Te lucis
ante terminum’ (which is mentioned by Dante as
being sung so sweetly in purgatory that it carried
him beyond himself); the ‘Aurea luce et decore
roseo’, sometimes attributed to Elpis, wife of
Boethius; Fortunatus’ ‘Vexilla regis prodeunt’,
written to celebrate Saint Radegund’s reception of a
relic of the true cross from the Eastern Emperor, and
the ‘Pange lingua gloriosi proelium certaminis’,
written in the metre of the Roman soldiers’ songs;
the most famous of all Marian hymns, ‘Ave maris
stella’, and the great sequence ‘Veni creator
Spiritus’, possibly by Stephen Langton, Archbishop
of Canterbury; and Thomas Aquinas’ ‘Pange lingua’,
in full rhyme.
This is the copy offered by Olschki in volume V of
the 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 single
copy at Cambridge; OCLC adds only one other at
Duke 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 frontispiece
printed in sepia, title-page printed in red and black; II: [6, blank], 41, [1], [4, blank], with a woodcut
frontispiece, printed in red and black throughout; very good copies, bound preserving the original
printed 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 la
Nineta, 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 Carlos
Arribau (1798-1862), first published in El Vapor in 1833 – a celebration of Catalunya and the Catalan
language. 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 a
medieval 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 and
Museum.
Bondy, Miniature Books, p. 179; Welsh 285 and 6948.

3. [ARISTOTLE]. CHARPENTIER, Jacques. Universae artis
disserendi descriptio. Ex Arist[otelis] Logico organo collecta & in libros
tres 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 few
early marginalia concentrating on the incipit and the logic, contemporary
ownership inscription on the title (Jacobus Philippus de Cherubinis).
£1250
First edition, very rare, of a treatise on logic in the form of an Aristotelian
commentary by Jacques Charpentier: Renaissance logician, philosopher,
humanist and teacher, who wrote extensively on Peripatetic logic and
natural philosophy. His concerns with logic, method, education and the
unity of the sciences brought him into a vivacious and not always
edifying controversy with Ramus, their acrimonies becoming so bitter
that Charpentier was by many long assumed to have been Ramus’s
murderer.
‘[Charpentier’s] intellectual opposition to Ramus was founded on
Ramus’s claim to have shown that there was one single method common
to Plato and Aristotle; Charpentier, dedicated though he was to the unity
of the philosophers, did not agree and was well enough read in the
authors to mount a formidable challenge’ (R. Goulding, Defending
Hypatia, p. 52).
Our copy is bound with part 1 of Charpentier’s Descriptionis universae
naturae, ex Arist[otelis] Pars prior, Paris, Buon, 1562 ([iv], 98, [7]), a
fortunate treatise on natural philosophy the second part of which was
published four years later, in 1566.
IA 135.730. No copies in the US or in the UK. A single copy traced in
public holdings worldwide (Bibliothèque Mazarine).

4. BABBAGE, Charles. Two autograph notes,
signed (‘C. Babbage’) to William Brockedon and to ‘My dear
Sir’. Dorset Street [London], 11 July 1849 and 29 April 1851.
110 x 90 mm, pp. 2 + conjoint blank leaf; 1 + conjoint blank
leaf; 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 computer
pioneer Charles Babbage (1791-1871), addressed from the
Dorset Street home in London in which he lived from 1828
until 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’ with
Babbage and ‘a few friends’. Babbage and Brockedon were
at one time neighbours in Devonshire Street and in 1840 the
latter executed a chalk drawing of Babbage, which survives
in the National Portrait Gallery. The year 1849 was a
significant one for Babbage, in which he completed the
design of his Difference Engine no. 2, an elegant and more
efficient version of its predecessor.
The second note, addressed by Babbage to ‘My dear Sir’ in
April 1851, invites the recipient to join him and the natural
philosopher Sir David Brewster (1781-1868) for dinner on 6
May. This was penned just a few days before the opening
of the 1851 Great Exhibition. While Babbage was deeply
upset at the time by his exclusion from the organisation of
the Exhibition, Brewster successfully exhibited his
stereoscopic viewer of daguerreotype photographs, which
impressed Queen Victoria.

