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Justin Croft Antiquarian Books

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Le Guide du jardinier et de l’amateur des jardins.

GARDENING). MAURIER, M., curé de Gancourt. A French country curate’s gardener’s guide. In two parts: the first an alphabetical sequence consisting mainly of observations on the cultivation and conservation of various fruits and vegetables together with instructions for pruning and grafting; the second a calendar of tasks for the months. To this is added an index and various supplementary notes. The plants are what we might expect of a Norman garden artichokes, asparagus, spinach, beetroot, herbs, lettuces (50 varieties) rhubarb, rocket, melons and vines, and there a couple of interesting chapters on different soil types. There are hints on pest control and notices of just a few flowering plants: hortensia (hydrangea), roses and fuchsia.M. Maurier identifies himself as ‘bachelier en théologie of the village of Gancourt-Saint-Étienne in the Pays de Bray region of Normandy. Manuscript on paper, 8vo (180 × 115 mm), pp. [2], 1-3, 2-264, with various mispaginations and the ‘table’ (pp. 211-231) moved to the end of the volume following the addition of supplements. In small but legible hand, in French. An old dampstain to foremargin throughout, with slight mildewing in places towards the opening. Contemporary limp vellum, spine lettered in manuscript. Soiled and worn in places, but in sound and pleasingly unsophisticated ‘gardener’s condition’.
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Analyse de mes Souvenirs sur la Révolution française.

BAUDOUIN, François-Jean]. TACHERON, Docteur, copyist. An interesting manuscript prospectus of a large and still-unpublished account of the French revolution. François-Jean Baudouin had been a printer and bookseller to the Assemblée nationale in the revolutionary period, later becoming a journalist and publisher. He evidently wrote a long first hand account of the politics surrounding the Revolution, which remained unpublished. It was apparently in the hands of one Tacheron, a doctor to the XI Légion at the opening of the nineteenth century, who wrote this manuscript prospectus of it, transcribing part of the introduction and giving a detailed précis or analyse of its 16 chapters. He notes that it would run to some eight or ten octavo volumes, probably suggesting he was intending to publish it. In the event it seems never to have been published and since the whereabouts of the manuscript is now unknown, this 43-page summary is witness to a major work of Revolutionary history.’François-Jean Baudouin, imprimeur-libraire, né à Paris en 1759, mort en 1838. Elu député suppléant du tiers aux Etats Généraux, il dut à cette circonstance d’être nommé imprimeur de l’Assemblée Nationale, privilège qu’il conserva jusqu’en 1809. Il fut aussi propriétaire du Logographe, journal dont il envoyait tous les jours le premier exemplaire à Louis XVI. Il publia en 1810, un Projet de règlement pour l’imprimerie et la Librairie.’.Larousse II, 387. Manuscript on paper, 4to (260 × 200 mm), pp. 43, [1]. Stitched but unbound.
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FOREIGNERS IN ENGLAND. An extensive manuscript containing biographies of overseas residents and visitors to England, from the medieval period to the 1770s: it includes kings and queens, members of the nobility, clergymen, politicians, artists, musicians and criminals. Evidently compiled over time (the second smaller volume may be the earlier) the collection is derived from various print and manuscript sources, which are often named. The smaller volume is apparently drawn from state and diplomatic papers and letters, while the larger is derived from a large range of printed works (Rapin, Frehenus, Moréri, Hawkins’s History of Music, several antiquarian cathedral and county histories, the Annual Register and various journals, including the Newgate Calendar).The biographical entries, extending from just a few lines to some of several full pages include: Henri Estienne, Bernouilli, Helen and Judith (celebrated Hungarian conjoined twins exhibited in London in 1708), Erasmus, Rousseau, Lassus, Boerhaave, Geminiani, an African prince who appeared at the Theatre Royal in 1759, singer Signora Faustina, Handel, Theodore Gardelle (painter, enameller and murderer), Paolo Rolli, John Tradescant (a curious inclusion, as a traveller rather than an immigrant), the chevalier D’Eon (transvestite and spy), Peter the Wild Boy, Simon Pingano (forger), Bartholomew Rocque (agriculturalist), Emin Joseph Emin (army officer in the East India Company and Armenian nationalist), Domenico Angelo (fencing master), Joseph of Arimathea, Miles Coverdale, Leonard the Indian, a group of Cherokee Indians visiting London in 1730 and ‘Chitqua’ (Tan-Che-Qua, Chinese artist who worked in London 1769-72). In each volume, an alphabetical index has been added at the beginning, probably at the time of binding, on tabbed pages of paper watermarked 1804, but the major part of each volume appears to have been written earlier. Many pages are marked with a single vertical line and there are occasional entries ‘entered’, suggesting the text was reproduced somewhere else, or intended to be, but we are not aware of a printed equivalent.Phillipps MS 13746, purchased 1849 from the Duke of Buckingham sale (Stowe 2120), where it was joined with another volume of historical portraits. Manuscript on paper, folio (415 × 268 mm) and small folio (320 × 915 mm). Vol. I: 14 unnumbered leaves, pp. 336 (p. 333 skipped in pagination); vol. II: 18 unnumbered leaves, pp. 328 (the first 12 blank, and wanting 7-10). The initial leaves alphabetically tabbed and bearing indexes. Contemporary blind-ruled vellum (not uniform), early manuscript titles to spines. Rubbed and slightly soiled, but very good.
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pour servir l’histoire du Publicanisme moderne contenant l’origine, les noms, qualités, le portrait et l’histoire de Sosseigneurs les Fermiers Generaux du Roy qui se sont succedes depuis l’année 1720, jusqu’a la presente année 1750.

