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Jonathan A. Hill

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Manuscript on paper, entitled: “Du Calcul de l’Infini ou Theorie & Usages de l’Analise des Infiniment-Petits. Ex lib. Bicquilley,” written in a fine professional hand, with a number of authorial corrections in what is certainly the hand of Bicquilley

BICQUILLEY, Charles François] Five folding hand-drawn plates & much stencilling of chapter headings, decorative initials, and mathematical symbols. 160; 185 pp. Two vols. in one. Large 4to (295 x 245 mm.), cont. mottled calf (upper joint cracked but strong), spine gilt, red morocco lettering-piece on spine. From the manuscript title-page: "Paris: M.D.CC.LXX." The re-discovered manuscript fair copy, written in a fine hand and laid-out to be sent to the printer for typesetting, of a hitherto unknown work by Bicquilley (1738-1814), a mathematician who made important contributions to probability theory and mathematical economics. Our manuscript, which is completely unknown, precedes Bicquilley's first published work, Du Calcul des Probabilités (1783) by many years. This is a remarkable manuscript in several ways including the method of production (see near the bottom). While the manuscript is not signed by Bicquilley, we make the attribution to him based on these factors: the style of writing here - concise, neat, clear, and modern - is typical of Bicquilley's other mathematical writings, "in the form of a manual ready for teaching.a systematic study" (Crépel, p. 33). This concision is very different from other treatises of the time. Furthermore, the author of this text is obviously influenced by the mathematical work of Cousin (see the preface), and we know that Bicquilley corresponded with Cousin. The several corrections in the text closely resemble Bicquilley's handwriting. This manuscript also comes from the library of Bicquilley and has his bookplate and a stencilled ex libris on the title. It would seem that Bicquilley had this fair copy manuscript prepared to send to the printer but did not, and so it entered his own library. Unheralded until recently, Bicquilley is now best known for his work on commerce and probability; however, very few details of his mathematical background in differential and integral calculus are available today. From this manuscript, we learn of Bicquilley's previous communication with the mathematician Jacques Antoine Joseph Cousin (1739-1800), whom he praises and thanks in the preface. The earliest letter between the two that the historian of science Pierre Crépel has found dates from 1776. With the scarcity of documentation, the first half of Bicquilley's life is very difficult to reconstruct. The present manuscript offers considerable insight into his early years as a skilled mathematician. Bicquilley was born into a family of magistrates in the commune of Toul, a small town near Nancy in northeastern France. He was a law student at the University of Pont-à-Mousson, where he also likely taught mathematics. His service in the military starting at the age of 26 introduced him to the engineer Didier Grégoire Trincano. It was Trincano who very probably exposed Bicquilley to the joys of mathematical research, and his influence appears throughout Bicquilley's published work. Bicquilley joined the Freemason Loge des Neufs-Soeurs of Toul in the early 1780s; cf. Pierre Crépel, "Mathematical Economics and Probability Theory: Charles-François Bicquilley's Daring Contribution," in Studies in the History of French Political Economy: From Bodin to Walras, ed. Gilbert Faccarello (1998), pp. 84-87. Bicquilley's Du Calcul des Probabilités (Toul: 1783) was his first published book; it had considerable success, with a "new edition" issued in Paris in 1805 and a translation into German in 1788. His extremely rare Théorie Elémentaire du Commerce (Toul: 1804), has been the subject of research conducted by Crépel, who writes (in trans.): "The work is remarkable in more than one respect: (1) it is a mathematics book, constructed as such in terms of definitions, theorems, and corollaries; (2) it is written for a wide public in a particularly clear and comprehensible style; (3) it contains a mathematical determination of prices very similar to N.F. Canard's in his work Principes d'économie politique, although manuscript analysis proves that Bicquilley's formulation is without doubt the earlier of the two; (4) unlike the mathematical economic theories published in subsequent decades, Bicquilley's theory also uses probability theory."-ibid., p. 78. Also, see Prof. Stephen Stigler's "Postface" (pp. 229-32) for another account of Bicquilley's works in mathematics, including the introduction of the calculus of probability to speculation: his "extension of the application of probability beyond games to risky investments was exceedingly novel at the time." In the preface (pp. vii-viii) of our manuscript, Bicquilley states that a significant portion of the first book is based on Cousin's research and teachings (in trans.): "A part of the contents which it offers is already known; I owe the other matters to the insight of M. Cousin, several theories belong to him entirely; from this number are the integration of polynomials, the summation of infinite sequences, the theory of tautochrones, and the theory of central forces. The little that I was able to present is the fruit of his lessons." The production of this handsome manuscript utilizes a remarkable amount of stencilling throughout. The person who wrote this manuscript has employed stencilling for the large decorative initials and head- and tailpieces, portions of chapter headings, and many of the capital letters used in formulae. In a fine state of preservation. Bicquilley's woodcut bookplate, executed by "Zapouraph 1773," is found on the front paste-down. Zapouraph (n.d.) was a wood engraver active in Toul, by whom at least six bookplates are known (see Archives de la Société des collectionneurs d'ex-libris et de reliures historiques, Vol. 12 [1905], pp. 87-91, especially p. 89, where Bicquilley's bookplate is illustrated and discussed). The author of the article, Dr. L. Bouland, speculates that the wood engraver is the Vicomte Nicolas François de Curel, "officier du génie, chimiste, écrivain." ? Théorie Elémentaire du Commerce, ed. Pierre Crepel (1995). N.B.G., Vol
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Cursus Mathematicus. Mathematical Sciences, in Nine Books. Comprehending Arithmetick.Geometry.Cosmography.Astronomy.Navigation. Trigonometry.With the Description, Construction, and Use of Geometrical and Nautical Instruments.

