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Jonathan A. Hill, Bookseller Inc.


Manuscript scroll (193 x 6845 mm.), on paper, written & illustrated on each side, depicting 199 pairs of diseased eyes painted, in brush with black, gray, and red wash, copper or bronze roller

EYE DISEASE SCROLL [Japan: late Edo]. In the tradition that was so prevalent in Japanese medicine, medical techniques and treatments were kept in manuscript in order to keep them secret (hidensho or confidential teaching texts) and passed on to students through lectures and brief demonstrations. This remarkable scroll, which depicts nearly two hundred pairs of diseased eyes, is such an example. It is very much in the tradition of the famous Majima school of ophthalmology, which was founded in the 14th century. Eye diseases were common in Japan in the pre-Edo and Edo periods, due to malnutrition and infectious diseases. This is clearly a scroll prepared by a master doctor and is derived from Chinese medicine. The first group of images of eyes depicts broad general symptoms of eye diseases including cataracts, inflammation, etc. This is followed by two pairs of eyes, the first showing the structural relationship of the eye to the "five wheels" (the five main internal organs: heart, lung, liver, kidney, and spleen), a theory that originated in the Song dynasty. The second shows the relationships to the body’s "eight boundaries." From changes of the "five wheels" and "eight boundaries," diseases and the necessary therapy may be deduced. Following this is a series of illustrated case studies of diseased eyes; some the doctor himself observed and others "were told to him" by other doctors. The next is a series of pharmaceutical recipes that include such materials as gypsum, camphor, deer musk, herbs, ground oyster shells, mint, orange rinds, rhubarb, horns of animals, talc, beeswax, etc. This pattern of case histories and medical recipes is continued on the inner side of the scroll. There are a total of eleven recipes. The doctor had much more to relate and has used the entire outer side of the scroll as well. Here, below the illustrations of the pairs of diseased eyes, the descriptions are much longer, with details on the health condition of the patient, symptoms of the eye disease, the pharmaceutical preparations used, the course of treatment, and results. Some of the eye diseases depicted in this scroll include cataract, glaucoma, corneal opacities, and blepharitis. In fine condition. The are several careful patches and strengthening to a few parts of the scroll.

Scroll on paper (300 x 6060 mm.), with 21 finely painted "scenes" of groups of foreign people, silk brocade endpaper at front, wooden roller, carefully & recently backed

FOREIGNERS SCROLL, Images of [Japan: after 1805]. This scroll is part of an important tradition and genre in Japan, the bankoku jinbutsu zu ("people of the world illustrated"). In spite of the country’s policy of isolation (sakoku), the intelligentsia of the country were quietly fascinated by foreigners and the rest of the world. Our scroll contains 21 scenes depicting 45 people, all finely hand-painted in rich colors, of foreigners from around the world. Each scene depicts an adult man and woman. All are clothed in their native dress. The images are all extremely well painted in various pigments and also employing gold. They depict people from "Abirika" (America), "Kobito hochiya" (land of the small people), "Oroshiya" (four men in uniforms from Russia), "Taniya," "Onkariya," "Itaria" (Italy), "Serumaniya," "Furansu" (France), "Oranda" (Holland), "Ingiria" (England), "Sarumo," "Aroren," "Kanarin," "Agareka," "Harajiiru," "Boroniya" (Bologna), "Chojin chiika" (land of the tall people), "Mosukoubiya" (Moscow?), "Gontauriya," "Kafuri," and "Hiritaniya." Each scene is annotated in a contemporary hand. We can give a "not before" date to this manuscript based on the note preceding the images of the Russian military men, which describes an event that took place in 1805. Fine condition, with a few repairs to the paper, occasionally touching an image.

Illustrated manuscript scroll on paper, with a number of paintings in brush & wash of various colors

COAL & GAMPI) Scroll (255 x 1440 mm.), decorated endpaper at beginning. At end, in trans.: "Matsumoto, Nagano Prefecture, borrowed from Kanzaemon Oba & copied by Fujiwara, at age of 83, working under the fiefdom lord Mizuno, 1862." A most unusual scroll. The beginning of this scroll provides a detailed and highly technical explanation of the early history of the exploitation of coal in China and Japan, with descriptions of the different grades of coal. The author has provided information on how coal was located and mined, the mining tools used, how to excavate mines, techniques to control flooding of the mines, etc. This is followed by finely drawn paintings of a mountain with coal deposits, the entrances and tunnels, methods of making the tunnels secure, various mining equipment (including baskets, picks, barrels), wagons to transport the coal within and outside of the coal mine, a female miner taking a bath, etc. There is an inscription at the end of this section in which the author relates the best areas for coal mining (Yonezawa, Tazawa, and Tamaniwa). The second part of this scroll makes a dramatic shift to the plant gaube (otherwise known as gampi), which is used to make high-quality washi paper. There is a fine illustration of the plant. Paper (known as gampishi) from this plant repels insects and therefore has always been an important commodity. This is followed by a commentary in which the author discusses a late 17th-century washi papermaker, Tokube, in Harima Province, who made presents of his fine paper to the Jurinji Temple. Also provided are recipes for making the washi paper from the inner bark of the gampi plant, along with pulp from the mulberry plant (kozo). There are instructions on the techniques of making sheets of paper. The author writes that there are three countries with a tradition of making fine paper in various colors and qualities: Thailand, China, and Japan. In fine condition.

From spine label]: "Catalogue de la Bibliothèque de Montceaux." Manuscript on paper (watermarks: "D & C Blauw" & "Adriaan Rogge"), written throughout in one fine calligraphic hand in black ink; section headings, notes on faults, & item numbers written in red ink; manuscripts highlighted in green ink; collections of prints highlighted in light brown ink; each leaf within a red ink frame

VICHY, Abel Claude Marie Marthe, Marquis de 476 numbered pages plus a number of blank leaves. Large thick folio (465 x 290 mm.), orig. red morocco (first signature a little sprung), triple gilt fillet round sides with gilt fleurons in each corner, flat spine richly gilt, spine divided into seven compartments, second compartment with title "Catalogue de la Bibliothèque de Montceaux," a.e.g. N.p.: n.d. [but the most recent book we find is 1784]. An important discovery: the large and impressive manuscript catalogue of the notable provincial library of Abel Claude Marie Marthe, Marquis de Vichy (1740-93), soldier, amateur scientist who was deeply influenced by the philosophes, and philanthropist. His library, which was kept at the Chateau de Montceaux-l’Étoile near Autun in Burgundy, was a large (3396 entries) and fine collection. There are a number of early and later illuminated books of hours and missals; 16th-century books; a rich collection of texts by the philosophes (plenty of Voltaire, Rousseau, Diderot, including the Encyclopédie, etc.); a fine collection of 18th-century science, particularly natural history; and belles lettres (wonderful collections of poetry, novels, and theater). The majority of the printed books are 18th century, but there is a good sprinkling of 16th- and 17th-century books. There is a surprising number of manuscripts. The collection was clearly both bibliophilic and practical and that of an educated and curious man. This manuscript catalogue is accompanied by a collection (see below) of invoices and correspondence with regional booksellers detailing offerings to the Marquis. This kind of documentation rarely survives from the 18th century. The Marquis de Vichy enjoyed considerable inherited wealth, which he spent on his chateau and properties, his library, and local philanthropic activities. He readily adopted the ideas and optimism of the philosophes and encylopédistes, was a member of the Freemasons, and believed in the theories of Mesmer. Vichy had considerable interest in contemporary science, especially botany and chemistry, and established a laboratory at the Chateau de Montceaux (some of his chemical apparatus is preserved in the nearby Musée de la Tour du Moulin at Marcigny). Following the death of his wife and with his two sons grown, Vichy sought adventure and volunteered to serve in 1785 as natural historian to La Pérouse, who was then making preparations for his famous and ultimately doomed voyage around the world. La Pérouse rejected him, and Vichy thereby avoided shipwreck and death in the Pacific. But Vichy suffered a different and equally premature ending, being executed by revolutionaries in October 1793 during the Siege of Lyon. His library was dispersed, and his chateau was sold and eventually demolished. This manuscript is the only record of this encyclopedic library, which was well known in its time. It is arranged according to De Bure’s classification system. The catalogue is beautifully written in one calligraphic hand. Most of the text is written in black ink, the item numbers and bibliographical comments in red ink, manuscripts denoted in green ink, and collections of prints in pale brown ink. I have never seen this sort of solution to distinguish in such a succinct fashion the various types of materials within a library. It works rather well. The cataloguer/scribe was clearly an expert in bibliographical matters, and the descriptions of each book are uncommonly full and precise. From time to time, there are excellent descriptions of the bindings, which is most unusual for an 18th-century private library catalogue. Within each section, the books are arranged alphabetically by title or author, with extended titles, place of publication, publisher, date of publication, number of volumes, format, and, oftentimes, binding. Defects of books (several are lacking volumes) are noted in red ink. Accompanying this remarkable catalogue is a collection of correspondence and invoices from booksellers to the Marquis de Vichy. These are very rare kinds of survivals and demonstrate how Vichy selected books: 1. 22 autograph letters, one receipt, one invoice, and one list of books from the bookseller and publisher Delivani (or Livani) of nearby Chalon sur Saone, 1785-89. The letters deal with orders of books, shipments, etc. In many cases, Vichy has written a summary of his reply on the letter. We learn from one letter that in 1789, Delivani sent bi-weekly offerings of new and recently acquired books to the marquis. Delivani is not listed in the BnF’s Catalogues de Libraires 1473-1810. 2. Two autograph letters from the bookseller Perisse of Lyon, both 1779, regarding orders, recently issued books, etc., and one very detailed 7-page invoice, listing about 140 books with their prices, dated 1777. 3. Two invoices from the bookseller Frantin of Dijon, each dated 1777. 4. Seven further invoices and lists of books from other booksellers. In fine condition. ? See J.B. Derost’s "Abel-Claude-Marie-Marthe de Vichy (1740-1793)" in Bulletin de la Société d’Études du Brionnais (1939)-available on-line.