MÉMOIRES A lively collection of biographies of the unpopular Fermiers généraux – men responsible for collecting indirect taxation in ancien régime France. The Mémoirs pour servir l’histoire du Publicanisme moderne was never published in print but circulated widely in manuscript – its tone is familiar, ironic and sometimes scurrilous in its treatment of the careers of these powerful and wealthy men.There are more than 100 entries including those for important cultural figures, Alexandre Le Riche de La Poupelinière (one of the prime-movers in the great Lafontaine edition of 1762 called the ‘Fermiers généraux’ edition), Charles Le Normant de Tournehem (guardian of Jeanne-Antoinette Poisson, future marquise de Pompadour) and the collector Pierre Grimod du Fort. Each entry provides a brief account of the sources of their wealth, of their families and progeny, and of their administrative capabilities (or otherwise). Morality is neverfar from the surface, and there are frequent grumblings of sexual infidelities. The biography for Le Riche de La Poupelinière (the longest in the collection) includes the anecdote of his being surprised in bed with an actress from the Opera, mistress of the Prince de Carignan and of the secret passageway from a neighbouring house through the firelplace, through which his lovers came and went.The text mostly in a single hand of 1750. Each entry includes spaces left for the arms of the subjected, never completed). A second hand, perhaps not much later, adds notes, some additional biographies and tables. The book apparently existed for some time stitched in the simple wrapper of its first and last leaves before being bound, probably a little later in the century. Manuscript on paper, 4to (230 × 175 mm), pp. 3-225, [1], [20] (the last blank, probably a wrapper pre-binding), wanting one leaf before title (formerly the upper wrapper?), plus pp. [8] table after title and an additional leaf after p. 13, p. 143 missed in contemporary pagination. Text in French, mainly in a single hand with slightly later additions on the added leaves. Uncut in eighteenth-century drab boards. [French libraries contain several manuscript examples of this popular text.]
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LIBRARY CATALOGUE). A manuscript private library catalogue listing some 2000 titles, including a surprising number of English works, and with detailed shelf locations. Undated and unlocated, the catalogue appears to have been begun in 1836 with successive entries on additional sheets added until c. 1850, each sheet indicating the location of the books on shelves in what appears to have been a large house. The location of the library is unstated, though several maps and administrative publications from the southern departement of Aveyron may prove a clue.The most remarkable feature of the catalogue is the large number of works in English, including many novels, providing an index of contemporary reading tastes to be measured and assessed. The expected English works of Shakespeare, Milton, Gibbon, Fielding, Pope, Richardson and Smollett are matched in number by the quantity of more recent novels by Austen (Northanger Abbey and Persuasion), Marryat, Bulwer, Dickens (Oliver Twist, Barnaby Rudge, Master Humphrey’s Clock and Pickwick Papers), Disraeli, Scott, Irving and Cooper, almost all of which seem to have been in their English originals rather than in translation. Aside from Austen, female anglophone authors include: Frances Trollope, Piozzi, Inchbald, Roche, Burney, Radcliffe, Montagu, Lefanu, Bennett and Palmer.These works of fiction occupy shelves in the first two ‘corps’ of the library, where others contain typical sections of non fiction, including geography, philosophy, history and classics. In these sections two, among the large runs of Rousseau and Voltaire we find anglophone authors such as Adam Smith, Hugh Blair and Malthus. The pattern is repeated among the various collections of periodicals and folios of prints (the latter contain at least 20 sheets of unspecified English caricatures).This is clearly a library for reading rather than a bibliophilic collection, and almost none of the books would have been considered rare or antiquarian. In almost every case the format, number of volumes and location are given, though almost none of the editions are dated. Manuscript, 4to (230 × 175 mm), c. 140 written pages gathered loose in 9 folders with simple paper wrappers titled in manuscript. Loose in a later brown paper wrapper (frayed, contents fine).
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The Electrical Eel: or, Gymnotus electricus. Inscribed to the Honourable Members of the R***l S*****y, by Adam Strong [pseud.], Naturalist.