LEYBOURN, William Engraved frontis. port., 44 engraved plates (36 folding, three plates slightly cropped, several with some offsetting), and engraved & woodcut illus. in the text. Title printed in red & black. Nine parts in one vol. Thick small folio, early 19th-cent. diced calf (rubbed & a little worn, three-inch crack at foot of lower joint). London: Printed for T. Basset et al., 1690. First edition, the Henry Cavendish - Harrison D. Horblit copy, of one of Leybourn's great late works, a summary of all aspects of mathematics, containing "the substance of his former works in Cursus mathematicus, a folio volume of over nine hundred pages [actually more than 1000 pages]. It is noteworthy that the author discusses Kepler's discoveries, but says nothing of Newton's Principia, which had appeared three years previously."-ODNB. The nine works in this volume also add much new material, hitherto unpublished. "This volume is a complete survey of the field of applied mathematics at the beginning of the eighteenth century. It covers all practical (in contrast to theoretical) aspects of arithmetic, geometry, astronomy (including dialing), navigation and surveying and provides large, detailed illustrations of most of the instruments used in the majority of these fields."-Tomash & Williams L95. Clearly, Leybourn used the French mathematician Claude François Millet de Chales's work (1674) with the same title as a model, but with quite different contents and emphases. PROVENANCE: As mentioned above, this copy belonged to Henry Cavendish (1731-1810), with his characteristic ownership stamp on verso of the title. He was "the outstanding natural philosopher of late eighteenth-century Britain."-ODNB. Upon his death, his library passed to Lord George Cavendish, who, in turn, gave it to his nephew, the sixth Duke of Devonshire. With the bookplate of Harrison D. Horblit. According to E.G.R. Taylor, The Mathematical Practitioners of Tudor & Stuart England 1485-1714, 480, "this folio volume.was published by subscription, being priced at 20s. (in quires) for subscribers and 25s. to non-subscribers." Minor browning, but a very good copy. Each part has a separate, dated title-page. ? Smith, History of Mathematics, I, p. 415.
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The Compleat Surveyor: containing the Whole Art of Surveying of Land, by the Plain Table, Theodolite, Circumferentor, and Peractor: After a more easie, exact and compendious manner, then hath been hitherto published by any.

LEYBOURN, William Engraved frontis. port. of Leybourn and numerous woodcut diagrams & tables in the text. Title printed in red & black. 6 p.l., 84, 177-279 pp. Small folio, cont. sheep (some wear & rubbing, a few unimportant stains). London: R. & W. Leybourn for E. Brewster & G. Sawbridge, 1653. First edition under this title. "Of all the seventeenth-century writers on surveying, William Leybourn probably exerted a greater influence on the practicing surveyor than any other, with the possible exception of John Love. Leybourn's first contribution to surveying was a short pamphlet, Pantometria or the Whole Art of Surveying, published in London in 1650 and written under the pseudonym of Oliver Wallinsby. This little tract proved so popular that Leybourn was prompted to enlarge it, and in London in 1653 he published [the present work] which passed through four editions in the seventeenth century and a revised edition in the first half of the eighteenth century. "Leybourn's texts are written in a clear, attractive style which probably developed out of his extensive teaching experience. They are a decided improvement over most of the texts published previously: the material is better organized, and there is a definite trend toward a generalization of the different methods of surveying."-L.W. Richeson, English Land Measuring to 1800. Instruments and Practice, pp. 113-14. The binding is rubbed, but a very nice and crisp copy. Cortachy Castle Library bookplate. Preserved in a cloth box. ? Tomash & Williams L94-"an important addition to the literature of surveying.".
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Arithmetica Logarithmica sive Logarithmorum Chiliades Triginta, pro numeris naturali serie crescentibus ab unitate ad 20,000 : et a 90,000 ad 100,000. Quorum ope multa persiciuntur Arithmetica problemata et Geometrica

BRIGGS, Henry Woodcut device on title & some woodcut diagrams in the text. 4 p.l., 88, [300] pp. Small folio, cont. reversed calf (upper cover partly stained, lower margin of final leaf cropped & renewed with loss of the catchword), triple ruled border in blind round sides. London: G. Jones, 1624. First edition; this is the fine and unpressed John Evelyn copy with his pressmark - "Vulcanus 14" - in his hand at the foot of the title-page. The logarithms in this book, "together with those of Adriaan Vlacq, form the basis from which almost all other logarithm tables were produced.In the preface to this work.Briggs coined the terms characteristic and mantissa for the two portions (on either side of the decimal point) of a logarithmic number."-Tomash & Williams B250. "Henry Briggs (1556-1631), Gresham professor of geometry (and afterwards Savilian professor at Oxford), published in 1624 the first table of logarithmic sines to the base 10 of our scale of numeration and the logarithms of numbers from 1-20000 and 90000-100000."-Printing & the Mind of Man, p. 70. This "work contains a dissertation on the nature and use of logarithms and proposes a scheme for dividing among several hands the calculation of the intermediate numbers from 20,000 to 90,000. Chapters 12 and 13 of the introduction explain the principles of the method of constructing logarithms by interpolation from differences, an interesting forerunner of the Canonotechnia of Roger Cotes."-D.S.B., II, p. 462. Fine copy, preserved in a box. Engraved armorial bookplate of Sir Frederick Evelyn Bart., Evelyn's great-great-grandson, and the modern "JE" bookplate. A few copies have the additional six leaves that were printed in 1628 in Gouda by Rammezeyn for the second edition, published by Vlacq.
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A collection of drawings, including a fine & extended drawing, in brush & wash colors, of a ship’s steam engine and it parts; along with one more smaller drawing of the furnace; and 12 architectural drawings of various aspects of the Western ship; entitled on the wrapper “Joki shikari kumiawase mitori no zu” [“Steam Engine Parts, the Design of the Ship, and Its Assemblage”]