JULIETTE & RHOMEO
5. BANDELLO, Matteo, trans. François de BELLEFOREST, and Pierre
BOAISTUAU. Histoires Tragiques, extraictes des oeuvres Italiennes … & mises en
langue Françoise … Tome premier … Antwerp, Jean Waesberghe, 1567. [With:] Second
Tome des histoires tragiques … contenant encore dix-huit histoires traduites & enrichies
outre 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 inner
margin, title-page of volume II with a small marginal repair; else a good copy in recent
limp vellum; inscriptions on the terminal blank page of volume II – ‘Jay rescu ceslui livre
le 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. of
Koblenz] [etc.]’.
£2500
First collected edition of the first 36 stories translated by Boaistuau and Belleforest from
Bandello’s famous Novelle (1554), a smorgasbord of comedy, tragedy, bawdry and
history 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 which
includes the tale of Romeo and Juliet, in Paris in 1559. Belleforest’s continuation, with
twelve stories, appeared separately in the same year, then together with Boaistuau in a
Lyon editon in 1560; a ‘Second Tome’ of 18 more stories appeared in Paris in 1565, and
five later volumes eventually took the collection to 101 stories, in the later stages
expanding from Bandello to other sources. The present edition was the first collected
edition of the first 36 stories, and the first published in Antwerp; a third volume
followed in 1569. ‘Belleforest’s versions add to the original narrative materials
moralistic diatribes and discourses, anticlerical animadversions, letters, and poems, and
they 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 Twelfth
Night, were indirect, based on sources that in turn were based on Belleforest, namely
Brooke’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 on
verso, editor’s address to the reader)], 520; Greek and
Latin types; 18 folding engraved plates, bound to
throw clear, wood-engraved title vignettes and
initials, letterpress tables in the text; scattered light
spotting and marking, light marginal damp-marking
in some quires of I, a few quires in II browned, very
unobtrusive marginal worming in quires II, 2Y-3M, a
few plates trimmed over platemark, touching caption
on pl. 16; near-uniform 20th-century half chestnut
morocco for the Royal Institution, spines in
compartments, gilt morocco lettering-pieces in one,
directly lettered in gilt in 2 others, lower
compartments with Royal Institution crest and date
in gilt, both volumes uniformly stained black on the
top edges and red-speckled on the others; extremities
very lightly rubbed, some cracking on hinges,
otherwise a very good, crisp set; provenance: The
Royal Institution (acquired from Richardson on 4
February 1805 for 2s 6d, according to the RI’s
records; gilt crests on spines; booklabels on lower
pastedowns recording deaccession in 2015).
£5000
First Edition. The mathematician and physicist
Borelli (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 of
human 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 were
levers powered by the action of muscle, and devoted
the first volume of his work to the external motions
produced by this interaction, with extensive
calculations on the motor forces of the muscles. The
second volume treats of internal motions, such as the
movements of the muscles themselves, circulation,
respiration, secretion and nervous activity. Borelli
was the first to explain heartbeat as a simple
muscular contraction, and to ascribe its action to
nervous 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 author
the 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 of
Sweden’s agreement to fund the costs of printing,
and dedicated the work to her; however, Borelli died
in 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 paint
and ink additions, five large photographs of Boaretto in his studio by
Jean-Yves Giscard, and an exhibition guestbook/scrapbook with
signatures, cuttings, ephemera and photographs. France, 1960s-1980s.
Two reversed calf portfolios, the first containing twenty-two colour
lithograph 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 his
atelier (35 x 49 cm, stamp of the Centre Georges Pompidou to verso); the
second an exhibition or studio guest-book, with press cuttings, 50+ gelatin
silver prints (various sizes, including portraits, images of Boaretto’s work
and atelier, vernissages, etc.), a few small drawings and lithographs and
numerous signatures and inscriptions.
£5000 + VAT in EU
A fascinating archive relating to the work of the master-shoemaker and
naïve artist Ange Boaretto (b. 1920), known as ‘Ange’ and ‘Le Bottier’.
Boaretto, born in Padua, but raised and naturalised in France at Cagnessur-Mer
in Provence, crafted shoes for clients including Picasso and Paul
Eluard (he later married the bookseller Cécile Eluard, daughter of Paul
Eluard and Gala), and at around age 40 also turned to painting and
printing, slowly refining an unusual (unique?) technique that employed
the same press he used for leather work.