PERRY, James] 'Adam STRONG', [pseudonym]. First edition. ‘A satirical poem on the amours of various members of the nobility’ (ESTC) or, as the Monthly Review succinctly put it: ‘Poetical smut. Rochester revived.’ A number of imitations and replies were elicited. It is early work by Perry (formerly ‘Pirie’, 1756-1821), a Scottish journalist recently arrived in London ‘to try to break into the literary world’ (Oxford DNB). By the end of his career he had become ‘one of the most notable journalists of the age when the newspaper press was becoming established as a force in the country’ (ibid.)Studies of Gymnotus electricus by members of Royal Society and their correspondents had captured the imagination of the British public in unexpected ways. While the investigations of Walsh and Hunter made genuine discoveries into the nature of electricity (which culminated in the invention of Volta’s battery), contemporary wits and pamphleteers took advantage of the phallic connotations of the eel and its electrical properties to deride the sexual peregrinations of London society.In this copy several of the printed lacunae have been filled in by a contemporary hand, identifying Lady Sarah Bunbury and Lady Grafton, among others, as devotees of the electrical eel. 4to (290 × 210 mm), pp. [4], iii, [1], 19, [2], complete with the half-title; early manuscript insertions; first leaf rather dusty, some fragility; uncut; modern quarter calf. [Jackson, p. 52.]
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Dernière lettre du chevalier D’Eon à M. le Comte de Guerchy en datte du 5 Aout, 1767. Avec l’extrait de la procedure en bonne forme. seconde edition.

EON DE BEAUMONT, Charles Geneviève Louis Auguste André Timothée, chevalier d']. A notorious pamphlet by the famous transvestite spy, issued during one of the most colourful and tangled episodes of Anglo-French diplomacy. This ‘seconde’ edition issued at the expense of the corps des Militaire François in D’Eon’s defence. The first edition (also 1767) bore a Londres imprint and survives in only a handful of copies; our Amsterdam edition is even rarer with no copies located in Worldcat.Following a successful military career d’Eon served Louis XV in English diplomacy and espionage from 1762, gathering defence intelligence for a projected French invasion. Living lavishly in London he became something of an embarrassment to his government who stopped his pension and sought to recall him to France. He became embroiled in a bitter row with his compatriot Claude Louis François Régnier de Guerchy (1715-1767), who he saw as an interloper on his diplomatic patch. ‘From October 1763 the dispute took a spectacular turn as d’Eon published allegations that Guerchy had tried to poison him. In March 1764, he went further still and published a selection of his diplomatic papers, which heaped ridicule on Guerchy and his allies in France’ (Burrows, A King’s Ransom). The dispute was a profound embarrassment to the French, not least because d’Eon successfully brought the matter to the English courts and because it drew attention to the chevalier’s increasingly complex personal life. It was in the wake of this affair that the chevalier went into hiding in Byfleet (Surrey), spending a years disguised as a woman and going by the name of Madame Duval. This transvestite experiment became a pattern and the remainder of his career was lived partly as a woman and he became a celebrated figure in London society.This pamphlet, a superb piece of propaganda issued on d’Eon’s behalf appeared after the comte de Guerchy’s death in 1767 and reproduces the last letter sent to him by d’Eon recounting the facts of the poisoning case together with extensive translations from English legal records of the law case as it worked its way, very publicly, through the courts. 4to (230 × 170 mm), pp. 22, [2]. Contemporary plain paper wrapper. Stitching loose, slightly dusty, but a good, unsophisticated copy.
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An Elegy on the lamented Death of the Electrical Eel, or Gymnotus Electricus. With the lapidary Inscription, as placed on a superb Erection, at the Expence of the countess of H———, and Chevalier-Madame d’Eon de De Beaumont. By Lucretia Lovejoy, Sister to Mr. Adam Strong, Author of The Electrical Eel.