Quan ren ju yue [The Model for the Perfect Man]

GÜTZLAFF, Karl Friedrich August 1 p.l., 30 folding leaves. Title printed on yellow paper. 8vo, orig. wrappers, new stitching. Singapore: Jian xia shu yuan [American Board Mission Press], 1836. First edition of this early book printed in Singapore (it is the earliest Chinese book printed in Singapore in the National Library of Singapore’s collections). The Mission Press was established in that city in 1823 and, in its early years published mainly works in English. The author of this work, Gützlaff (1803-51), was a German Lutheran missionary to Batavia, Thailand, Hong Kong, and China. A controversial figure, he made trips along the Chinese coast and nearby areas to preach and distribute tracts, even though this was against Chinese law at the time. Gützlaff had a natural facility to learn languages, including Chinese, Hakka, and Malay, and had some knowledge of Thai, Japanese, and the language of the Cambodians. His skill at languages enabled him to serve the British government on several diplomatic missions. In order to raise funds for his missionary work, Gützlaff also worked as a translator for a British company selling opium to the Chinese. This attracted much criticism from other missionaries. Gützlaff wrote this religious work under his pen name, "Aihanze." It was published by the American Board of Commissioners for Foreign Missions in Singapore, for distribution throughout Chinese-speaking Asia. The publication focuses on the Sermon on the Mount, a collection of Jesus’s teachings from the Gospel of Matthew, followed by an exposition of the passages. It was an attempt to integrate Jesus within the concept of the Confucian ideal. Fine copy.

From the title]: Shintei gyuto kiho; [from the Preface]: Shintei toshu kiho; [Methods of Small Pox Vaccination, newly revised]

HIROSE, Genkyo, ed One double-page woodcut & two single-page woodcuts. 18 folding leaves. 8vo, orig. blue wrappers (rather faded & tired, some repaired worming to the text touching a few letters), orig. block-printed title label on upper cover (label faded), new stitching. Kyoto & Edo: Jishudo, 1849. Following the general introduction of vaccination by Edward Jenner, the practice spread widely, and it was warmly received by the Chinese. The first tract on vaccination in China was prepared by Alexander Pearson, a surgeon to the East India Company, and was based on Jenner’s books. It was translated into Chinese by Sir George Staunton and published in Canton in 1805 as Yingjili-guo Xinchu Zhongtou Qishu [Novel Book on the New Method of Inoculation, Lately out of England]. There were numerous editions in China and Keisuke Ito published a version in Japan in 1841. This is the first edition to be edited by Hirose (1821-70), a physician trained in the Dutch tradition of medicine and a prolific translator of Dutch medical works. It is printed in Chinese, with Japanese reading marks, and contains Hirose’s Preface, a summary of the practice of vaccination, Pearson’s translated text, and numerous notes by Hirose added to the text. Hirose issued the book to ensure that the newly introduced method of vaccination was correctly performed in Japan. The fine woodcut illustrations depict the vaccination knife, the doctor removing material from lesions of one patient and inoculating another patient, and containers for storing the virus. >P> This is a very rare book; WorldCat locates one copy outside of Japan. Very good copy. One leaf is a little soiled and a modern annotator has made several careful notes on several pages in both black and red ink. ? Mestler, A Galaxy of Old Japanese Medical Books, Part 1, p. 323. Needham et al., Science and Civilisation in China.Medicine, Vol. 6, Part VI, pp. 149-53.

Manuscript map (875 x 1210 mm.), on eight joined sheets of paper, depicting the salt evaporation fields at Minamata in Kumamoto Prefecture in Kyushu. Brush & color washes

SALT EVAPORATION FIELDS [Minamata: late Edo]. All salt in Japan has traditionally come from sea water. For many centuries, salt production has been an important activity throughout Japan, and salt has always been of great cultural and gastronomical importance. This most attractive map depicts the salt evaporation fields at Minamata in Kumamoto Prefecture. At the time this map was prepared, the traditional, and extremely labor-intensive, "agehama" method of extracting salt from sea water was still being used. In this map, the salt fields are located next to the ocean, separated by man-made embankments. An inlet has been built to allow a controlled amount of sea water to enter a salt-water pond abutting the salt fields. The salt fields have flat clay bases with surrounding raised borders. In the spring, the field is covered with sand and then sprinkled with sea water, laboriously and regularly carried from the adjacent salt-water pond for several days. The salt from the water is caught on the sand, which is regularly raked to facilitate drying. Eventually the salt-saturated sand is piled into a wooden frame and rinsed with more sea water, which is caught in buckets beneath the frame. The rinsing water, containing the concentrated salt, is carried to huts containing cauldrons on the surrounding higher ground. The water is then slowly boiled away, leaving only the sea salt. Our map depicts the salt fields at Minamata, each individually owned (with owners’ names). We see the houses of each salt-making family (all are labelled with the families’ names) and the huts that contain the boiling cauldrons of sea water (with smoke from each wafting into the distance). A "shiogama daimyojin" (a shrine) is next to the salt fields. A local government office building is off to the side. On the verso of the map is an old pasted label stating, "Minamata tenaga.shin shiohama" ("Minamata new salt fields"). Today, salt making by the "agehama" process takes place at only one location in Japan: the Okunoto salt farm on the Noto Peninsula. In bright condition. There is some worming to the map but we do not find it offensive. There is also some losses of paper at several of the folds.

Catalogue d’une très-belle Collection de Tableaux de différens grands Maîtres des trois Ecoles, rassemblés par un Artiste: Dont la Vente se fera le Lundi 11 Janvier 1773, & jours suivans.Par Fr. Basan

AUCTION CATALOGUE: BASAN, François, expert 30 pp. 8vo (180 x 115 mm.), 19th-century calf-backed paste-paper boards (spine rubbed), spine gilt. Paris: Basan, 1773. A quite scarce sale catalogue, which very possibly presents a number of the earliest paintings imported by the emerging expert Jean Baptiste Pierre Lebrun (1748-1813), from the Low Countries. Lugt records the consigners as "Favre, peintre à gouache" and "Lebrun." "Favre" is also noted in this copy on the page facing the title-page. Under the auspices of Basan (1723-97), one of the pre-eminent dealers of the time, Lebrun likely consigned pieces that he had acquired on a buying trip. Basan writes in the preface (in trans.): "The Artist who offers to the public the paintings for which I give details afterwards has just made a voyage to Holland and Flanders, where he purchased the mentioned paintings, and desiring to rid himself of them all, decided to make an auction of them." Lebrun specialized in Northern Old Masters and sought to revive underappreciated and forgotten artists, such as Vermeer and Holbein. It should also be added that, according to a list of his public sales printed in 1784, Lebrun organized auctions in 1772 and 1774, but not 1773, the year of this auction. The present catalogue describes 91 lots of paintings and six lots of bronze sculpture. The paintings include work by Dow, Solimena, Metsu, Frans van Mieris, C. Netscher, Ter Borch, Lairesse, Rembrandt, Rubens, Jordaens, A. van Ostade, Brouwer, N. Berghem, J. Steen, Wouwerman, A. van de Velde, Asselijn, Bakhuizen, Wijnants, C. Poelemburg, Ruysdael, Vermeer (here "Vander-Meer"), F. Hals, S. Bourdon, F. Boucher, J. Vernet, Fragonard, etc. Each lot is presented with measurements and a concise description of the contents. Lebrun’s preference for Northern paintings and expertise shine through as one reads the descriptions. Very good copy, with no example in North America. Engraved bookplates of Louis de la Forets, comte d’Armaille, and [H]enry [Pannier] on the front paste-down. ? Lugt 2097. Francis Haskell, Rediscoveries in Art: Some Aspects of Taste, Fashion & Collecting in England & France (1976), p. 21-"With hindsight we can see that Lebrun was doing something whose implications were even more revolutionary than he himself probably realized. He was the first connoisseur to break with the prevailing habit of trying to attribute as many pictures as possible to the great and established names and to insist instead on the value of rarity and unfamiliarity.".

Notice de Tableaux par Dietricy, Roos, de Roy, Schuz, le Bourdon, Francisque, Coypel, Swebach, Schmid et autres; Estampes de Volpato, Morghen, Lempereur, Avril, etc. Riches Vases, Pendule à figures, très-forts Candelabres, Girandoles et Feux en bronze doré, Lustre et Lanterne en cristal, beaux Meubles en bois de citron et d’acajou, et autres objets de curiosité: du Cabinet de M. *** [written in cont. manuscript]: "Cerf-Berr." Par Franç. Léand. Regnault. Cette Vente se fera le Mercredi 10 et le Jeudi 11 Brumaire an XII [2 & 3 November 1803]

AUCTION CATALOGUE: [CERF-BERR or CERFBERR, Herz]) 8 pp. 8vo (195 x 125 mm.), modern aubergine cloth (head of spine a little chipped). Paris: Regnault & Dufossé, 1803. A very rare sale catalogue offering a choice collection; no copy in North America. On the title-page, a contemporary annotator has added "Cerf-Berr." Cerf-Berr (1726-93), was an important figure in the emancipation of the Jews in France. He was born "Hirtz de Medelsheim" and had a lucrative trade selling horses to the French military during the Seven Years’ War. As an important supplier, he met the duc de Choiseul, the secrétaire d’Etat aux Affaires étrangères. Choiseul helped him move to Strasbourg and then facilitated his naturalization as a French citizen in thanks for his services to the nation. Cerf-Berr became the syndic général of Alsatian Jews in 1765 and was instrumental in the eventual acceptance of Jews as French citizens. Cerf-Berr inspired Balzac’s character baron Jean Baptiste d’Aldrigger, a financier in La Comédie humaine. A total of 47 lots are detailed, including prints by G. Volpato, R. Morghen, Lempereur, Boilly; vases; highly ornate clocks; chandeliers; and many other decorative pieces. The paintings are listed with dimensions. Many of the artworks described in this catalogue are by Alsatian and German artists – e.g., J. J. Schmid, Franz Schüz (or Schütz), J. Roos, and Charles Wilhelm Ernst Dietrich. Nice copy. In the characteristic aubergine cloth binding of the Bibliothèque Heim, with stamp of same on verso of title. The Getty has only a photocopy. ? Lugt 6704. Biographie alsacienne-lorraine (1879), p. 58.