Boaretto exhibited regularly in the South of France from the
1950s, a member of the group ‘Naïfs en liberté’, but the high point
of his career was the exhibition of ‘Le Bible du Bottier’, at the
Centre Georges Pompidou in 1979, a group of images with
accompanying text for which Francis Ponge wrote an
introduction. Two prints from the exhibited series (‘Le
denicheur’ and ‘La chasse au canard sauvage’) are included here,
the first in two different versions, as are a group of five large
mounted photographs showing Boaretto in his atelier, also
included in that exhibition.
Boaretto’s unusual technique allowed for almost infinite variation
in strength, tone, hue, and paper type, as well as augmentation
with overpainting, hand-stamps etc. The nineteen other prints
here represent a total of ten subjects, two in multiple versions
(‘Coucher de soleil’ and ‘Danse du feu’). Deceptively simple
rural scenes, they also have darker notes – a cockfight, a boar
cornered by dogs, a lurid village festival. ‘Art naïf, certes, – non
sans quelques ruses – mais nulle idéologie passéiste et aussi,
comme le dit Francis Ponge, images et texte conjugués d’un art de
vivre viril, où se réinventent la saveur énigmatiques des
anciennes devises, des emblèmes ou imprese’ (Blaise Gautier).
The guest-book covers a period from 1960 to the mid 1980s, and
particularly the Pompidou exhibition, and including cuttings and
ephemera, a wide array of photographs, two letters from Blaise
Gautier (who wrote a blurb of Boaretto for the Pompidou
exhibition) and one from the photographer Lucien Clergue, a
card with an original drawing by Jean-François Ozenda, and an
invitation (with an original print) to a 1974 exhibition of
Boaretto’s work at the bookshop of Cécile Eluard.
The guest-book also features tributes and signatures from, among
many 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 Lord
Pagett 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 and
signed by various signatories; some light foxing, a little staining to blank leaves at end; well preserved in
contemporary stiff vellum; somewhat rubbed and marked; some modern pencil notes identifying some of the
signatories.
£650
A unique snapshot of some of the leading figures in Burton upon Trent, East Staffordshire, in 1769, this manuscript
contains 94 entries in which Burton residents acknowledge themselves to be the tenants of Henry Bayley, 9th lord
Paget, heir of the recently deceased Henry, 2nd earl of Uxbridge, pay him one shilling in rent, and, in most cases, sign
their 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 the
manor occasioned the compilation of this manuscript on 30 November 1769, when he collected the tidy sum of 4
pounds 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 are
local brewers. The most famous are William Bass (1717-1787) and William Worthington (d. 1800), founders of the Bass
and Worthington brewing dynasties. Bass moved to Burton around 1756 to work as a carrier, only turning to brewing
in 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. Other
important 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 of
Holy Trinity, Burton; Abraham Hoskins (d. 1804), lawyer, high bailiff of Burton, director of the Burton Boat Company
which leased shipping rights on the river Trent from lord Paget, and builder of the folly Bladon Castle, whose
daughter married into the Bass family; and Christopher Ley (d. 1779), surgeon and apothecary, who is recorded as
working as a man-midwife in the mid-1750s. The other signatories include brick makers, a grocer, a miller, farmers, a
spade 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 on
several occasions by the blind Lichfield poet, Priscilla Pointon, published in Birmingham the year following the
compilation of this manuscript.

9. [BRITISH EMPIRE SHAKESPEARE SOCIETY.] ‘“Mr. Wu” and Much Ado
About 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 7
inches (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 preceding
both 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 x
30.2cm.).
£200
An album illustrating scenes from Much Ado About Nothing – performed in collaboration with
the 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 to
fully portray the costume, props and character portrayals. The Shakespeare performance was
made 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 here
was the Property Mistress for the productions, as well as playing Ursula (Much Ado) and Hilda
Gregory (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 four
nights with original costumes and scenery from the Strand Theatre, London.
The British Empire Shakespeare Society was founded in 1901 by Greta Morritt with the
objectives 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 the
language 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 the
pagination; pp. 62-3 are an advertisment, p. 64 is a paginated blank; slightly dusty and
thumbed but a very good copy in contemporary black morocco, gilt.