PERRY, James, answer to). 'LOVEJOY, Lucretia', pseudonym. A rare satirical elegy and epitaph for the celebrated electrical eel, who could no longer rise to the occasion. A reissue of the sheets of the first edition of 1777 with a cancel title, of this elaborate addition to the corpus of salacious 1770s pamphlets devoted to the subject of the electrical eel, a topic of serious scientific enquiry and popular merriment. This one continues the phallic joke and manages to draw in the hapless Chevalier D’Eon (whose sex was then popularly debated) alongside the lecherous Earl of Harrington. ‘If the Gymnotus Electricus, lately exhibited to the Public, be really dead, it is to be hoped that we shall have no more of these witty indecencies’ (Monthly Review, Nov. 1777). 4to (258 × 204 mm), pp. [2], 29, [1]. Title page dusty around margins. Preserved in recent wrappers to style. [ESTC: Harvard and Princeton only worldwide of this issue. ESTC gives the pagination [4], 29, [1], but both the 2 copies reported have only pp [2] before title, as here, though it is perhaps likely the work was issued with a half-title or initial blank not present in surviving copies.]
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Calligraphic certificate].

BECK, Julia, artist and calligrapher. (Isabelle BOGELOT). A large calligraphic certificate by Swedish-born artist Julia Beck, presented to a pioneering French feminist, Isabelle Bogelot on behalf of the Oeuvre des Libérées de Saint-Lazare in commemoration of her attendance at the World’s Congress of Representative Women at the Chicago World Fair in May 1893. Bogelot was an important philanthropist who worked tirelessly for the Libérées de Saint-Lazare charity which sought to aid former inmates of this women’s prison, who included a large proportion of Parisian sex-workers. As the article in the Journal des Femmes (24, Nov. 1893, loosely inserted here) recounts, Bogelot had travelled to Chicago in 1893 to attend a week-long convention held within a special Women’s Building constructed for the world fair. On her return she was presented with a medal and this superb calligraphic certificate by Julia Beck.Beck was born in Stockholm in 1853 and moved to Paris in 1883. She became one of the first female artists from her country to make a living through art alone. She is best-known for her landscape paintings in the Impressionist style, which were highly regarded in France and abroad, but she supported herself partly through commercial calligraphy, at which she excelled. The newspaper article here attributes the certificate to both Beck and Bertha Formstecher, but is is signed (at the foot) by Beck alone. Beck was a committed advocate for women artists. Illuminated manuscript on a single large parchment sheet (465 × 296 mm). Calligraphic text, with initials and rubrics, plus illuminated border and heraldic headpiece, in ink, gold and colours. Lightly rubbed, gold flaking in places, slightly soiled at head. Original morocco boards, pink silk and pink floral endpapers. Rubbed, silk fraying in places. Contemporary newspaper report.
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Récueil contenant la mythologie, des notions sur la géographie, un calepin des mots choisis, avec des lettres diverses fait du 28 Fevrier jusqu’au 10 Juillet 1820 pour ant[oin]e Bert Fils ainé.