Notice de Tableaux des Différentes Ecoles, Figures et Groupes en Bronze, Curiosités en Agate, Cristal de roche, Ivoire, et Bijoux d’or, Instrumens de Physique, Bons Livres, Corps de Bibliothèque en acajou, etc. Le tout provenant du Cabinet de M. F. [added in cont. manuscript]: "ouquet" Dont la Vente aura lieu le Jeudi 11 Pluviose an XIII [31 January 1805], et Jours suivans.

AUCTION CATALOGUE: [FOUQUET, -]) 24 pp. 8vo, early 19th-century marbled boards (spine a little scuffed), title on spine. Paris: Paillet, Thierry, Sylvestre & Haring, [1805]. A scarce auction catalogue of an eclectic sale administered by Alexandre Joseph Paillet (1743-1814). A contemporary annotator has furnished the consigner’s last name on the title-page. This catalogue details 123 lots: 69 paintings (by Conca, Lafosse, de Troy, Boullogne, Landon, Marguérite Gérard, Le Nain, D. Teniers, Seghers, Bril, J. van Goyen, Poelemburgh, Wouwerman, etc.); eight bronze sculptures; twelve lots of vases and curiosities; eight instruments, including a phantasmagoria, "belle machine pneumatique," "machine électrique," a Magdeburg hemisphere, and a Leyden jar. The final 26 lots consist of books and fine mahogany furniture from the library. Nice copy of a rare and curious catalogue. We locate no example of this catalogue in North America. The Getty has only a photocopy. Engraved bookplate of the art dealer Georges Pannier (1853-1944), and stamp of the Bibliothèque Heim in the usual location. ? Lugt 6892. JoLynn Edwards, Alexandre Joseph Paillet: Expert et marchand de tableaux à la fin du XVIIIe siècle (1996), p. 318.

Réflexions sur la Peinture et la Gravure, accompagnées d’une courte Dissertation sur le Commerce de la Curiosité, et les Ventes en général; Ouvrage utile aux Amateurs, aux Artistes et aux Marchands.

JOULLAIN, François Charles 4 p.l., 228, [4] pp. Small 8vo (160 x 95 mm.), cont. calf-backed marbled boards (head of spine a little cracked & vellum lettering piece a little chipped). Metz: Claude Lamort, 1786. First edition of an important guide to the Parisian art market, written by one of the leading dealers of the latter half of the 18th century. Joullain (ca. 1734-90), the son of a successful engraver and art dealer, organized a number of famous art sales such as those of the Marquis de Marigny, the Marquis de Lassay, Gabriel Huquier, and Philippe Coypel. This work is a comprehensive update to his Répertoire of 1783, which functioned as an index of illustrious provenances. The present work also includes a general introduction to painting, engraving, and art auctions. Both books were groundbreaking and validating the research of provenance and its influence on prices. Joullain was one of the few 18th-century dealers to publish introspective analyses of their field and the art world. The first 96 pages consist of a history of painting and engraving, in which Joullain discusses various methods and techniques, followed by concise biographies of celebrated engravers, highlighting their specialities and the value of their work. The rest of this book describes the workings of the art market from the perspective of a dealer, with observations on auctions, the sale of curiosities, and collecting as a passion. Some comments are quite bitter: "The inconsistency of amateurs, wealth incompatible with ideas of expenditure relative to luxury, plans of speculation, blind and betrayed trust, tastes replaced by others, such are the causes of which have multiplied sales and enslaved curiosité to whims." Joullain frequently mentions the great collectors of the time, many of whom were his clients, and describes their cabinets of art and natural history. Recent auction prices for paintings and engravings are cited to demonstrate the growing significance of provenance. Finally, there is a list of the auction catalogues Joullain deems the most important in their respective specialties. A nice copy of a pioneering work in the history of art and provenance research. ? Provenance: An Alternate History of Art (2012), eds. Gail Feigenbaum & Inge Reist, pp. 94-98.

Catalogue d’une belle Collection de Tableaux, et Bustes en marbre. Dont la majeure partie provient du célèbre Cabinet de.vendue le 22, & jours suivans. Par F.C. Joullain fils

AUCTION CATALOGUE: LASSAY, Armand de Madaillan de Lesparre, Marquis de) 36 pp. 8vo, late 19th-century green morocco-backed marbled boards (extremities a little worn), title on spine. Paris: Joullain, 1775. A rare sale catalogue describing an impressive group of paintings. Lassay (1652-1738), known as the "Don Juan du Grand Siècle" due to his dissipated personal life, was a man of letters and supporter of the libertines. His son, Léon de Madaillan, the comte de Lassay (1683-1750), commissioned the construction of the Hôtel de Lassay, now the residence of the president of the Assemblée nationale. Charlotte Guichard has written that unscrupulous experts continued to employ the Lassay family name to promote sales decades after their deaths, even when little to nothing in the sale had actually belonged to them. This catalogue details 84 lots, all but one are paintings. The paintings include the work of Parmigianino, Albani, Caravaggio, Castiglione, A. Locatelli, J. Brueghel, Bril, Teniers, Jordaens, Rembrandt, F. Bol, Asselijn, Huysum, Callot, N. Poussin, Claude Le Lorrain, Le Nain, E. Le Sueur, Bourdon, B. Boullogne, J. Parrocel, Le Moine, Lancret, etc. Nice wide-margined copy. Foxing to final few leaves. As usual, not bound with the supplement of 12 pages. Engraved bookplate of [H]enry [Pannier] (1853-1935), the Parisian art dealer, and stamp of the Bibliothèque Heim on verso of title. ? Lugt 2413. Guichard, Les Amateurs d’Art à Paris au XVIIIe siècle (2008), p. 109.

Catalogue des Tableaux précieux, des plus grands Maîtres des Ecoles Flamande & Hollandoise; qui composaient le Cabinet de Monsieur le Duc de la Valliere; dont la Vente se fera.le Mercredi 21 Février 1781, & jours suivans.Sous la direction de A. Paillet, Peintre

AUCTION CATALOGUE: LA VALLIERE, Louis César de la Baume Le Blanc, duc de) 48 pp. 8vo (180 x 130 mm.), attractive antique marbled boards. Paris: Delaville & Paillet, 1781. The auction catalogue of 114 paintings belonging to the Duc de la Vallière (1708-80), one of the greatest bibliophiles of the 18th century. This copy is fully priced, with most buyers’ names added in a contemporary hand. In addition to his fervent book collecting, La Vallière amassed an impressive collection of Italian and Northern school paintings, described here. The present catalogue details 114 lots of paintings and a lot of two porcelain candle-stands. The paintings include the work of Raphael, Veronese, Tintoretto, Jordaens, Teniers, Rembrandt, Dou, Wouwerman, G. & T. Netscher, Metsu, van Ostade, A. and P. van der Werff, Steen, Cornelis Bega, Breenbergh, Poelenburgh, etc. Lot 74, Steen’s The Drawing Lesson is now at the Getty. The contemporary annotator records that important dealers (Lebrun le jeune, Lenglier, Basan, Paillet, Delaroche, and Hamon), and collectors (Dubois, abbé Richard, Saint Yves, de Vouge, Bélisard) of the period were present at this sale. The total written at the end, 58,760 – 4 livres, does not agree with the amount noted in the Frick copy. Alexandre Joseph Paillet (1743-1814), this sale’s expert, was La Vallière’s trusted agent and organized this sale. Paillet also acted as Angiviller’s intermediary to purchase works for the Louvre. A fine copy with important provenance information. With the uncommon three leaves of vacations at end. Stamp of the Bibliothèque Heim on verso of title. ? Lugt 3221. Blanc, Le Trésor de la Curiosité, Vol. II, pp. 40-44. JoLynn Edwards, Alexandre Joseph Paillet: Expert et marchand de tableaux à la fin du XVIIIe siècle (1996), pp. 239-40.

Catalogue d’une Collection de Dessins des Trois Ecoles, Gouaches, Migniatures [sic] Estampes, et autres Curiosités. Provenant du Cabinet de M. ***, Dont la Vente se fera le Mercredi 19 Novembre 1783.Par M. Le Brun le Jeune.