STEAMSHIP ENGINE DRAWINGS 14 sheets, ranging from 2000 x 377 mm. to 670 x 385 mm. (the 12 drawings) to 567 x 380 mm. (the furnace), plus the wrapper. All on fine thin paper. [Japan: ca. 1855-63]. With the first demonstration of steam power in Japan, thanks to Commodore Perry's visit in July of 1853, the feudal domains immediately began to organize the construction of a fleet of large Western-style warships. By the August 1853 arrival in Nagasaki of the Russian Admiral Yevfimy Putyatin, who gave a demonstration of a steam engine on his ship, the Palladia. Hisashige Tanaka (1799-1881), the founder of the future Toshiba Corporation and the "Thomas Edison of Japan," promptly copied these models and built Japan's first steam engine. The first steam-powered warship to enter the Japanese navy was the Kanko Maru, given by the Dutch government in 1855. Western naval technologies were quickly assimilated; the earliest Japanese steam-powered warships were based on Dutch shipbuilding manuals and with direct assistance from Dutch representatives. In 1863, Japan completed is first domestically built steam warship, the Chiyodagata. Following the humiliations at the hands of foreign navies in the Bombardment of Kagoshima in 1863, the shogunate began to rely more on French and British warship technologies. The large drawing of the steam engine and its parts is captioned (in trans.): "The steamship's measurements: length is ca. 50 meters, width is ca. 11 meters, and depth is ca. 7 meters. Steam engine's structure and the parts described with measurements." From right to left, we see about thirty of the parts of the steam engine, often with katakana labels and measurements, the latter written in red ink. On the farthest left of this sheet is a remarkable and fine drawing (770 x 380 mm.) in brush, with wash in various grays, yellow, and pink, of the assembled engine. On the first leaf of the series of 12 numbered sheets of drawings of the naval architecture of the proposed warship, a label pasted-on states (in trans.): "The 12 sheets of illustrations are copies of red-haired origin, of the ship." These sheets contain hundreds of drawings, many heightened with gray wash and many with specific measurements, of various aspects of the ship's design, in preparation for construction. Included are numerous depictions of the hull, deck, bulkheads, rudders, winches, and gears from different viewpoints, and of structural and strengthening elements, with many manuscript labels in katakana, of Dutch terms. There is some worming on the sheets, which does touch some drawings and characters, but it is not offensive.
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Furansu keihohei teishiki [Light Infantry in the French Style]

TANABE, Ryosuke (or Yoshisuke), trans. & editor 28 folding engraved plates. 74; 86; 60; 35 folding leaves. Four vols. Oblong 8vo, orig. patterned wrappers, orig. block-printed title labels on upper covers, new stitching. Tokyo: Government Publication issued under the Author's name [Yosoda Masayoshi, a pen name for Tanabe], 1869. First edition in Japanese, translated from an unidentified French text, which, according to the Preface, was issued in 1863, with a sequel in 1867. Tanabe also states that this work includes information gained from the French military mission of 17 men (four officers, ten non-commissioned officers, and two soldiers, led by staff captain Charles Sulpice Jules Chanoine), who came to Japan in early 1867 at the request of the Japanese Shogunate for training in Western warfare. Several of these men became deeply involved in Japanese politics, unsuccessfully fighting on the side of the Shogunate. Tanabe wrote several works on military subjects, including military formations (1865), a glossary of French military terms with Japanese translations (1867), military gymnastics and training exercises (1868), and our work. This is a complete work on infantry drills and tactics, including training of new soldiers, how to form tactical units and deploy them effectively, how to operate a variety of weapons, etc. The fine copper-engraved plates depict military formations, tactical positions, military stances, etc. Fine set.
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A finely illustrated manuscript mock-up for an unpublished work, with a number of correction slips. [Manuscript cover title]: “Tabi suzume take no fushimi” [“Travelling Sparrow Peeking Through the Bamboo Grove”]

SANGOEN TSUKIMARO (pen name) & artist 14 illustrations, all hand-drawn within the text. 18 folding leaves (incl. lower wrapper). 8vo (190 x 133 mm.), orig. wrappers with manuscript annotations (see below), orig. stitching. [Japan: preface dated "1827"]. The manuscript mock-up - laid out for the woodblock carver - of a collection of illustrated doka poetry, a genre offering ethical lessons in verse. The poems are paired with beautiful and witty anthropomorphic drawings, a sub-genre of ukiyo-e called mitate-e (parody picture), or what we would consider visual puns. Each illustration is delicately rendered. Sangoen (active 1825-49) was an illustrator and author of doka poetry books, which are quite uncommon. We have not been able to locate any other mock-ups executed by this artist. A sample of five of the humorous illustrations follows: 1. "View of Eastern Kyoto": a man in a loincloth lies prone in the shape of Kyoto's famous Daimonji site, where the kanji character dai is created on the side of a mountain by torches. 2. "Sake Mountain and Rice Shrine": grains constitute a human head, which is called a "rice shrine" and faces a mountain of sake. 3. "Weeping Waterfalls": two waterfalls flow from the mountainside, which resembles a human face, the waters gushing from the face's eyes. 4. "Nose-Hair Pine Trees": a group of nine pine trees alluding to noses full of hair; below are tweezers ready to pluck out the hairs. 5. "Smelly Cherry Blossoms": cherry blossoms in the shape of noses, with one large nose as the trunk of a tree. Two travellers pinch their runny noses. In very good condition. On the upper cover, in addition to the title, we find the year "1827"; the name of the publisher "Ogawa Gen?" and the creator "Tsukimaro." There is also the character jo, signifying that this may be the first part.
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Manuscript on paper, entitled on label and first leaf of Vol. I: “Kyusei iko” [“Collection of Theories of Treatments by Moxibustion”]