BERT, Antoine, [owner]. A spectacular naively-illustrated collection made for (or perhaps by) the young son of a Gironde merchant, including 24 large illustrations including fantastical depictions of royal palaces in Paris, Venice, Persia and India, a shipwreck and a tiger hunt. The illustrations are finely (one might say obsessively) rendered in ink and bright watercolour, with painstaking attention to detail. The text is typical of self-made vade-mecums of the period, with a glossary over 1800 words and expressions, a mythological dictionary of gods and goddesses, a geography of France and a formulary of 126 letters (personal and business). It is written with great care, with numerous calligraphic embellishments of a type usually found in exercise books of penmanship. The illustrations combine reality, fantasy and piety, with exotic palaces evidently adapted from contemporary images or descriptions, adventurous episodes (a deadly crocodile, a shipwreck in the great Lisbon storm of 1755 and the shooting of a leopard-like tiger) and an engaging series of devotional images combining image and text (the latter often in graphic or concrete form). As often, the intention is both recreational and educational.The large illustrations comprise:1. Ornamental title.2. Pôt de Fleurs et de Fruits.3. Palaisss indien.4. Magnifique chateau du Doge de Venise sur la mer.5. Pont de Jèna (uncoloured).6. Mon Dieu ayez pitié de nous.7. l’Ange couronné de fruits et fleurs, 12 Mai 1820 (folding).8. Chateau de Rambouillet (uncoloured).9. [An unidentified palace].10. Mer des crocodiles très dangereuse.11. ‘Ce beau cahier appartien à Antoine Bert, fils, à Barsac le 18 avril, 1820’ and ‘Enigme de 1793’.12. Palais du Sultan.13. ‘La mythologie ou la connoissance de la la [sic] Fable’, [decorative title].14. Jesus pleurant sur les instrumens de sa mort.15. Superbe et magnifique Palais du Roi de Perse près d’Ispahan (folding).16. ‘O Croix d’un Dieu mourant’ (folding).17. Autre Palais du roie de Perse et Bosquets.18. Façade du chateau de Meudon (uncoloured).19. Pot de Fleurs et de Fruits du 9 Juin 1820.20. Le Linx ou le Tigre parcourant les montagnes est atteint d’un coup de coulevrine (folding).21. Naufrage affeux d’après une tempête aux côtes de la Barbarie en Afrique en 1755.22. Les Thuilleries a Paris (folding).23. Psalm 50 (‘Auditui meo dabis gaudium.’ in cruciform.24. Crucifixion. Small 4to (192 × 145 mm), pp. 1-32, 35-244 (two pages missed in pagination) plus 24 full-page illustrations, most, fully coloured and of which 5 are folding. Calligraphic headings, borders and other decorations. Ink corrosion to the boldest borders on 3 leaves, one (a folding illustration) resulting in loss of blank borders, but overall exceptionally fine and fresh. Contemporary green straight grain morocco, gilt borders to sides, panelled spine, red morocco label.
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Sketches from the cinema and other entertainments.

SOUZOUKI, Ruytchi. A superb collection of over 300 spontaneous sketches made in situ in Paris of popular films and entertainments of the 1950s, including the classics Les Vacances de M. Hulot, Buñuel’s El, Le Ballon Rouge and other French films by Renoir and Meliès, Sophia Loren in Neapolitan Carousel, Bob Hope and Lucille Ball in Fancy Pants, Jerry Lewis and Dean Martin in Artists and Models and Marilyn Monroe in Bus Stop.Ryutchi Souzouki (1904-1985) had been a well-regarded and well-connected Montparnasse figure, counting Ernst and Foujita among his friends in the twenties and thirties and frequently exhibiting alongside the surrealists. Born in Yokohama, he spent much of his life in Paris, though his Japanese citizenship prevented him from exhibiting during the war years and probably accounted for his increasing isolation in the post war period. A solitary figure, until his death in poverty, he continued to work, experimenting with automatic drawing and making sketches, such as these, from popular films and entertainments, such as the tableaux vivants of the Casino de Paris, the Folies bergères, conjuring performances and the opera, instantaneously capturing their spirit on scraps of hotel stationery, recycled scraps or cheap spiral-bound notebooks. They are witty, touching and always engaging responses to what he saw in the cinemas and theatres of Paris. Following his death, the contents of his studio, including the many albums he had carefully collated in his final years (like ours) were conserved by his concièrge and dispersed at auction in 1985. 1949-53, 1953-6, 1953-4, 1956-7, 1962 c. 320 drawings in ink and ballpoint, some coloured, on notebook leaves, a few other cuttings, later (see below) mounted in 5 folio (320 × 240 mm) albums of 8 leaves each. Each album signed on upper covers. Some browning to the sketches, but generally very well preserved.
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Les Quakres françois, ou les nouveaux Trembleurs, comédie.