AUCTION CATALOGUE: LEBRUN, [Joseph Alexandre], expert 91 pp. 8vo (190 x 125 mm.), late 19th-century purple leather-backed marbled boards (spine a little rubbed), spine gilt. Paris: Boileau & Lebrun, 1783. A very rare sale catalogue entirely composed of drawings (despite the other media mentioned in the title) organized by Joseph Alexandre Lebrun, an art dealer and the younger brother of the more famous and far more successful Jean Baptiste Pierre Lebrun (1748-1813). This copy contains a few contemporary annotations in pencil recording the successful bids of Constantin, Desmarets, and Dulac, in addition to some notes on the verso of the final printed page. It is also complete with the 15-page supplement (pp. 77-91). This catalogue describes 425 lots of drawings, including works by G. Romano, Parmagianino, Albani, Guercino, Caravaggio, Jordaens, Lairesse, Rembrandt, Weenix, J. Ruysdael, J. Steen, Wouwerman, I. van Ostade, Bega, Visscher, Both, N. Poussin, S. Bourdon, Mignard, Lemoine, De la Fosse, Watteau, C. van Loo, Bouchardon, Natoire, F. Boucher, Chardin, Fragonard, Casanova, Lagrenée, etc., etc. Fine and large copy; no example in North America. Engraved bookplate of the Parisian art dealer, G[eorges] P[annier] (1853-1944), and stamp of the Bibliothèque Heim on verso of title. ? Lugt 3630.

Catalogue des Bronzes, et autres Curiosités antiques, tant Egyptiennes que Grecques, Romaines & Gauloises; des Médailles antiques & modernes en or, en argent & en bronze; des Médailliers, & des autres effets curieux du Cabinet de feu M. De Valois.Dont la Vente se fera vers la fin du Carême de la présente année 1748 [ca. 1 April].[by Gersaint]

AUCTION CATALOGUE: VALOIS, Charles de) 22 pp., 1 leaf of "Approbation." Small 8vo (160 x 95 mm.), 19th-century calf-backed marbled boards (joints a little rubbed), red morocco lettering-piece on spine. Paris: Prault & Barrois, 1748. A rare sale catalogue of the Egyptian, Greek, Roman, and Gallic antiquities amassed by Valois (1671-1747), an early connoisseur of ancient objects, who was named antiquaire du roi. This was one of Gersaint’s final sales. "Valois was the son and nephew of great 17th-century scholars, Adrien and Henri de Valois; antiquary of the king and pensionnaire de l’Académie des inscriptions, he accumulated sculptures, ancient bronze and more than 6000 medals, many from the age of imperial Rome, brought together in his mansion on the Ile Saint-Louis."-G. Glorieux, A L’Enseigne de Gersaint (2002), pp. 378-79. The catalogue describes a total of 104 lots, with concise notes. Glorieux adds that the results of the auction were mixed and amounted to only 4316 livres. Nice copy; we locate only one in North America. Lacking the rare frontispiece mentioned by Lugt. On the verso of the title, there is a useful list of Gersaint’s catalogues since 1736. ? Lugt 685. N.B.G., Vol. 45, col. 900.

Catalogue d’une belle Collection de Tableaux des Ecoles d’Italie, de Flandres, de Hollande et de France; Dessins, Miniatures, Emaux par Petitot, Figures de terre cuite, d’ivoire, de marbre & de bronze, Vases & Colonnes de porphyre; Agathes & autres matieres précieuses; Tables rares, riches meubles de Boule, de Laques, & autres Objets de curiosité venans du Cabinet de M. Le Baron de Saint J*** [written in cont. manuscript]: "ulien." Par J.B.P. Le Brun, Peintre. La Vente s’en fera le Lundi 21 Juin 1784, & jours suivans.

AUCTION CATALOGUE: ([SAINT JULIEN, Louis Guillaume Baillet, Baron de]) 70 pp. 8vo (190 x 125 mm.), late 19th-century brown morocco-backed marbled boards, signed "A. Knecht" (tail of spine a trifle rubbed), title on spine. Paris: Lebrun, 1784. The very rare auction catalogue, fully priced in a contemporary hand, detailing the impressive and eclectic collection belonging to Saint Julien (1715-?95), man of letters and author of several books on the arts. This is the first of three sales attributed by various sources to Saint Julien (see also Lugt 3830 & 4300). Patrick Michel refers to him as one of the leading collectors of paintings in the 1770s, albeit with taste (goût canaille) characteristic of the financiers-collectionneurs desiring "lusty" paintings. In the foreword, Lebrun lauds the collector’s taste in French paintings as well as the variety of fine decorative ornaments. He also explains that although important painting sales are normally held in the winter, they chose the summer in order to attract collectors from abroad. This catalogue describes 237 lots in all, with 89 paintings (by Correggio, Veronese, Goltzius, Michaux, Fragonard, Watteau, F. Boucher, de Troy, Le Nain, Rembrandt, Lairesse, van Dyck, Ruysdael, Greuze, Chardin, etc.) and 32 miniatures and drawings. Lot 19 is Rembrandt’s portrait of Lieven Willemsz van Coppenol (now Metropolitan Museum of Art) and was bought-in. This sale also offered ornate pieces of furniture, enamels crafted by Petitot, ceramics, and sculpture, many of which are thoroughly described. Each lot is presented with measurements. Fine copy; WorldCat locates no example in North America. Title-page a little foxed. Engraved bookplate of G[eorges] P[annier], the Parisian art dealer (1853-1944) on the front paste-down. Stamp of the Bibliothèque Heim on verso of title. Two contemporary manuscript provenance notes on p. 11. ? Lugt 3749. Blanc, Le Trésor de la Curiosité, Vol. 2, pp. 95-96. P. Michel, Le Commerce du tableau à Paris dans la seconde moitié du XVIIIe siècle, pp. 270-71. N.B.G., Vol. 43, cols. 40-41 (Saint Julien).
A Discourse of Housebandrie. No lesse profitable then delectable: declaryng how by Housebandrie

A Discourse of Housebandrie. No lesse profitable then delectable: declaryng how by Housebandrie, or, rather Housewiferie of Hennes, for five hundred Frankes or Frenche poundes.once emploied one maie gaine in the yere fower thousande and five hundreth Frankes (which in Englishe money, maketh five hundreth poundes) of honest profite: all costes and charges deducted. Written in the Frenche tongue by Maister Prudens Choiselat. And lately translated into Englishe by R.E.

PRUDENT LE CHOYSELAST, -, M. Woodcut device on title. Largely printed in black letter. [32] pp. Small 4to, early 20th-cent. calf (stains to the first six leaves, upper edge trimmed touching the first two words of title & headlines of several other leaves), triple gilt fillet round sides, a.e.g. London: J. Kyngston for M. Hennynges, 1580. Second edition in English (first edition, in French: 1569; first edition in English: 1577), of this notable work: it presents the first business plan published in France. The work was very influential, with many French editions, two English editions, and a German edition of 1615. The author, Prudent le Choyselast (1530-ca. 1577), a former soldier and royal prosecutor of Sézanne in Champagne, was familiar with the devastation of the French rural economy caused by the religious wars. In this book, Prudent proposes to an impoverished friend that he create a poultry-farming company to regain his lost fortune. The friend could raise hens and roosters and sell the eggs and excess chickens in Paris. Prudent presents the concept of management and a way of calculating the profitability of the planned company in a modern style. While not the first to include "profit" in the title, Prudent goes further than any other writer of the time in emphasizing the importance of the return on investment. He considers the necessary initial cash outlay, costs of feeding the chickens and the transport of the eggs to market, managing labor and logistics, price fluctuations, etc. There is much on the care of poultry and veterinary medicine. Prudent describes the breeds of chickens, the importance of controlling and treating diseases so that the company will remain profitable, sanitary control, etc. Fine copy and an extremely rare book; ESTC locates only the BL and Harvard copies in addition to this example. A note written in ca. 1906 on the free front endpaper by Williamson of Quaritch, who was instrumental in providing many of the early printed rarities to the Lawes Library, states, "Very scarce, the only copy I have known for sale, a very valuable book. HW." Signature of "Will: Forsyth 1810" on verso of title. Signature on second free front endpaper of Harrison Weir, Iddesleigh, Sevenoaks, Kent, June, 1890, an animal painter and author. Stamp on verso of title of the Rothamsted Experimental Station. ? Fussell, "The Classical Tradition in West European Farming: the Sixteenth Century" in The Economic History Review, Vol. 22, No. 3 (Dec. 1969), pp. 547 & 550). Huzard, Notice analytique et bibliographique de l’ouvrage de Prudent Le Choyselat sur les avantages que l’on peut retirer des poules (Paris: 1830). Marco & Noumen, The First Business Plan in France of Prudent le Choyselat 1569-1612 (Saint-Denis: 2015).
A Perfite platforme of a Hoppe Garden

A Perfite platforme of a Hoppe Garden, and necessarie Instructions for the making and mayntenaunce thereof, with notes and rules for reformation of all abuses, commonly practised therein, very necessarie and expedient for all men to have, which in any wise have to doe with Hops

SCOT (or SCOTT), Reginald Numerous woodcut illus. in the text. Largely printed in black letter. 7 p.l. (first leaf blank except for signature mark), 63, [1] pp. Small 4to, early 20th cent. polished mottled calf by Riviere, triple gilt fillet round sides, spine richly gilt, red morocco lettering pieces on spine, dentelles gilt, a.e.g. London: H. Denham, 1576. Second edition, "nowe newly corrected and augmented," of the first English book on hops. The first edition appeared two years earlier; both editions are very rare. This is "an eminently practical treatise, illustrating the various methods of setting the roots, making the hills and ramming the poles, tying the bine, and its pulling up and preservation, with a number of curious cuts. It was the work of a practical man, written for practical men, and in this respect is far in advance of most of Scot’s contemporaries, who were still much interested in the superstitions of the time, and the traditional pseudo-science of the Middle Ages."-Fussell, I, p. 12. Clinch, in his English Hops, a History of Cultivation and Preparation for the Market from the Earliest Times (1919), states that in many respects "the information is as useful today as it was nearly three-and-a-half centuries ago when it was published." Scot (d. 1599), is most famous for his The Discoverie of Witchcraft (1584), in which he attacked the general belief in witchcraft and other forms of credulity and superstition, including astrology, alchemy, and Catholicism. For more on Scot and his fascinating life, see ODNB. Fine copy. Signature of T. Barling on first leaf. ? Henrey, I, p. 64 & no. 338. McDonald, Agricultural Writers, from Sir Walter of Henley to Arthur Young, 1200-1800, pp. 34-36.
Most Approved

Most Approved, and Long experienced Water-Workes. Containing, the manner of Winter and Summer-drowning of Medow and Pasture, by the advantage of the least, River, Brooke, Fount, or Water-prill adjacent; there-by to make those grounds (especially if they be drye) more Fertile Ten for One. As also a demonstration of a Proiect, for the great benefit of the Common-wealth generally, but of Hereford-shire especially.