MOXIBUSTION Some illus. in the text. 86; 64; 57 folding leaves. Three vols. 8vo (237 x 164 mm.), orig. wrappers (some worming), orig. manuscript title-labels on upper covers, new stitching. [Japan]: on final leaf of third vol.: "1786" & "1791." A most unusual manuscript: a collection of texts, both Chinese and Japanese, entirely devoted to moxibustion, its theories, and its practices. Most Japanese manuscripts and books include acupuncture along with moxibustion. What is particularly interesting to us about this manuscript is that many of the texts by these authors seem not to have been published but passed on by word of mouth. Moxibustion, or the burning of moxa, comes under the rubric of counter-irritation. It is the process burning of a combustible plant, usually mugwort, on or against certain areas of the skin. The anonymous editor of this manuscript has included texts by Chinese doctors, including Tshui Chih-Thi (Liyan Zhen, ca. 670) "a high official (Vice-President of the Imperial Secretariat), who had a deep interest in medicine and wrote a treatise on the cure of tuberculosis-like diseases by moxa."-Lu & Needham, Celestial Lancets, p. 177. Other writings are by Sun Ssu-Mo (Simiao Sun) in the Sui and early T'ang; Chang Chung-Ching (Zhongjing Zhang) of the Han (see Lu & Needham, pp. 177-78); and the great naturalist Shizhen Li (1518-93), whose treatise on the materia medica of moxibustion appears. The Japanese doctors whose texts on moxibustion are present include Ippo Okamoto (active 1685-1733), Sakuan Ogawa, Seitei Furubayashi, Gengai Ogino (1737-1806), Tokumoto, Sanki Furukawa, Morihisa, Ryoan Terajima, Kitayama, Sasaki, Ryozan Goto (1659-1733), Matsuoka, and Gentatsu Matsuoka (d. 1747). Vol. I has 109 chapters on the theories behind moxibustion, treatments, and recipes. The editor distinguishes between Chinese and Japanese theories. The Japanese Kai family's technique of moxibustion is described; it is a record of moxa treatments found to be effective in a variety of conditions (see Mestler, A Galaxy of Old Japanese Medical Books, Part II, pp. 477-78, for an account of a Kai family "secret" manuscript and its contents owned by Dr. Mestler). There are substantial passages on the use of moxa for treating teeth. Vol. II consists of about 90 chapters, covering pressure points and the uses of moxa on children. Vol. III consists entirely of case histories. The illustrations depict how to determine moxa points on the body, images of the spine, etc. There is some worming here, including worm "trenches." However, no character is completely obscured, and all the texts are legible.
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Catalogue de Tableaux Capitaux des Ecoles de Hollande, de Flandre, d’Italie et de France, dont la Vente.aura lieu dans sa maison.le Mercredi matin 8 avril 1835.

AUCTION CATALOGUE: LAFONTAINE, Pierre Joseph) Wood-engraved vignettes on upper & lower wrappers, one large folding lithographed frontis. 8vo (210 x 140 mm.), orig. printed wrappers, stitched as issued. Paris: Coutellier & C. Paillet; London: Wootburn frères [sic.]; Bruxelles: Héris, 1835. A very scarce catalogue, in original state, of the personal art collection of Lafontaine (1758-1835), who "took care to prepare every new stage in his career without ever allowing himself to be affected by the political or economic changes."-Blumenfeld, p. 218. Born in Flanders, he trained under the artists Kaplan van Neste and Jean Douelle. After his acceptance into the Académie, Lafontaine exhibited a number of paintings at the Salons of 1789 and 1791, and developed close ties with several painters, including Greuze. It also seems that Parisian experts had engaged him as an agent and scout starting in 1779; he devoted himself entirely to dealing some time in the mid-1790s. Lafontaine took full advantage of fluctuations in taste and supply and successfully arbitraged between England and the Continent throughout his career. Among countless profitable transactions, one of his most famous was an exchange with the Prince of Wales for Rembrandt's The Standard Bearer (now coll. Elie de Rothschild) in return for a group of lesser paintings. The present auction catalogue begins with an informative memorial likely written by the expert of the sale, Charles Paillet (son of the great dealer, A.J. Paillet), who recalls Lafontaine as a helpful and enterprising colleague. It then describes 32 paintings (by da Vinci, del Sarto, Schedoni, Potter, Berghem, van Dyck, Callot, S. Bourdon, Lafontaine himself, etc.). Lot 1, a painting of Herodias receiving the head of John the Baptist (reproduced with the folding frontis.), is attributed to da Vinci; however, this composition, of which there are three known variants - one at the National Gallery in London, and another, possibly the original, at the Kunsthistorisches Museum, Vienna - is now re-attributed to Cesare da Cesto (1477-1523), one of the so-called Leonardeschi. Paillet provides measurements and lengthy descriptions for most of the paintings. The final six lots consist of drawings, books, and Lafontaine's collection of sale catalogues. A fascinating sale catalogue of a noteworthy dealer's personal collection. In original state and nice condition. ? Lugt 13949. C. Blumenfeld, "Pierre-Joseph Lafontaine and his Exploitation of European Art Market Imbalances in Paris and London, 1795-1815" (pp. 217-30), in S. Avery-Quash & C. Huemer, eds., London and the Emergence of a European Art Market, 1780-1820 (2019), p. 218-"Lafontaine in fact played an important role in the development of the European art market during this period beset by major upheavals. For the years 1795-1815 alone, the Getty Provenance Index records 1,690 transactions under his name in Germany, France, Belgium, Holland, and Great Britain, and demonstrates that he was drawing far superior profits from the market than his Parisian colleagues. Most importantly, he was the only Fleming equally at ease in Paris and London and the only dealer whose business survived the political vicissitudes, enabling him to continue working from the 1780s to the July Monarchy." See this chapter for a wonderful in-depth examination of Lafontaine's evolution from artist to titan of the European art trade.
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Manuscript on paper, entitled on label of upper cover, repeated on first leaf: “Kagawa kyuten zukai” [“Kagawa-style Placement of Moxa, illustrated & described. Complete”]