BOUGEANT, Guillaume-Hyacinthe]. First edition, a satirical play on the Convulsionnaires (‘les quakres françois’) and the Jansensists who were seen to have encouraged them with their belief in miracles. The tomb of the Jansenist M. de Pâris in the Paris churchyard of Saint Médard had become the location for an outbreak of popular devotion and miracleworking, with miraculous cures and speaking in tongues regularly reported. It became a cause célèbre, and the authorities were forced to close the churchyard. The episode spawned a large literature: favourable, unfavourable and satirical. Bougeant’s play is firmly in the last category and comes complete with a satirical woodcut of a contortionary dancer as ‘Instructeur des acteurs du Tombeau de M. de Paris’. ‘The most famous of the Convulsionnaires was Father Bescherand, known for his ‘sautes-de-carpe’, wild carp-like leaps performed in spite of a famously bad limp. In Les Quakres françois. Bougeant satirizes Father Bescherand as a complex plot unfolds to grace this virtuosic Convulsionary with a troupe of men and women paid to jump and leap with him. (Gotman, Choreomania: Dance and Disorder, 2018, p. 102). 12mo (175 × 90 mm), pp. 66 plus wood engraved frontispiece. Woodcut device to title. A few minor flaws from heavy type impression and careless opening, slightly thumbed. Uncut in later blue wrapper. A good copy. [Cioranescu 13200.]
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De Profundis, [in Japanese, in Waseda Bungaku, Meiji 44-nen, 10-gatsu no Maki.

WILDE, Oscar. Hisao HONMA, translator. First edition in Japanese of De Profundis, printed in the October 1911 issue of Waseda Bungaku, and representing the first significant Wilde text translated into Japanese and an important stimulus to the subsequent enthusiasm for Wilde in Japan. Waseda scholar and translator, Honma Hisao was instrumental in this process. Wilde was certainly known in Japan during his lifetime, receiving occasional notice in the Japanese press, but only one essay of his appeared in Japanese during this time, a translation of The Soul of Man under Socialism, printed in 1891 but which failed to attract great attention. Thereafter, an abridged translation from the German of Salome appeared in 1909, followed by Honma’s complete translation of De Profundis from the original English text edited and published by Robert Ross in 1905. ‘While De Profundis is known as the work which prompted a re-evaluation of Oscar Wilde [in England], for Japanese readers, it served rather as an introduction to Oscar Wilde’ (Hirata). 8vo (224 × 152 mm), pp. 200-248 in the complete October issue of the journal. Original paper wrappers, stapled, as issued. Covers browned and spotted and quite fragile, with minor loss to head and tail of spine, text in good condition. [Hirata, ‘Oscar Wilde and Honma Hisao, the First Translator of De Profundis into Japanese’, Japan Review, 2009, 21:241-266]
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Phonographie de l’amour, aggravée d’un commentaire au crayon par Lucien Métivet.

GRYPERL' [pseudonym of Georges Boyer]. Lucien MÉTIVET, illustrator. Sole edition, one of 50 copies on chine. An illustrated collection of epithets on love and the relationships between men and women, a witty reflection of the sexual politics of fin-de-siècle Paris. The conceit of the title, and the charming accompanying vignette, involves communication (or perhaps miscommunication) via headphones and a phonographic machine operated by Cupid. It is a nice example of the contemporary fascination with the potential of electronic communications, with echoes of the science-fiction fantasy La Fin des livres by Albert Robida published in the same year, in which a new world of literature was a network of wires and headphones and of the Theatrophone apparatus recently exhibited at the Paris exhibitions. 8vo (198 × 128 mm), pp. [4], 23, [1], text with marginal engraved croquis printed in sanguine, plus a complete suite of all the croquis (several to a page without letters, printed in black. Original decorative wrappers, preserved in a contemporary (and unique) binding of blue morocco, with inset to upper cover of grey calf with Métivet’s designs incised and embellished by hand in gilt and colours. Original marbled slipcase and chemise. A fine copy. [Worldcat lists 3 copies only: Bibliothèque nationale, British Library and Yale.]
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Le Procès de Henri Garnet, provincial des Iesuites d’Angleterre. Executé à mort en la ville de Londres, le XXVIII. iour de mars 1606, tourné mot à mot de l’anglois, en gardant les noms propres, & les termes du langage, pour mieux en representer la verité, Plus, le bannissement des moines, prestres, Iesuites, seminaires, & leurs semblables hors d’Royaume de la grand Bretagne