VAUGHAN, Rowland Large (445 x 330 mm.) folding hand-colored engraved plan (lacking the second engraved plate). Text within ruled borders. [69] leaves (lacking the first leaf, a blank; small blank portion of title torn away from lower inner margin). Small 4to, 18th-cent. calf (joints cracked but strong), spine gilt, red morocco lettering piece on spine. London: G. Eld, 1610. First edition of the first English work on agricultural irrigation and an important early work in the literature of utopias. This is a very rare book, with or without the two plates. Our copy has the important and large folding engraved plan depicting Vaughan’s idealized community, colored by a contemporary hand, divided into 16 panels and mounted on canvas. The engraved plates were intended to be removed and employed for practical use (see N4v) and therefore are almost always lacking. Rowland Vaughan (fl. 1610), "a Herefordshire man, who served first at Court under Queen Elizabeth and then in the Irish wars, after which he retired to his father’s home in Herefordshire, recommends constructing water meadows.The idea of water meadows was original to Vaughan, although it is possible that they were known and used in other parts of the country. He saw ‘a spring breaking out of a mole-hill with the grass very green where it ran’, and that gave him the idea that a definite set of drains with sluices to cause and control flooding would be good for grassland. He embodied these ideas in [the present work]. The book also contains one of the earliest references to a mechanical saw-mill.It was dedicated to the Earl of Pembroke."-Fussell, I, pp. 32-33. Over a twenty-year period, Vaughan constructed a three-mile artificial channel leading to his fields, where trenches and gutters had been dug. Flooding was controlled by a sluice gate at the bottom of his property; when closed, the fields would be flooded at Vaughan’s will, and when opened, the fields would drain. Flooding took place in winter; the water spread nutritious sediment over the grass and protected it from frost. Vaughan estimated that his land increased seven or eight times in value. This work also plays a notable and early role in the literature of utopias. "First in time, if not in importance, of our selected full-employment utopias must come the unlikely tract by Rowland Vaughan, Most Approved and Long Experienced Waterworks (1610).it is his community scheme, usually passed over in silence, with which Vaughan is most concerned. In his prefatory address to the Earl of Pembroke [which takes up about half of the book], he claims that his system of flooding or floating meadows is already a success. What he is appealing for in this pamphlet is support for his ‘mechanical undertakings,’ central to his vision of an ideal society. "After settling in Herefordshire [Vaughan] had spent many years in experiments with drainage and irrigation projects. By 1601 he seems to have an irrigation scheme working to his satisfaction, and he then began to turn his attention to the wider social problems of the area in which he lived.Vaughan’s drainage scheme alone, he claimed, could profit the kingdom by two million pounds per annum.The rest of the problem, as Vaughan saw it, lay in the organization, or perhaps disorganisation, of rural life. There were , in his estimation, five hundred households within a one-and-a-half mile radius of his house, ‘whose greatest meanes consist in spinning Flax, Hempe, and Hurdes.’ They were underemployed and lived dangerously close to subsistence, forced frequently into beggary. "This vicious cycle of indigence Vaughan sought to break by the setting up of a fully employed, self-sufficient community.The community represented a careful attempt to balance agricultural and manufacturing activities in such a way as to maximise the utilisation of the resources of members’ skill and effort."-J.C. Davis, Utopia and the Ideal Society: A Study of English Utopian Writing 1516-1700 (Cambridge University Press: 1981), pp. 308-
Illustrated manuscript on superior torinokogami or hishi paper

Illustrated manuscript on superior torinokogami or hishi paper, entitled in manuscript on labels on upper covers "Mushi no Uta-awase" ("Poetry Match of Insects"), with 15 fine double-page paintings attributed to Ryuho Hinaya

INSECT POETRY CONTEST 18 leaves (including one blank); 22 leaves (including two blanks). Two vols. Small (233 x 177 mm.), orig. gold silk brocade binding, Tetsuyoso-style, over stiff wrappers, title labels on upper covers (labels also heightened in gold), with orig. stitching. [Japan: early Edo]. The creation of this splendid manuscript has been attributed to the wealthy, literate merchant Ryuho Hinaya (or Nonoguchi) (1595-1669), the talented painter and calligrapher who deeply influenced Hanbei Yoshida, Moronobu, and other illustrators of the 17th century. Our manuscript has all the qualities of the very finest Nara-ehon. Hinaya studied painting with the famous artist Tan’yu Kano and poetry with Mitsuhiro Karasumaru and Teitoku Matsunaga. Hinaya founded his own school, which specialized in the elliptical haibun style of prose. The author of the poems is Katsutoshi (or Choshoshi) Kinoshita (1569-1649), related by marriage to Hideyoshi Toyotomi, the great warrior who unified Japan. Kinoshita converted to Christianity in 1588 and took the first name Pierre. In the late ninth century, a new kind of poetry competition developed in Japan: the utaawase. Themes were determined and a poet chosen from each team wrote a waka (a poem) for each given theme. The host appointed a judge for each theme and gave points to the winning team. The team that received the largest number of points was the winner. At first, utaawase was simply a playful entertainment, but as the poetic tradition deepened and developed over the centuries, it turned into a serious aesthetic contest, with considerably more formality and many variations. Poetry competitions have remained a popular activity in Japan and elsewhere and continue to the present day. Our manuscript is an imaginative reinterpretation of the poetry competition. In our version, garden insects are allegorically cast as participants in the famous "Poetry Match of Immortal Poets," in which matching pairs of poets (which could be people, paintings, shells, flowers, or, in our case, insects), compete. The contest was judged by a poet of renown (in our case, a toad). Our manuscript is based on this insect theme. It is far superior to and much more richly painted than the scroll described by Miyeko Murase in her wonderful exhibition catalogue Tales of Japan. Scrolls and Prints from The New York Public Library (1986), pp. 75-77-(& see her very clear and full description of the insect poetry contest in all its aspects). In the NYPL’s copy, the paintings are elementary, lacking the gold embellishments and decorations present in ours. Additionally, our manuscript depicts the competing poets and their proxies, the insects, while the NYPL’s scroll depicts only the insects. The quality of our paintings is very complex and of high quality. The story takes place on a late autumn evening in a garden where insects are staging a poetry contest, with a toad as the judge. Thirty species of insects pair up, beginning with the cricket that proposes the match and his opponent, a wasp. Among the other participants are a bell-cricket, a firefly, a cicada, a gold beetle, a fly, an ant, a mosquito, a flea, a louse, and in the broadest sense of the word mushi (which means "small crawly animal"), an earthworm. The first nine pages are text, written in a fine calligraphic hand, describing the background of the contest. All of the text pages and the pages with the paintings have been subtly decorated with underpaintings in gold "mist" and various gold plant and flower motifs using kindei ("golden mud") as the pigment. These patterns, known as Shitae, were made on the leaves before they were written or painted on. The first double-page image sets the tone for this beautifully illustrated manuscript: we see two seated poets with their respective insect representatives (a cricket on the right and a wasp on the left) in their natural habitats, which are finely embellished autumn leaves and end-of-the-year plants and flowers. There is a great deal of extr
Catalogue October 1977

Catalogue October 1977

PRINTED MATTER, Inc Many black & white illus. 40 unnumbered pages. Tall narrow 8vo (215 x 105 mm.), brown semi-stiff wrappers, title & date on spine. [New York: October 1977]. One of Printed Matter’s earliest mail-order catalogues and now scarce, issued within a year of the store’s founding. It lists hundreds of early artists’ books and publications, and many are illustrated. This is probably an inventory of the store’s entire stock. It includes the works of Andre, Mel Bochner, Broodthaers, Brouwn, Buren, Marie Combs, Darboven, Constance de Jong, Mario Diacono, Helen Douglas (and Telfer Stokes), Hans Peter Feldmann, Robert Filliou, General Idea, Conrad Gleber, Dick Higgins, Jenny Holzer, Huebler, Robert Jacks, LeWitt, Joan Lyons, Gordon Matta-Clark, Mario Merz, Nauman, Pistoletto, Martha Rosler, Ruppersberg, Ruscha, Shafrazi, Alan Suicide, Dorothea Tanning, Richard Tuttle, Weiner, Rosemary Wright, Rachel Youdelman, etc., etc. At the end, records and periodicals are offered for sale. Written on the final leaf: "For Everybody: Printed Matter is also a bookstore. Located in a ground floor storefront just below Canal Street on the dividing line between SoHo and Tribeca, we are open from noon to 6:00 P.M., Tuesday through Saturday. Come and browse, sit and read, ask questions, listen to records, soak up some culture – or some tea, after 4:00 P.M. You can see our ‘window shows’ anytime, from the street – pieces by a different book artist each month." In fine condition. ? Not in BoBoAB.
This boke sheweth the maner of measurynge of all maner of lande

This boke sheweth the maner of measurynge of all maner of lande, as well of woodlande, as of lande in the felde, and comptynge the true nombre of acres of the same. Newlye invented and compyled by.