KAGAWA, Shuan (or Shutoku), attributed author Eight full-page drawings & one illus. in the text. 17 folding leaves. 8vo (243 x 165 mm.), orig. blue semi-stiff wrappers (some dampstaining to upper portion of each leaf). [Japan: mid-Edo]. Kagawa (1683-1755), a member of the medical family dynasty, studied in Kyoto with Ryozan Goto and Jinsai Ito, from whom he learned moxibustion and the therapeutic value of the waters of hot springs. Kagawa established the successful Ippondo medical school and was one of the most enthusiastic practitioners of moxibustion of his time. There is another manuscript of this text at Kyoto University, attributed to Kagawa. Some of the illustrations are very different. The introductory remarks describe the importance of the precise placement of the moxa on the skin, how to measure the placements based on distance from certain bones or joints of the body, and the various techniques and occasions for moxibustion applications. Following this, the text precisely describes the moxibustion locations on the body and how to locate each one, with references to Simiao Sun's classic text Qian jin fang [Essential Prescriptions Worth a Thousand Gold Pieces], compiled in 650-59. Kagawa lists many diseases and injuries for which moxibustion is appropriate. There is a most interesting section on how to treat unsuccessful moxibustion procedures (application of certain ointments, etc.). The attractive illustrations depict moxibustion loci on an osteological background, and loci on the stomach, arms, legs, and feet. As mentioned above, there is dampstaining to the upper fifth of each leaf, but all the characters remain completely legible.
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Catalogue de Dessins, Gouaches et Aquarelles, des grands Maitres des Trois Ecoles, encadrés et en feuilles; estampes anciennes et modernes des trois Ecoles, en feuilles et en Recueils; Livres à Figures; Notes manuscrites; Livres sur les Arts; Collections de Catalogues curieux; Figures et Bas-Reliefs en marbre et en terre cuite, Vases, Socles et autres Objets en porphyre, et divers Marbres, etc., etc., composant le Cabinet de feu.dont la Vente aura lieu les Lundi 28 Février et Mardi 1.er Mars 1825.[Expert: A.N. Pérignon]

AUCTION CATALOGUE: REGNAULT-DELALANDE, François Léandre) 23 pp. 8vo (210 x 135 mm.), partially stitched (edge of title-page expertly repaired), uncut. Paris: Félix & Pérignon, 1825. The surprisingly rare auction catalogue of Regnault-Delalande (1762-1824), one of the most prodigious Parisian dealers in the late 18th and early 19th centuries; WorldCat records no copy in North America. Regnault presided over a number of famous sales from the period, foremost among them those of the expert Basan, Count Potocki, Rigal, and the influential critic Saint-Yves. The introduction claims that Regnault-Delalande produced more than 300 sale catalogues (the Getty Provenance Index records approximately 222). This memorial concludes (in trans.): "This historian of Engraving.practiced as a connoisseur of art for forty years, with as much integrity as talent. His death results in a large void in this sort of curiosity, above all in the field of Prints." This catalogue describes 186 lots from Regnault-Delalande's choice collection. Lots 1-67 are framed drawings, gouaches, and watercolors by artists such as Bouchardon, Castiglione, H. Fragonard, Greuze, Guercino, Jordaens, Panini, Rembrandt, del Sarto, C. & J. Vernet, Rubens, etc. Sheets of drawings constitute lots 68-90, and lots 91-102 are illustrated books. Lots 103-170 enumerate the dealer's library, with many of the essential art historical works of the time, as well as manuscript notes written by Mariette, the catalogues of momentous sales such as those of Randon de Boisset, Crozat, Mariette, Poullain, Basan, Cochin etc. (many priced), and a group lot of Salon catalogues. The final 16 lots are miscellaneous curiosities. A fascinating inventory of a distinguished art dealer's library and art collection. In nice condition; small marginal stain to the first leaf. We are unable to locate any example of this catalogue in North America. ? Lugt 10825 & 10834 (sale was postponed to 7-8 March 1825).
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Ojong Yuk chu yakson. Edited by King Chongjo