GUNPOWDER PLOT). (GARNETT, Henry). In early March 1606 the Jesuit Garnett was charged with complicity in the Gunpowder Plot and tortured. His trial in the Guildhall began on 28 March, where he was found guilty and was executed on 3 May 1606. Garnett had trained at Rome, but returned to England in 1586 as part of the network of Catholic priests ministering privately and secretly to the faithful, for a short time he also supervised a secret printing press. Whether he was in any way complicit with Fawkes and his co-cospiritors is highly questionable, but he was victim to the frenzied search for possible associates after the plot was uncovered.This is account of his trial and execution in French; an exceptionally rare continental imprint. An edition bearing the date 1606 (with 45 pages) is also recorded (Sommervogel XI, col. 1705, n° 17) but are known in a handful of copies across the two editions. 8vo (156 × 100 mm), pp. 36. Typographical ornament to title and to head of text. Small hole to title (a capital’T’ having punched through the paper), last leaf lacking extreme lower forecorner. Bound with numerous blanks in late nineteenth century half morocco, spine lettered in gilt. Old bookseller’s notice pasted to front pastedown, early inscription ‘J. G. Camusat’ to foot of last page. A very good copy. [Worldcat: British Library and Johns Hopkins only.]
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Souvenirs sténographiques. Ou, Traité de la Sténographie considérée dans tous ses développements.

STENOGRAPHY). AntoineREYNIER. A complete course teaching stenography, or the art of writing ‘aussi vite que la parole’, finely written with numerous thumbnail drawings. Divided into four parts (introduction, pronunciation, punctuation and an atlas) with an errata, a table of contents and two sheets of stenographic examples or exercises.In the atlas dedicated to the description of the stenographic signs in 13 charts, the last 13 gather 51 finelyy drawn vignettes giving the figurative equivalent of the stenographic signs and their pronunciation: the links of a chain for an open ‘a’ (as in anneaux), a radiating halo for an ‘o’ (as in oréole), a drunkard for the ‘i’ (ivrogne), a gallows for the ‘p’ (potence), a cat for the ‘ch’ (chat), and so on, including a funnel, lyre, clock, umbrella, falls, arrow and gondola, the morphology of the signs given an ideogrammatic cue as a mnemonic. The whole represents a complete teaching system aimed at the aspiring stenographer, Manuscript, folio (335 × 220 mm), pp. [2], 157, [1] plus two folding leaves at end. Calligraphic title with watercolour and the author’s name in reverse., calligraphic drophead titles to each of the four parts with blue wash, text an numerous thumbnail drawings within double ruled borders. Contemporary green straight-grain half morocco. Corners worn, rubbed, but still very good, internally fresh.
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As You Like It. [Original Watercolour costume designs].