£325
First and only edition of a delightful microscopic almanac, engraved throughout and with 25
pages 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 22 nd to
Aug st 6 th , 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 front
paste-down, all excepting a handful captioned below and initialled above in ink, some album pages titled; in a plain orange cloth
album with ‘Sunny Memories’ embossed in gilt on upper cover; spine repaired, cover rubbed and dustsoiled, large 4to (32.5 x 28
cm).
£850
An entertaining and intimate series taken by the Duchess of Bedford and others during a summer cruise with the Duke and son
Hastings.
The album focuses on the jokes among the group, instead of on the common topographical views and formal portraits, alluding to
nicknames 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 various
poses with a line on the witches of Macbeth, and captioned ‘Ancient Britons’ and ‘A sea urchin (Echinus dentatus)’! Another
group portrait shows the ladies in Elizabethan, Tudor and Rococo fancy dress, while the Duchess poses as an old lady in
spectacles. But more convincing are the four images of the future Duke as the ‘Marchioness of Tavistock’ in a white dress, hat and
parasol.
The initials inked above each photo seem to be only the women’s and appear to refer to the photographer of the image; certainly
multiple lenses are indicated by the note ‘The Midnight Sun viewed by 4 different cameras’. M. Bedford holds a camera in
another series, with a couple of others on the pebbles at her feet. The thorough captioning and initialling throughout, as well as a
group portrait introducing the album, help identify the full group as: the (11 th ) Duke of Bedford, his wife Mary Russell (Duchess
of Bedford), their son Hastings “Spinach” Russell (Lord Tavistock, later 12 th 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 northern
anchorage, Torghatten and Trondheim in mainland Norway, Maarken in Holland, and Meikleour. The latter shows frolics and
face-pulling on the lawn, captioned ‘Two little sisters from Bedlam’ and ‘Lunatics at large’ and presumably represents a stopover
in 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 steampowered,
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 Reynard
d’Este, protecteur & directeur des affaires de France en cour de Rome. Depuis
l’an 1657 jusques au dernier de Septembre 1673 ... où on void tout ce qui s’est
passé 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]; woodcut
initials, head- and tailpieces; quite tightly bound, light toning, small mark to
half title of part I; a very good, attractive copy in contemporary calf, gilt fillet
border with corner fleurons to covers, spine gilt in compartments with giltlettered
red morocco labels, edges red, marbled endpapers, paper label at foot of
spine; 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 cardinal
Rinaldo d’Este (1618-1673), compiled by one of his entourage who served with
him for 16 years. Born in Modena, son of duke Alfonso III, Este was brought up
in France, entered the church, and rose quickly. Elected cardinal in 1641, he
became the leader of the French faction at Rome, the ‘protecteur de la France’ at
the papal court. Over the coming decades, Este played a tricky role in balancing
the interests of Modena, the pope, and Louis XIV, especially under the papacy of
the Spanish-backed Alexander VII. While his timidity prevented him from
scaling greater heights, there is no doubt that he played a significant role in the
European 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 le
maniement des affaires’, making him abbot of Cluny in succession to Mazarin.
The Memoires contain transcriptions of some of Este’s considerable
correspondence, including letters to Henri-Auguste de Loménie, comte de
Brienne, secretary of state for foreign affairs under Mazarin.
No copies are recorded on COPAC; OCLC notes only one copy in the US, at
Yale.

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 dem
Arbeitshause 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-marbled
paper, manuscript paper title-label on spine, all edges stained red; extremities somewhat rubbed and lightly bumped with
small 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 endpaper
giving reference to this work in the Allgemeine Deutsche Bibliothek; errata on final 3 pp. neatly struck through and added to
the text by the same early hand.
£600
First edition. Dr Edmund Vincenz Guldener von Lobes (1762-1827) is probably best known today as a municipal
physician of Vienna who, late in his career, became a legal witness in the case against Salieri, who was rumoured to have
poisoned Mozart; he had also been named a honorary citizen of Vienna for his medical services to the Viennese volunteer
corps as it was formed in the war against Napoleon in 1797. This treatise on scabies, however, represents a young
Guldener von Lobes, with a gift for observation and an engaging style, in the war against the dermatological epidemic of
scabies.