BENESE, Richard Title within architectural woodcut border & many woodcuts in the text (many highlighted in red). Printed in black letter. [208] pp. Small 4to, modern calf (title with a few minor stains). London: "Prynted in Southwarke in Saynt Thomas Hospitall, by me James Nicolson," [1537]. First edition of the first English work on surveying in the modern sense: the measuring and plotting of land. In the 16th century, "surveying" could also mean giving instructions to land stewards and overseers of the manor; John Fitzherbert wrote the first book on that subject in 1523. Our book is very rare and is a fine copy. Benese (d. 1547), Augustinian canon and surveyor to Henry VIII, noted that sellers tended to overestimate the size of the land they were selling and buyers underestimated. He set out to devise geometric rules for the accurate measuring of land to be sold. This book "represents the first real attempt to put into the hands of the surveyor or land measurer, as distinguished from the sixteenth-century manager of a manor, a simple practical treatise on land surveying. The style is simple, and the explanations are clear and direct; the book gives every evidence of having been written by a person familiar with the practical art of land measuring. "The book is not divided into chapters, but each unnumbered section is headed with an appropriate title. The text as a whole is illustrated with forty-eight well-drawn and appropriate figures. In the first three folios, the author defines the units of line measures, stating that the standard foot should be the London standard of 12 inches. "After the units of length and land measures have been defined and discussed, the author gives methods of finding the areas of certain simple geometrical figures, principally triangles, rectangles, trapeziums, and circles. Benese does not give a general method of finding the area of any of these but discusses each type of figure as a special case.Benese realized the lack of computational skill on the part of most of his readers; to meet this difficulty he prepared four sets of aid in the determination of the areas of figures and also in laying out parcels of land of different sizes and shapes."-Richeson, English Land Measuring to 1800: Instruments and Practices, pp. 36-37-(& see pp. 35-40 for a full account of the importance and contents of this work). The preface to this work was written by Thomas Paynell, the prodigious translator and humanist. He places this work in the noble and learned scientific tradition of geometry that had enabled Archimedes to measure altitudes and the motions of the planets. Fine copy. A few ink annotations in two early hands. ? ODNB. NSTC 1873.

An uncommonly large and fine scroll (1760 x 475 mm.), depicting two Japanese hand looms, with operators, finely painted in bright colors

TEXTILE WEAVING LOOMS [Japan: mid-Edo]. This handsome scroll depicts in great detail two Japanese hand looms used to create complex patterns of silk brocade and birodo (velvet). The greatly enlarged illustrations are inspired by images in the first volume of Akisato’s Miyako meisho zue (1786), a famous guide to Kyoto. Nishijin, a district of Kyoto, was famous for its traditional textile production, employing highly specialized weaving techniques to obtain spectacular designs and effects. As we unroll the scroll, the first loom we encounter is the sorahikibata, an overhead draw loom, which was used to produced high-quality silks with complicated designs. This loom, invented in China in the 6th or 7th centuries (or before), required two operators, pictured here: the weaver and an assistant who manages the figure harness. The weaver is employing several heddles, which are controlled by his feet. A third person is also shown, inspecting the threads. The Chinese-invented draw loom, modified by the Japanese, enhanced and streamlined the production of new designs that employed the use of gold brocade. In this image, one sees the various threads being controlled and the creation of the finished fabric. The second image depicts a loom to create mon’yo birodo (Japanese textured velvet), which had been introduced to Japan by the Portuguese. We see the weaver operating the loom by hand and foot, as he produces the velvet woven with delicate patterns. A man is nearby, inspecting a wire that was used to hold up the pile warp. The scroll is a little wrinkled, with minor marginal worming. The detailed images are bright and clear.
Xenophons treatise of householde

Xenophons treatise of householde

XENOPHON Title within woodcut architectural border. Printed throughout in black letter save for the "To the reader" on verso of title. 64 leaves. Small 8vo, 17th-cent. panelled calf (rubbed & a little worn, natural paper flaw to title with no loss of text, blank lower half of colophon leaf cut away without loss). Colophon: "Imprinted at London in Fletestrete, by Thomas Berthelet printer to the kynges most noble grace. An. M.D.xxxii." [bound with]: [FITZHERBERT, John]. The Boke of Husbandry. Title within same woodcut architectural border. Printed in black letter. 6 p.l., 90 leaves. Small 8vo (E4 with a natural paper tear with slight loss of text, faint dampstaining). Colophon: "Imprinted at London in fletestrete in the house of Thomas Berthelet," [1533?]. A most appealing sammelband of two quite early and rare English agricultural works. I. First edition of Gentian Hervet’s translation into English of Xenophon’s Oeconomicus, one of the earliest works on economics. Also concerned with household management and agriculture, it remains one of our chief sources for what we know of Greek farming in Homeric times. "Xenophon, who lived in the fifth century BC, was a small farmer. He owned a little estate near Scilla. It was isolated but fertile, and Xenophon lived there twenty years, satisfied with farming and hunting. He was perhaps the first writer to stress the importance of the master’s eye. The tenants ought to be watched whether setting trees, tilling, renewing the ground, sowing, or carrying out the fruit. The master should know the nature of his soil and consider the best methods of work it."-Fussell, The Classical Tradition in West European Farming, pp. 15-16-(& see pp. 15-19 for a full discussion of the work). The book is written in the form of a Socratic dialogue. It treats other topics such as the qualities and relationships of men and women, rural versus urban life, Greek slavery, popular religion, and the role of education. II. Fitzherbert (d. 1531), is considered the father of English husbandry. "The book deals exhaustively with the best principles of arable farming of the time, describes the tools and discusses the capital required, and is moreover a conspectus of the life of a contemporary farmer and his family and servants, many of the methods are fundamentally those which all later generations of farmers must perforce follow."-Fussell, I, p. 6. The first edition of Fitzherbert’s The Book of Husbandry was printed by Richard Pynson in 1523. It is an extremely rare book and ESTC locates only the BL copy. There were two equally rare editions published in 1530 by Wynkyn de Worde (just a fragment) and 1530? by Peter Treuerys. Our edition is the first to be published by Berthelet and is very rare. Several leaves towards end with passages neatly lined through and some early annotations and corrections. Fine crisp copies. Stubs of a medieval manuscript on vellum at rear. Early, partially erased signatures on free front-endpaper of Henry Hills and John Martin of Harbrough. Bookplate of Colonel & Mrs. Forbes Leith of Whitehaugh. ? I. NSTC 26069. II. McDonald, Agricultural Writers, from Sir Walter of Henley to Arthur Young, 1200-1800, pp. 13-23-(offering a full account of the contents of the book). NSTC 10995.5.
Surveyinge. Anno Domini

Surveyinge. Anno Domini, 1567

FITZHERBERT, John or Anthony] Title within architectural woodcut border incorporating the date "1534." Largely printed in black letter. 67 leaves, [8] pp. Small 8vo, antique calf by Sangorski & Sutcliffe, spine gilt, red leather lettering pieces on spine. [London: Printed by H. Wykes?], 1567. An early edition of the first text on surveying printed in English. The first edition was printed by Richard Pynson in 1523; all early editions are rare, as copies were used to death. Our copy is most unusual as it is fine and large with a number of lower edges uncut. Fitzherbert’s book is concerned primarily with giving instruction to land stewards and overseers of the manor. The authorship of this work has long been disputed: was it Anthony Fitzherbert (ca. 1470-1538), judge and legal writer, or his older brother John (d. 1531)? The current scholarship supports John Fitzherbert as the more likely author. The book is "addressed to the landed interest and is an explanation of the laws relating to manors. Fitzherbert sets forth the relation between the landlord and the tenant with observations on their respective moral rights and mutual obligations to each other. The author is also concerned with the best means of developing and improving an estate to the advantage of both the lord and the tenant. "As defined by Fitzherbert, the duties and functions of the surveyor were many and varied. In the preface he states that the surveyor should prepare his findings in a small book or put them on a large piece of parchment. This parchment or book should show the ‘buttes’ and ‘bounds’ of all the holdings as well as the leases, grants, and tenures. Along with this information he should state the number of buildings and their location and give a description of the lands, specifying whether they are meadow, grainland, or woodland, and by whom held. He should also record the value of all properties along with their rents and fines. The author then goes into considerable detail in giving the form for the preparation of this information. "The author states that the word ‘surveyor’ is from the French, signifying an overseer, and that the surveyor must appraise and make recommendations to the lord of the manor."-Richeson, English Land Measuring to 1800: Instruments and Practices, pp. 33-34. Fine copy. ? Fussell, I, p. 6-"contains a great deal of matter of service to farmers in particular as well as to the agricultural community in general." ODNB.

Podagrammisch Trostbücklein. Innhaltend zwo artlicher Schutz Reden von herzlicher ankunfft, Geschlecht, Hoffhaltung, Nutzbarkeit und tieffgesuchtem lob dess Hochgelehrten, Gliedermächtigen und zarten fräwlins Podagra. Nun erstmals zu Kitzeligem Trost und ergetzung andächtiger Pfotengrammuscher Personen, oder Handkrämpffigen und Futzverstrickten Kämpffern lustig und wacker (wie ein Hund auff dem Lotterbet) bossiert unnd publiciert. Durch I.F.G.M.