LU, Zhi Ten columns per page, 18 characters per column. 2, 37, 34, 1 (=74) folding leaves. Two parts in one vol. Small folio (350 x 228 mm.), orig. wrappers (wrappers rather rubbed & somewhat soiled), later stitching. [Jeolla Province: the Governor's Office], from the colophon: July 1797. A most uncommon Korean woodblock (?, see below) book, which reproduces the finest of the Korean moveable metal typefaces, the kabinja. "Selections from the memorials of Lu Chih (754-805), the great statesman of the T'ang dynasty. The selections were edited by King Chongjo in 1794 and first printed in mid-1797 by the Royal Printing Office with type from the kabinja font of 1777. It was from a copy of the movable-type edition that this woodblock edition was made by the Governor's Office of Chollado."-Fang, The Asami Library, 18.37. Zhi Lu was chancellor during the reign of Emperor Dezong, who greatly valued Lu's opinions. Lu left a large body of writings, mostly advice for the emperor on political matters and how to run the country. While he had a tumultuous political career, which ended in exile, Lu's posthumous reputation was favorable. Zhi Lu would have appealed to King Chongjo (1752-1800), one of the most intellectual and enlightened of the Korean monarchs. He was perhaps Korea's greatest bibliophile and, as royal patron, supported all aspects of the book: typographers, printers, authors, librarians, and lexicographers. He founded the Kyujanggak Library in 1776, now part of the library of the Seoul National University. In spite of Fang's statement quoted above, the title-page states that this is a moveable type edition. And, indeed, the cataloguer of the Kyoto University copy can't quite decide, after some considerable head-scratching, whether this is a moveable type or woodblock printing (though the cataloguer leans in the direction of the latter). The Kyoto University copy does not have the printed colophon on the final leaf (that section of the leaf is blank). Very good copy. Minor soiling.
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The mock-up laid-out draft of an unidentified story by Sadahide with his orig. illustrations, entitled on upper cover label “Gyokuransai Sadahide ga sokobon” [“Gyokuransai Sadahide’s Draft Book”]

SADAHIDE UTAGAWA (pen names: GYOKURANSAI & GOUNTEI SADAHIDE) 16 double-page illus. & 6 full-page illus., each with text. 20 folding leaves. 8vo (169 x 120 mm.), orig. patterned orange wrappers, manuscript title label on upper cover, new stitching. [Japan: ca. 1848-68]. A handsome musha-e yomihon mock-up draft with drawings by Sadahide Utagawa (1807-79), for an as yet unidentified historical story based on the early heroes and stories of Japan, involving Nobunaga Oda (using the name "Harunaga Oda"), Hideyoshi Toyotomi ("Hiyoshimaru Heikichiro"), and Ieyasu Tokugawa ("Inuchiyo Saida"). It was likely inspired by a biography of Hideyoshi entitled Taikoki. Sadahide Utagawa joined Kunisada's studio in the 1820s and became one of his best students. As a member of the Utagawa school, Sadahide took on that name as his last name. He immediately became well-known for his bijin-ga portraits of beautiful women but also mastered a number of other styles, including landscapes, musha-e warrior prints, and illustrations of exotic places. He "found his special métier as a designer of what have become known as Yokohama-e. He was sufficiently well thought of by his contemporaries to be chosen, with ten other print-makers, to present specimens of his work at the Paris Exhibition of 1866, and was awarded the order of the Légion d'honneur for his prints. The books to which he contributed prints of the Yokohama-e type are few, but they are among the most remarkable curiosities of nineteenth-century book illustrations."-Hillier, The Art of the Japanese Book, p. 926-(& see pp. 926-35 for Sadahide's achievements). Sadahide produced and illustrated a series of musha-e yomihon stories, and this is clearly one of the series. It is most unusual that he also wrote the text. While the drawings are not highly finished, they reveal the enormous energy Sadahide brought to musha-e yomihon illustrations. Fine condition.
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Manuscript on paper, entitled “Kokuji fukuzetsu zukai” [“Illustrated Book of Abdomen and Tongue Symptoms”] on title label on upper cover & on first leaf, with 191 hand-drawn paintings of tongues, chests, & abdomens

NOJO, Hoan (or Gencho) 34 folding leaves. Small 4to (237 x 166 mm.), contemporary wrappers, new stitching. [Japan]: at end of orig. Preface & end of scribe's introduction: "1813." Tongue and lip diagnosis has been a vital tool used in traditional Chinese medicine for both assessing the current health of a patient and providing a basis for prognosis. Our text is based on a portion of Zhongjing Zhang's late 2nd-century work Shanghan lun. "Zhang is known to have compiled this text after an epidemic swept through his hometown of Changsha (in present-day Hunan province), killing numerous family members and decimating the general population. Over the next two centuries it became one of the most highly regarded and popularly disseminated medical texts. Its particular genius was to pay attention to the individual and evolving condition of each patient during a rapidly changing illness, not just to the fixed disease. "While the Shanghan lun was revolutionary in its strategies for treatment with herbal prescriptions, it offers only scattered mentions of tongue presentation, and no tongue illustrations. One of these few mentions is in line 230 of the text. Under the rubric of 'Yangming illness', it lists a white tongue fur among indications for the use of the prescription Xiao chaihu tang (Minor Bupleurum Decoction). Yet despite the paucity of tongue information in the text, this increased Song focus on treatments for febrile illnesses led to innovations during the following Jin-Yuan period (1115-1368 CE) which had major implications for the development of tongue diagnosis."-Nancy Holroyde-Downing, "The Fine Art of the Tongue" in Imagining Chinese Medicine (2018), p. 169. Our manuscript seems to be similar to the one at NLM. There is also a printed edition of our work (Preface dated 1813), but the illustrations are much less vividly colored (no copy of the printed edition in North America). This text is based on a lecture delivered by Nojo and was written down by the scribe Shijo Yamamoto, a disciple of Nojo. Yamamoto has provided a summary of the work at the beginning and an account of how the manuscript was created. Our manuscript contains 191 hand-drawn and colored illustrations of the tongue and abdomen. An examination and diagnosis of the tongue would reveal certain diseases within the organs of the abdomen. There are 93 pairs of illustrations of diseased tongues and lips with their related diseased abdomens. Each tongue illustration includes a discussion of the tongue's appearance and the patient's symptoms. Each abdomen illustration has adjacent text describing the abdomen and how to touch it for diagnosis. This copy belonged to the 20th-century Osaka medical scholar Kyohaku Tsumura, whose seal is on the inside lower cover. He penned a note in 1962 on the recto of the seventh leaf (in trans.): "I was very fortunate to have the chance to copy this precious manuscript." Indeed, his remarkable modern copy is included, as a separate volume, with the original manuscript. The modern copy is clearly written with a fountain pen but created and illustrated with amazing verisimilitude. The original manuscript has some minor marginal dampstaining but is in fine condition.
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Artists Books [23 March-20 April 1973 & 16 January-24 February 1974]