Beobachtungen über die Krätze presents observations on scabies based on cases in a Prague workhouse in 1785-88, and
addresses 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 the
historical 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 and
damp 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. On
Diseases of the Skin, 1868) was that it was ‘full of errors’: ‘even men of reputation, such as […] Guldener von Lobes, failed to
liberate themselves entirely from the views of their day, although in many respects their opinions concerning scabies were
perfectly correct’ (pp. 185 & 231, English edition). In spite of Hebra’s critical judgement, however, Beobachtungen über die
Krätze provides a particularly interesting record of medical history and the study of environmental factors that facilitate
the 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 of
the 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-press
title-page to the New Testament, dated 1658; ruled in red throughout, dusty and soiled at the
extremities, else a very good copy in an early eighteenth-century Scottish herringbone binding of black
morocco, with turnip, wheel, star and floral tools, gilt edges, silk bookmarks (three per volume), Dutch
floral 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 of
which may or may not be a Continental piracy; the present has the text ending on Ddd12 v . The BM
Catalogue calls this edition ‘spurious’, Lennox & Fry ‘genuine’ but there seems to be no clear
justification for either argument, nor for the suggestion, sometimes voiced, that it was printed at
Cromwell’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 Lord
Campden’, Exton, 20 th 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.
£250
A visual record of the guests who attended a week of lavish festivities at
Exton 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 in
both photographs.
The Coming of Age celebrations of Charles William Francis Noel, later 3rd
Earl of Gainsborough, took place at Exton Hall and the neighbouring
villages of Ridlington and Langham. Highlights of the celebrations
included a cricket match, a High Mass, and a banquet to which the tenants
of the surrounding villages were invited, preceded by games and
amusements in front of the Hall. During a visit to the Noel family’s Arms
Inn, each guest was presented with a glass of ale, brewed during the year
of Charles Noel’s birth, and at one of the feasts they were fed ‘an immense
baron of beef, supplied by Mr. T. Pollard, of Stamford, and weighing
between 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 Grantham
Journal and other local publications. Much of the content of these articles
was compiled and reprinted by The Tablet, 28 th October 1871, p. 21-25,
which can be viewed online: http://archive.thetablet.co.uk/article/28thoctober-1871/21/general-news.
The ‘Miss Berkeley’ portrayed here is
likely the Augusta Mary Catherine Berkeley who would become Noel’s
first wife five years later. Noel inherited the earldom in 1881 on the death
of his father. He sold the Gainsborough art collection at a sale held by
Christie's, London on 27th July 1922.

16. MALEBRANCHE, Nicolas. Méditations
chrestiennes; par l’auteur de la Recherche de la vérité...
Cologne, Balthasar d’Egmond, & compagnie [recte Amsterdam,
Blaeu], 1683.
12mo, pp. 364, [2]; with woodcut printer’s vignette on title; a
very good copy in contemporary sprinkled calf, panelled
spine decorated in gilt, red morocco lettering-piece; spine
end a little chipped, joints starting but holding well;
eighteenth-century monastic French provenance inscription
on title, two contemporary inscriptions in Greek (citations
from St. John’s and St. Matthew’s Gospels) on front and rear
blanks.
£450
First edition, published with a false imprint (as declared in
Rahir and as transparent from Malebranche’s
correspondence). To some extent this work was ‘a follow up
to his Conversations chrétiennes (Christian Conversations),
published in 1677. In that earlier text, Malebranche
presented a defence of the Christian religion that emphasizes
the Augustinian theme of our dependence on God for
knowledge and happiness’ (Stanford Encyclopedia of
Philosophy). Here he develops the moral themes, arguing
that ‘moral virtue requires a love of the “immutable order”
that God reveals’ (ibid.). Of particular interest is Meditation
VIII. Here he attacks the view of those who – albeit through
sincere piety – believe themselves to be under ‘une
protection de Dieu toute particuliere’, discussing the notion
of ‘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 and
black, small loss to blank fore edge of Q5 and Q6, the odd spot; a very good
crisp 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 immediately
recognized as a major work, and it has remained the most popular and widely
read of his books. Its facts may have been superseded but neither its style, a
masterly succinctness, nor its matter – it is the first comprehensive philosophy
of society – have lost their value’ (Printing and the Mind of Man).