FISCHART, Johann] Woodcut vignette on title, printed in red & black. 96 unnumbered leaves (final two leaves blank, signature F bound after G), 8vo, attractive antique calf-backed paste-paper boards, spine gilt, red morocco lettering piece on spine. Strasbourg: T. Jobin, 1604. Fourth edition, enlarged. The first edition appeared in 1577, a second in 1591, a third in 1597, and a fifth edition in 1623. Fischart (1546-90), was a German satirist and the principal German literary opponent of the Counter-Reformation. Indefatigable with his pen, he attacked all perversities in the public and private life of his time: astrological superstition, scholastic pedantry, ancestral pride, but especially the papal dignity, the priesthood, and the Jesuits. This long encomium on gout ("Book of Comfort in Gout"), written in the tradition of Pirckheimer, Cardano, and Fleissner, attempts to console the victims of the disease through the power of laughter. Fischart wrote under many feigned names, here "I.F.G.M." or "Im Fischen gilt’s Mischen." The vignette on the title-page depicts a man afflicted by gout, held up by crutches, being tempted by two companions offering him food and drink. Fine copy. All early editions are very rare. ? Copeman, A Short History of the Gout and the Rheumatic Diseases, pl. 5-(depicting the title-page of the first edition, with another version of the same vignette, and describing this work as "the earliest printed book on gout").

Ritter Orden Deß Podagrischen Fluß: Das ist: Kurtze vnd eigentliche beschreibung, auß Mercurij der Götter Postbotten Munde selbst verfasset: Von deß zarten Jungfräwleins und Göttin Podagrae Herkunfft, Geburt, Namen, Complexion, Art, Aufferziehung, jetzten widerumb auffgelegt, und an vielen örtern mit fleiß ubersehen

FLEISSNER, Georg 23 leaves. Small 8vo, attractive antique calf-backed paste-paper boards, spine gilt, red morocco lettering piece on spine. N.p.: 1601. Third edition; there were editions of 1594, 1596, our edition of 1601, and 1611. All are very rare, and there is no copy of any of these editions in North America. "Ritterorden des Podagrischen Fluss (Order of the Gouty Humor) is an allegorical poem which was composed in German by Georg Fleissner, a captain from Schoenberg, then residing in Schlackenwerth. These are two small Bohemian towns near Carlsbad. Its 1088 lines make this by far the longest poem about the gout. The story has two parts. The first 658 lines tell the origin of the goddess Podagra and of her Order, and the last 430 lines relate the ways in which she benefits mankind. "The first portion of the poem, in which the tales of the origin of goddess Podagra and of the establishment of the Order of the Gouty Humor are told, was largely original. The device of an order of chivalry, whereby the victims of the evil which was the subject of an encomium are given a mock respectability, came into frequent use and was Fleissner’s chief contribution to the development of this literature. The latter portion, in which are related the ways that gout benefits its victims, was principally derived from two major gout encomia: Apologia seu podagrae laus by Willibald Pirckheimer (1470-1530) of Nürnberg, published originally in 1522, and Podagra encomium by Hieronymus Cardanus (1501-1576) of Pavia, published in 1562."-Thomas G. Benedek, "The Gout Encomium of Georg Fleissner, 1594" in Bulletin of the History of Medicine, Vol. 43, No. 2 (March-April 1969), pp. 116-37. Fine copy. Lightly browned throughout due to the quality of the paper.

Two manuscripts on paper, both written in several legible hands, containing recipes for the manufacture of the famous elixir "les Gouttes du Général Lamotte" in the laboratoire du Roi. Two vols., one with manuscript title on upper cover: "Operations et Distribution des Operations 1730," the other: "Memoires des Marchands, 1730." 19; 34 leaves (with many additional blanks). Large 8vo & 4to (310 x 165 mm. & 275 x 200 mm.), cont. vellum wallet bindings with later deerskin ties

LES GOUTTES DU GENERAL LA MOTTE. Paris: ca. 1730-33. Two unpublished manuscript laboratory record books detailing one of the great hoaxes in the history of medicine. These handsome manuscripts list the secret ingredients and each step in the fabrication of the "Gouttes du Général La Motte," which took place in the chemical laboratory of Louis XV, as well as notes on deliveries to those who trusted in its restorative powers. The original creator of this elixir was Alexis Bestoujev-Rioumine, imperial chancellor to Elizabeth I of Russia, who first formulated it in 1728. This tincture was sold at exorbitant prices in Russia and neighboring countries. Known as the "teinture toniconervina Bestuscheffi" and appearing in two forms, either gold or white, the tincture (or teinture) was a tightly guarded secret, thereby generating even greater demand and prices. The elixir was very much a cure-all, and in 1750, the Mercure de France, reported that it could be used to cure apoplexy, paralysis, gout, pleurisy, smallpox, measles, fevers, dysentery, indigestion, jaundice, and asthma. The recommended dosage was between six and thirty drops a day. Bestoujev-Rioumine was betrayed by one of his collaborators and the secret formula was sold to a "General La Motte" (possibly Antoine Duru), who marketed it at very high prices in France, where he found the ideal clients at the royal court in Versailles. La Motte slightly modified the original recipe to reduce its cost, replacing gold with iron chloride, in order to satisfy the ever-growing demand for the cure-all, which was prescribed in large doses. Confected in either yellow or white gouttes (drops), it became known as "les gouttes du Général La Motte," and fooled doctors and patients alike well into the late 19th century. Eighteenth-century newspapers repeatedly told of its miraculous effects and Victor Hugo refers to it in Les Misérables. In the 19th century it was best known as "Klaproth’s tincture." François Gigot de Lapeyronie (1678-1747), the great surgeon and premier chirurgien to Louis XV, is frequently mentioned in the present manuscripts. He was charged by the king with the production and distribution of the tincture to the aristocracy and members of the French court, including the queen, the duke and duchess de Noailles, and the minister of war, Angervilliers. He also provided consultations to the aristocracy throughout France as well as to many of the rulers of Europe. Louis XV was so convinced of the efficacy of the "gouttes du Général La Motte" that he purchased the rights to the recipe from La Motte himself, giving the general a life-time pension. The manuscript volume entitled "Operations" details the manufacture of "les gouttes" under the supervision of La Motte from 1730 to 1733, with specific notes on the dates of manufacture and delivery and, in most cases, to whom. In one instance, it reads, "the Queen herself came to take a bottle of gouttes blanches." Frequently, Lapeyronie is recorded as taking the medicine directly to clients, including Angervilliers and the duke and duchess de Noailles. The volume with the title "Memoires" has two parts. The first enumerates the materials ordered by the royal laboratory to fabricate the "gouttes du Général La Motte." The second records the cost for each ingredient, e.g., coal, "cork from Liege," wine, ochre, chamois, vinegar, saltpeter, lead, salt, pork bladders, etc., etc.; the chemical apparatus used; and related expenses like travel. Also assiduously noted are explanations of the processes to create the elixir and the necessary equipment, such as mortars, knives, spatulas, feather brushes, baskets, iron, lead, etc., etc. There is also a mention of the first attempt to produce this elixir at the king’s laboratory in 1731, likely soon after the formulation was purchased from La Motte. These fascinating manuscripts reveal the internal operations of an infamous medical scam. The wallet bindings are most attractive and in excellent condition. On both covers, a contemporary
A collection of 31 broadside advertisements

A collection of 31 broadside advertisements, 28 printed envelopes, which contained medicines, one printed license, & one printed chart

PHARMACEUTICAL ADVERTISING Japan: various sizes and various dates, mostly printed in black, some in red, ranging from 1818 to 1906. A remarkable collection of pharmaceutical ephemera: these broadsides and envelopes were issued by pharmaceutical companies from all over Japan, for advertising and dispensing a wide variety of tablets, ointments, powders, plasters, herbal medicines, and pastes. These medicines were used for a wide variety of illnesses: indigestion, conjunctivitis, kidney disease, sea sickness, diarrhea, etc. Indeed, one of the medicines is advertised as efficacious in curing 10,000 diseases. Some of these broadsides lists many kinds of medicines produced and marketed by a single manufacturer. Many have company logos. Each broadside and envelope lists the manufacturer’s name and place, the name of the medicine, sometimes the price, and the diseases it could cure. The large chart, printed on both sides, lists more than 500 foods, including grains, vegetables, meat, fish, and fruits, organized in Japanese alphabetical order. Below each item is a recommendation regarding who should consume this food (for instance, some are good for old people but not the young, etc.), and food combinations that are beneficial or dangerous. Many of these medicines still exist. For example, "Uzu no Kyumei gan" was first produced in 1597 for pediatric illnesses and is still dispensed today. Mostly in fine condition.

De Lapide Philosophorum, Drey Tractat.I. Manuale de Lapide medicinali. II. De Tinctura Physicorum. III. De Tinctura Planetarum. Vor nie gantz aussgangen

PARACELSUS Edited & with a Preface by Michael Toxites. Typographical device on title. 8 p.l. (final leaf a blank), 55 numbered leaves, one blank leaf. Small 8vo, attractive antique calf-backed paste-paper boards (first three leaves a little defective in lower outer corner, minor browning), spine gilt, red morocco lettering piece on spine. Strasbourg: N. Wyriot, 1572. First collected edition of all the texts Paracelsus had written during his lifetime on the "Philosopher’s Stone," here gathered and edited by Toxites, the disciple of Paracelsus and a chief editor of his writings. In his Preface, Toxites states that the Manuale de Lapide medicinali is printed here for the first time. He also writes that the De Tinctura Planetarum was previously printed [Sudhoff 134 and 137] but in an incomplete and imperfect manner, omitting the most important parts. Toxites states that, in spite of claims that the De Tinctura Planetarum was not a genuine writing, he had seen Paracelsus’s original manuscript of the text. Paracelsus believed the Tinctura Physicorum could cure cancer, syphilis, hydrophobia, epilepsy, and other incurable diseases. Regarding De Tinctura Planetarum, Sudhoff comments that in this edition the text is considerably altered, relying on different translations of the original Latin text. In many cases, there is additional text not in earlier printings. His extensive analysis of the different printings of this text is a fascinating example of close reading and detective work. Very good copy. WorldCat locates only one copy in North America. ? Sudhoff 140.