VANDERLIP, Dianne Perry, curator 13 black & white illus. 77 pp. & one leaf of "Addendum" laid-in. Small 4to (175 x 126 mm.), orig. pictorial wrappers, staple-bound. [Philadelphia: 1973]. The important exhibition catalogue for the pioneering shows of artists' books, which were held at Moore College of Art, Philadelphia, and then the University Art Museum, Berkeley. Vanderlip, later a museum curator at the Denver Art Museum, writes in the Foreword: "This exhibition attempts to survey the many different types of books made by artists from 1960 to the present. For the purpose of this Exhibition the definition of 'book' is very flexible. If the artist conceived his work as a book, I have generally accepted his position." This is followed by the essays "Slices of Silence, Parcels of Time: The Book as a Portable Sculpture" by artist Lynn Lester Hershman (b. 1941) and "Some Thoughts on Books as Art" by the poet and critic John Perreault (1937-2015). The exhibition presented the works of Ader, Baldessari, A.A. Bronson, Byars, Cage, Dibbets, Downsbrough, Feldmann, Filliou, Higgins, Hockney, Ray Johnson, Knowles, LeWitt, Merz, Nauman, Oldenburg, Tom Phillips, Rot, Ruscha, Siegelaub, Emmett Williams, etc., etc. Lenders to the exhibition included Leo Castelli Gallery, Claes Oldenburg, Lucy Lippard, Martha Jackson Gallery, Something Else Press, Sonnabend Gallery, Wittenborn & Co., etc. Thirteen books are depicted with full-page illustrations. "Artists Books is the neat catalogue of an exhibition organized at Moore College by Dianne Perry Vanderlip. On the front cover there is a photo of another similar booklet, but the actual title of the catalogue only appears on the photographed catalogue - so what is one holding? .[There is] a detailed alphabetical list of nearly 250 books (and a few magazines). A comparison of this list with [Celant and Morris's] suggests an overlap of less than a quarter, an indication of the diversity of material now available. John Perreault's 'thoughts' include the best attempt yet to evince characteristics and suggest a definition of book art."-C. Phillpot, "Feedback, 1973" in Booktrek (2018), p. 32. Fine copy of this groundbreaking exhibition catalogue. ? See also S. Klima, Artists Books: A Critical Survey of the Literature (1998), pp. 12-20. BoBoAB (2nd ed.: 2013) 4.
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Catalogue des Tableaux des Trois Ecoles, composant le Cabinet et Fonds de Commerce de.rédigé par A. Pérignon.La Vente de ces Tableaux aura lieu en la Maison de M. Constantin.les Lundi 18 novembre 1816, et jours suivans.

AUCTION CATALOGUE: CONSTANTIN, Guillaume Jean) 96 pp. 8vo (190 x 128 mm.), cont. red sheep maroquiné, gilt coat-of-arms of Louis XVIII & ornate gilt borders on covers, flat spine gilt, a.e.g. Paris: Constantin, et al.; Amsterdam: Coclers; Antwerp: Beckmans; Brussels: Marneef; Mannheim: Artaria; London: Woodburn, 1816. A splendid copy of this important and scarce auction catalogue, which describes the personal collection and stock of paintings of Constantin (1755-1816). With all prices and nearly all buyers in a contemporary hand, this catalogue is finely bound with the coat-of-arms of Louis XVIII and bears the bookplate of the Duchesse de Berry's unparalleled Bibliothèque de Rosny. This was the first of three sales of Constantin's collections: the second (Lugt 9056) offered drawings, and the third (Lugt 9087) was an auction of Constantin's prints and library, both took place in March 1817. "As a dealer (marchand) Constantin succeeded in attracting an extensive clientele, complementing his work as an assessor of auction and estate material (expert) with business activity encompassing purchases, re-purchases and exchanges, and the occasional publication of prints and books.Motivated by enthusiasm for contemporary art, Constantin based his business on support for living artists of his acquaintance and dealing in their works.In acting as an intermediary between producer and buyer, he would have been assuming avant la lettre the function of a gallerist, a recognized role within the art trade in the nineteenth century. "Constantin's lifespan coincided with one of the most radical upheavals in European history. Already established as a businessman under the ancien régime, the eighteenth-century France of an absolute monarchy, Constantin managed successfully to carry on his activities during the Revolution and the rapid sequence of very different regimes that followed"- Jacoby, pp. 72 & 79-80. This catalogue describes 435 lots of paintings, the majority of which likely came from Constantin's personal collection and his stock. The final lot briefly details a large number of pictures "en état de restauration." The selection of pictures includes works by F. Albani, An. & L. Carracci, Ghirlandaio, Giorgione, Guido Reni, Panini, Salvator Rosa, Titian, Velázquez, da Vinci, Zurbarán, Asselijn, both Cuyps, Dürer, van Dyck, G. Hoet, Lairesse, Metsu, F. & I. Moucheron, I. van Ostade, Rubens, D. Teniers, Weenix, Wouwerman, S. Bourdon, Le Brun, Drolling, H. Fragonard, Lorrain, Vigée-Lebrun, both Le Nains, N. Poussin, J. Vernet, etc. Each painting is presented with measurements and a concise description. The contemporary annotations in this volume reveal the attendance at this sale of important dealers and collectors such as Pérignon, Didot, Laneuville, Paillet, the deceased's son Amédée Constantin, Delaroche, Roux, Isabey, Vigneron, Giroux, Delahante, etc. A very fine copy of an important sale catalogue. Bookplates of G[eorges] P[annier] (1853-1944), the Parisian art dealer and collector of auction catalogues, and the Bibliothèque de Rosny. Stamp of the Bibliothèque Heim on verso of title. ? Lugt 8995. J. Jacoby, Guillaume Jean Constantin, 1755-1816: A Drawings Dealer in Paris (2018). See Lugt Marques (online resource) 3000.
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What to Look for in a Book – Physically & Catalogue 1965-66