Described by Rochebilière as ‘very rare and unknown to Brunet, Quérard, or
any editor of Montesquieu’, this issue contains a number of phrases and notes
which 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 the
former 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). Bunbury
had a distinguished military and political career, was the brother-in-law of the
Whig politician Charles James Fox, and voted for the Reform Bill. He acquired
a fine library and art collection, his books being sold at Sotheby’s between 1894
and 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-back
postcards (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’ and
photographers’ credit ‘A.N. Paris’ below; some oxidation at edges.
£300
Lively caricatures of two aviation pioneers, both renowned to Parisians.
Brazilian Santos Dumont was cheered by Paris crowds in 1901 as he crossed
the 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 Tower
in under half an hour in his dirigible aircraft, after a previous failed attempt
and several trials. In 1909 the Comte de Lambert – the first person in France
taught 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 artist
César 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 photographs
are unusual in comparison to the majority of their commercial output in both
process – not the halftone lithography commonly found – and content –
contrasting from the seaside figures, patriotic First World War views, and art
reproductions 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 of
title, list of subscribers, and final few leaves, very occasional small marks, else a
very good copy in contemporary calf, flat spine with gilt-lettered black morocco
label; 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 and
Kilruane before moving to Dublin as minster of the French church at St Patrick’s in
1737. His Essai tackles questions around the body and soul, sensations and
emotions, 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 promise
of an end to physical infirmities and imperfections, enhanced faculties and
sensation, superior intellectual and moral pleasures, and greater knowledge and
love of God. In his preface Villette acknowledges his debt to the natural
philosophers Thomas Burnet and William Whiston. The subscribers to the Essai
included George Stone, archbishop of Armagh, and Robert Jocelyn, Baron
Newport, the Lord Chancellor of Ireland. An English translation was published in
Bath 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 Francis
Hutcheson, disagreeing with him on questions of aesthetics by arguing that
judgements 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 [in
preparation for sewing] and traces of glue across spine; historical vertical crease from folding in
half, lightly creased, outer ll. very lightly marked, generally a good copy; provenance:
manuscript name ‘Wellington’ on title, presumably to identify work when previously bound in
a Sammelband.
£250
First and only edition. This collection of letters, despatches and memoranda from the
correspondence of Arthur Wellesley, 1st Duke of Wellington, dates from 28 February 1828 to 15
December 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 the
letters are addressed to George Hamilton-Gordon, 4th Earl of Aberdeen, who had become
Wellington’s Foreign Secretary in 1828, and they document world history as well as
Wellington’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 brought
to an end the Russo-Turkish War of 1828-1829. The title carries, as an epigraph, a quotation
from the Earl of Ellenborough, first used in 1829 and repeated by Gathorne Hardy in the House
of Commons on 16 February 1877: ‘The Ottoman Empire stands, not for the benefit of the Turks
but of Christian Europe; not to preserve Mahomedans in power, but to save Christians from a
War 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 last
Russo-Turkish War (1877-1878), which had broken out in April 1877 and would end in 1878
with 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 lightly
soiled, with wear to spine ends and corners, spine lettering
overwritten in pen; later gift inscription to front free endpaper, and a
manuscript note loosely inserted.
£1500
First edition; number 85 of 1000 copies printed. Wilde’s best-known
play, an entertainingly witty farce, mocking the conventions of
Victorian society.
The inscription is from the writer Kay Dick to the novelist Brigid
Brophy and her husband Michael Levey (art historian and Director
of the National Gallery), and reads, ‘A Christmas token for Brigid
and Michael with my love – Kay / 1968’. The note similarly
accompanies the gift.