Kurtzer und warhaffter Bericht, Von der jetz regierenden gfärlichen Kranckheyt der Pestilentz, wie die ausz dem Liecht der Natur zuerkennen, woher sie verursachet, wie sie praeservirt, und gründlich mit ihren vielfeltigen Zufällen curiert soll werden.zusammen getragen und gemehrt. Durch Johan Jacob Nietheimer

PARACELSUS Title printed in red & black. Woodcut coat-of-arms on verso of title of the Duke of Hanau. 56 unnumbered leaves (the last two blank). Small 8vo, attractive antique calf-backed paste-paper boards, spine gilt, red morocco lettering piece on spine. Strasbourg: B. Jobin, 1583. First edition of this very rare collection of texts on the plague by Paracelsus, gathered here for the first time by the Hanau physician and editor Johann Jacob Nietheimer (or Niedheimer or Neithammer). He studied medicine in Strasbourg and was a disciple of Paracelsus. Sudhoff describes this work as a skillful compilation of various writings on the origins, nature, and cures of the plague by Paracelsus, selected from earlier editions (Sudhoff 60, 87, 167, and 171). While much is borrowed verbatim, there is no lack of explanatory and contextual additions by Nietheimer himself. Regarding drug prescriptions, material taken from Paracelsus is expressly described as such, while there are quite a few original additions, again by Nietheimer, based on his experiences as a physician. WorldCat lists no copy of this edition in North America. A nice and tall copy, with many lower edges uncut. ? Sudhoff 193.
Marmora et adfines Lapides coloribus suis [English title: A Representation of Different Sort of Marble]

Marmora et adfines Lapides coloribus suis [English title: A Representation of Different Sort of Marble]

WIRSING, Adam Ludwig] Finely handcolored engraved title-page & 100 exquisitely handcolored engraved plates. 11 p.l. (incl. engraved title), 71 leaves of explanatory text in five languages (German, English, French, Latin, & Dutch), one leaf of "Nachricht." Large 4to (303 x 238 mm.), attractive antique cat’s paw calf (remains of small paper label on blank portion of engraved title), triple gilt fillet round sides, spine finely gilt, green morocco lettering piece on spine, entirely uncut. Amsterdam: J. C. Sepp, 1776. Second edition, the most complete, and of the greatest rarity. This magnificent work, here in a remarkable uncut copy, contains 100 finely engraved plates of polished stone samples (a total of 568 samples), all in magnificent original coloring. The work had first been issued in Nuremberg in 1775, and covered most of the German deposits of marbles and allied ornamental stones. The 1775 issue (see Sinkankas 7281) consisted of 54 plates with German & Latin text only. For the present, 1776 edition, the Amsterdam publisher Sepp had the number of plates enlarged to 100, now with non-German deposits, including French and Italian. For this edition, text has been supplied by the German mineralogist C.C. Schmi(e)del (1718-92). Both Brunet and Graesse know of not more than 98 plates published, with explanatory text to plate 75 only, and Sinkankas 7282 notes having seen a copy in the trade with only 56 leaves of text and 73 plates. Our copy is completely complete. "Very little is known about the author of this splendid work aside from what he gives in his title. Magnificent, outstanding color-plate book of the Mineral Kingdom, depicting an almost infinitely-varied series of marbles and allied ornamental stones from deposits in Germany and nearby countries. Presumably each of the rectangular panels represents the appearance of a polished slab, with most plates depicting six such pieces, but others two, four, and as many as nine. While one is immediately captivated by the richness and depth of the watercoloring, often heightened by the application of opaque white for veinlets, it can be seen that under each painting lies a complex, lightly-incised network of lines, almost like rouletting, over which the colors have been laid. Near the end of the volume appear the most complex designs, beautifully done, of slabs of dendritic limestones. "In regard to the so-called ‘marbles,’ all are by no means the granular/crystalline metamorphic rocks normally considered to be marbles but include numerous very fine-grained types that probably are limestones, many veined, others spotted, and still others brecciated, and including fossiliferous varieties. In some examples the banding suggests that these are calcite onyxes or possibly several cut from cave onyxes.The accompanying text provides brief descriptions and in places footnotes in Latin & German, with locality and an indication in feet of the sizes of the unbroken rock sections that can be removed from the quarries concerned. "According to the English closing note, this work was published in 100 plates but the Lathrop Harper catalog of 1977 included an example in 12 parts only ‘with original part wrappers bound in,’ and with only 56 leaves of text and 73 plates. This suggests that the work was regularly issued in parts by subscription and therefore accounts for examples containing less than the maximum number of 100 plates. In addition to the localities indicated in the first edition there are new plates for marbles from the south of France, Brabant, Saxony, and Italy, with a supplement of miscellaneous stones as porphyry, syenite, granite, jasper, lapis lazuli, amethyst, and others."-Sinkankas, II, pp. 1133-34. A remarkably crisp and fresh uncut copy. ? Brunet IV, 1243. Schuh, Mineralogy: A Bio-Bibliography, 4998-(obviously not having seen a copy)-"Both editions of this unusual book are very rare. Unlike the present day meaning, the word marble during the late eighteenth century refers to any stone that can be cut and polished for decorative purposes.The spectrum of colors and patterns inherent in natural rock is accurately reflected in the fine hand colored plates that exhibit extraordinary patterns of color in their figures.".
Jutei Honzo komoku [Compendium of Materia Medica [or] The Great Pharmacopoeia]

Jutei Honzo komoku [Compendium of Materia Medica [or] The Great Pharmacopoeia]

LI, Shizhen (or LI, Shih-Chen) 52 parts in 33 vols., plus three vols. of woodcuts, one vol. of Prefaces & "Grand Index," and one vol. of "Addenda," for a total of 38 volumes. Large 8vo, orig. wrappers (some rubbing & minor wear), new stitching. [Japan: ca. 1640-53]. Second edition to be published in Japan of "The Great Pharmacopoeia" [in Chinese: Ben cao gang mu [or] Pen Tshao Kang Mu], the largest and most complete work on materia medica of its time, by the father of Chinese pharmacy and one of the greatest of all physicians of China. All of traditional Chinese herbal medicine is based on this work. Li Shih-Chen (1518-93), "was probably the greatest naturalist in Chinese history, and worthy of comparison with the best of the scientific men contemporary with him in Renaissance Europe. His scholarly approach to the wealth of previous literature makes him also the greatest Chinese historian of science before modern times, for his works are an unparalleled source of information on the development of biological and chemical knowledge in East Asia. "Li Shih-Chen wrote a dozen books, but [the present work] is by far the greatest of them.when he was thirty, he began to be oppressed by the confusion which persisted in the pandects of pharmaceutical natural history.[and] decided to devote himself to the colossal task of producing a revised and truly modern encyclopaedia of pharmaceutical natural history. This was an act of real audacity, since in former times works of this magnitude had generally been commissioned by imperial authority and undertaken by whole teams of physicians. Li was well aware of the vast mass of literature which he would have to review, and of the travels which he would have to make to collect pharmacognostic specimens, studying minerals in situ as well as the plants and animals in the natural habitats. "Although by respect for custom we allow ‘The Great Pharmacopoeia’ as a translation for the title of Li Shih-Chen’s work, it is infinitely more than that name would imply. This can be seen only by reading his introduction. All that has been recorded, he said, shall be discussed, whether it has a practical use in medicine or not. The book is thus a pandectal treatise on mineralogy, metallurgy, mycology, botany, zoology, physiology and other sciences in its own right, so far as they could be distinguished in the +16th century. All facts, said Li, shall be presented critically, whether acceptable to particular practitioners or not. This involved him in careful historical accounts of the development of knowledge in the different departments of natural history. "The drugs were placed under the types of diseases in which they ought to be exhibited; the book thus also constituted a general system of medicine, including as it did a wealth of specimen prescriptions (no less than 11,096) and a discussion of the principles of the art of prescribing. "[This work], divided into 52 chapters, contains a total of 1895 entries, of which 275 belong to the mineral kingdom, 446 to the domain of zoology, and 1094 to that of botany. Entries newly added by Li Shih-Chen himself amount to 374, and 39 others were devoted to drugs which had been successfully used by the physicians of the Chin Tartar, Yuan and early Ming dynasties, though not recorded in the pharmacological natural histories before his time. "It is still a little too early for the definitive evaluation of Li Shih-Chen’s scientific attainments.[this book] is one of the finest flowers produced before the age of modern science."-Needham et al., Science & Civilisation in China, Vol. VI:1, Botany, pp. 308-21-(& see the many references to Li Shih-Chen throughout all of Needham’s writings). There are important sections on biology, distillation, industrial diseases, fermentation, and wine-making. The first edition of this work was published in China in 1596, and the first edition to be published in Japan was in 1637. Our edition contains the three volumes of woodcuts, the "Addenda," and the "Grand Index" as well as the four Prefaces (1603, 1603, 1590, and 1596) from earlier Chinese editions and the new 1640 Preface. All the texts are in Chinese with Japanese reading marks. Very good, fresh set. An earlier Chinese scholar has made a series of neat annotations in the upper margins of many of the volumes. A few of the volumes have light dampstaining, and there is some mostly marginal worming to several other volumes. Part 13 has one leaf somewhat stained, but the text is entirely legible. ? D.S.B., VIII, pp. 390-91-His "greatest work, known to every educated Chinese even today as the culmination of the pharmacognostic tradition"-(& see pp. 390-98 for a fine summary of Li and this book).