SHAKESPEARE). Lewis Strange WINGFIELD. Original costume designs created for the 1885 production of As You Like It at London’s St James’s Theatre, where the management team of John Hare and actors W.H. & Madge Kendal put on a series of versions of Shakespeare plays characterised by high production values and elaborate and historically accurate costumes. Wingfield based his costumes on images of the fifteenth-century court of Charles VIII of France, and the sets included a replica of the chateau d’Amboise.The Hare/Kendal team were much praised at the time for improving the moral and artistic tone of the London theatre but this production attracted severe criticism from Oscar Wilde, who in his essay ‘The Truth of Masks — A Note on Illusions’ (Intentions, 1891) on costumes in Shakespeare, singled out, in particular, Orlando’s costume as being grotesquely gorgeous for a character living as an outlaw in the woods. He notes that Wingfield’s justification for the costume, that Orlando would have been constrained by sumptuary laws from dressing down is patently absurd.Wilde was not always so negative about Wingfield, using his lectures on costume history, written to accompany an exhibition in 1884, as source material for his important essay ‘The Philosophy of Dress’.Lewis Wingfield also designed costumes and sets for The Winter’s Tale (1887) and Romeo and Juliet (1884), collaborating with Mary Anderson at the Lyceum Theatre to ‘create superb and detailed visual effects in her productions’ (Newey & Richards), but this was only one aspect of his rich and varied professional life. By birth an Irish aristocrat, he was by turn a novelist (The Curse of Koshin – A Chronicle of Old Japan, 1889), a travel writer (Wanderings of a Globe trotter in the Far East, 1889), a painter who exhibited at the Royal Academy between 1869-75, an actor on the London stage, a reporter and war correspondent. His dispatches from the Siege of Paris in 1870 during the Franco-Prussian war were published in the Times and Telegraph, and it was a sickness picked up when embedded with the British Army in Sudan in 1884 that probably led to his early death at the age of 49. Folio (302 × 205 mm). Manuscript title page with list of characters to verso, 56 original costume sketches in pencil, watercolour and pen, each mounted. Contemporary half morocco album. Joints worn, but secure. Bookplate of Louis Becker.List of watercolours:Banished Duke, Banished Lord, Page to Banished Duke, Duke Frederick, Servant to Duke Frederick, Amiens, Jacques, Le Beau, Charles, Oliver, Jacques de Bois, Jacques de Bois, Orlando, Orlando, Adam, Dennis, Touchstone, blank leaf labelled in pencil ‘Sir Oliver Mar-text a Vicar’, Corin, Silvius, William, blank leaf labelled ‘A person representing Hymen’, Rosalind, Rosalind, Celia, Shepherdess, Audrey, Lord I, Lord I, Lord I, 1st Lord, Lord I, Lady of court, Court lady I, Court lady I, Lady Court, Court lady, Court lady I, Court lady I, Lady of Court, Court lady I, Court lady I, Herald, Soldier I, Chief Hunstman, Huntsman, Huntsman, XV, Countryman, Countryman, Peasant, Countryman, Peasant woman, Peasant woman ch VIII period, Peasant, Peasant woman. [John Ruskin and the Victorian Theatre, Katherine Newey and Jeffrey Richards, 2010As You Like It, William Shakespeare, Cambridge University Press, 2000; Pictorial Shakespeare, 1880 – 1890, A Study of Major London Productions, Russel Bennet Jackson, University of Birmingham, 1975.]
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Guide des personnes qui désirent se placer, s’associer, se marier, vendre ou acquérir des fonds de commerce, prêter, emprunter, se procurer des commis, régisseurs, dames et demoiselles de compagnie, etc.

VILLIAUMÉ, [Claude]. First edition, known otherwise only from the Bibliothèque nationale copy, of this tiny promotional pamphlet for the notorious (yet successful) marriage agent in imperial Paris. It is a remarkable little testimony to post-revolutionary upheaval and its effects on social relations. Marriage-broker Villiaume is credited as the pioneer in France of advertising for partners in the petites affiches of newspapers. He had apparently hit upon the idea while imprisoned in the mental asylum for his part in an assassination attempt against Napoleon: he is reported to have made enquiries into the social situation of all the male inmates (which naturally at this date included numerous members of the old aristocracy) and then did the same among their female counterparts in the women’s asylum. On his release he founded the Agence Générale et Centrale pour Pais et l’Empire on the Rue Neuve-Saint-Eustache and began a Parisian craze for marriage brokering.Evidently prepared to turn his hand to any promising enterprise this pocket guide advertises his services as a broker not just for marriages, but of various other situations and he takes the opportunity to defend himself against his many detractors and to advertise the sale of his neighbours’ second-hand furniture.’Founder of the most widely known matrimonial agency in postrevolutionary France, Claude Villiaume proved his talents as an enterprising ad man who exploited the uniquely commercial format of the Parisian Petites affiches to establish a virtual monopoly on the business under the Empire. Offering to serve as a conduit for men and women who pursued love anonymously in the Petites affiches, he skillfully marketed his "marriages by the classifieds" to lonely, uprooted individuals throughout imperial France. Villiaume pitched his unions as part of a new commercial and social world of movement in Paris. He sought to facilitate the circulation of capital and people by forging family alliances and love matches across multiple social and geographic borders. By linking marital choice and courtship to the vagaries of consumer capitalism, the agent transformed marriage into a form of commercial exchange associated with the new urban values of abundance, pleasure, and social mobility’ (abstract from Andrea Mansker, ‘Marriages by the Petites Affiches: Advertising Love, Marital Choice, and Commercial Matchmaking in Napoléon’s Paris’, French Historical Studies (2018) 41 (1): 1-31). 32mo (95 × 55 mm), pp. [16]. Original salmon coloured wrappers, printed on inside covers. Old (blank) paper label to upper cover. Tiny French collector’s stamp to title. An excellent copy.