ANIMAL MAGNETISM:
MESMERISM IN THE EIGHTEENTH AND NINETEENTH CENTURY
RAYMOND DE SAUSSURE’S COLLECTION
Mesmerism: a multifaceted social phenomenon with a lasting influence
When in February 1778 Franz Anton Mesmer arrived in Paris and began divulging
his notion of a fluid pervading all bodies, which was to be manipulated for the cure
of several disorders, the reaction of contemporary society was as remarkable as it
was polarized. From devoted followers and disciples to staunch opponents of the
theatrical ‘cult’ far removed from the orthodoxy of established medical bodies,
countless men of science, of philosophy and of polite society manifested stronglyheld
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 animal
magnetism (a synonym of mesmerism), evidencing that, particularly in the works of
such disciples as Bergasse and Carra, the notion of man as a naturally social creature
living in perfect harmony with nature in an ideal primitive state would have
pervaded contemporary readership far more effectively than Rousseau’s Social
contract, 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 Romantic
sensibilities, mesmerism and its related early studies of hypnotism and
somnambulism are in fact at the origins of psychiatric, neurological and
neuroscientific concepts which developed in the era of psychoanalysis.
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 have
direct bearing on the collection of books on animal magnetism which he assembled
and which we offer here: Mesmer et son secret, 1971, and, with Léon Chertok, La
Naissance du psychanalyse, de Mesmer à Freud, 1973. The collection we offer gathers
the direct sources for Saussure’s research, and the pencil marks or notes he left in
the books stand as particularly interesting pointers towards the dynamics by which
what many consider to have been a ‘fad’ in fact carried the foundations of a
scientific discipline which has changed the way humanity describes itself.
Raymond de Saussure
Raymond de Saussure, the son of the linguist Ferdinand de Saussure, underwent
analysis first with Sigmund Freud, then, having acted as founding member of the
Paris Psychoanalytic Society, with Franz Alexander at the Berlin Psychoanalytic
Institute. After a few years spent in New York during and after the Second World
War, he returned to Switzerland and in 1955 co-founded the Geneva Museum of the
History of Science. He was then co-founder of the European Psychoanalytic
Federation with Wilhelm Solms-Rödelheim in 1966, and served as its president until
his death in 1971. Saussure’s passion for the history of his subject and the collection
of its primary sources was particularly manifested in his collaboration in the set-up
of the Abraham A. Brill Library of the New York Psychoanalytic Society and
Institute, perhaps the largest psychoanalytic library in the world.
Saussure’s published work is a testament to his dedication to the study of the

The collection consists of around 140 titles spanning chronologically over
about 150 years, from the initial flurry of publications produced in 1784 during
and after the Royal Commission’s enquiry into Mesmer’s practices, to the
‘revival’, in a more modern key, of ‘magnetic’ phenomena in the nineteenth
century, with the documenting of psychological conditions such as dual
personality and somnambulist, and theories exploring the power of mind over
body through suggestions.
Ferdinand de Saussure and mesmerism
A further, tantalizing level of interest is the relation between Raymond de
Saussure’s dedication to the subject of mesmerism and the complex ‘affinity’
that his father Ferdinand de Saussure, the celebrated father of modern
linguistics, nurtured for phenomena related to animal magnetism.
Traditionally portrayed as the man who brought linguistics and semiotics in
line with modern epistemology, Saussure in fact often transcended the
boundaries of categorical reasoning. Very recent studies of the immense
corpus of Saussure’s unpublished archival material, in particular the work of
Boris Gasparov which concentrates on examining Saussure’s intellectual
heritage, show that Saussurean notions of cognition and language are to be
linked to early Romantic theories of cognition and the transmission of cultural
memory. Gasparov (Beyond pure reason: Ferdinand de Saussure’s philosophy of
language and its early Romantic antecedents, Columbia Press, 2013) notes, for
instance, Saussure’s affinity with late mesmerism and his interest in acceding to
subconscious phenomena of the mind for the explanation of linguistic
phenomena such as the invention of anagrams.
Though it is impossible to fathom to what extent Ferdinand de Saussure’s
curiosity for the world of the subconscious prompted or informed Raymond’s
own endeavours and his collecting habits, it is certainly stimulating to follow
the lead of new research on Ferdinand and be able to access a body of works
which his son assembled and in which – we now know - he himself would
have found inspiration. The collection we offer has not been on the market
before, and comes by descent from the estate of Raymond de Saussure.
Raymond de Saussure’s collection on animal magnetism
Together £30,000

Recent Lists:
2016/3 California Fair List
2016/2 From the Library of Robert Ball: Part II
2016/1 Human Sciences
2015/9 Early Drama
Recent Catalogues:
1433 English Books and Manuscripts
1432 Continental Books
1431 Travel & Exploration, Natural History