SOMETHING ELSE PRESS, Inc., publisher 16 pp. (incl. wrappers). Small 4to (175 x 136 mm.), orig. white printed wrappers, staple-bound. [New York: 1966?]. The very rare first Something Else Press catalogue; not recorded in WorldCat. It opens with an article on book design and its limitations, as well as examples of attractive and structurally sound bookbindings. The article concludes: "We are not interested in built-in obsolescence. We want our books to be as fresh ten years from now as they are today, and as much of a joy to behold." This is followed by a listing of the press's publications, including works by Robert Filliou, Alison Knowles, Al Hansen, Dick Higgins, Ray Johnson, and Daniel Spoerri. In nice condition, lower wrapper with small stains. ? P. Frank, Something Else Press (1983), pp. 7 & 81. Not in BoBoAB. P. Frank, p. 1-"It was the first publishing house in the United States to devote itself to what are now called "artists' books" - integral artworks designed for publication and distribution in traditional book formats - and the scope and importance of its activities have not been equalled since. In the history of small presses, especially in America, the Something Else Press remains extraordinary, if not unique, in its combination of high-quality trade formats, well-crafted printing and assembling, and broad distribution methods." For a personal (and lighthearted) account of the Something Else Press, see Barbara Moore's post on the website of the Black Mountain College Museum & Arts Center (republished from the 1991 Granary Books brochure for the exhibition Something Else Press)-"Dick's and my duties were distinct. During my tenure he chose all the titles, took care of design and production (he had previously done these jobs for a book manufacturer), and handled finances. After all, as Emmett Williams pointed out, 'It was.Dick's money.' In line with his book manufacturing experience, he made elaborate cost projections that determined, for example, that the price of Ray Johnson's The Paper Snake had to be exactly $3.47.".
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Book as Artwork, 1960/72 [20 September-14 October 1972]

CELANT, Germano & MORRIS, Lynda, curators 47 pp. Small 4to (210 x 158 mm.), orig. black wrappers (upper corner creased), staple-bound. [London]: Nigel Greenwood Inc. Ltd., 1972. First edition of this seminal exhibition catalogue, which features the first English translation of Celant's essay on artists' books, as well as an important list of nearly 300 then-unheralded artists' books. Originally published in the first issue of the Italian magazine Data (Sept. 1971),the essay is recognized as one of the earliest in-depth examinations of the book form and its bearing within Conceptual art. Celant (b. 1940), the art historian and critic, organized several Arte Povera exhibitions in Italy in the 1960s and was later appointed senior curator of Contemporary Art at the Guggenheim Museum. He also served as director of the 1997 Venice Biennale. "Book as Artwork is poorly produced, as is acknowledged by the publishers, hence the fairly low price; however, it does make Germano Celant's text available to an English-speaking audience.The text is disappointing; although it is one of the first pieces about book art as an adjunct of Conceptual art, it really amounts to a cobbling together of a series of annotations to the works, without any real analysis of the use of the book as a medium. Its value lies in Celant's references to the significance of the book-form to certain artists, in its attention to Italian examples, and to the fact that he (and Lynda Morris) have attempted to produce a first list of examples of book art."-C. Phillpot, "Feedback, 1973" in Booktrek (2013), pp. 31-32. The exhibition list (pp. 31-47), compiled by Celant and the art historian and curator Lynda Morris and presented chronologically, features many works that were completely unknown at the time. It includes works by Higgins, Oldenburg, Rot, Cage, Ruscha, Ono, Filliou, Kaprow, Knowles, Pistoletto, Siegelaub, Emmett Williams, Warhol, Acconci, Andre, Darboven, Byars, Nauman, Tuttle, Brouwn, Buren, Tom Phillips, Weiner, Kosuth, Baldessari, Broodthaers, etc. Nice copy of a catalogue that is now rare on the market. Edges slightly worn. Printed in an edition of 800 copies. ? See also S. Klima, Artists Books: a Critical Survey of the Literature (1998), pp. 19-20. BoBoAB (2nd ed.: 2013) 3.