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Simon Beattie

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Le Socrate rustique, ou Description de la Conduite Economique & Morale d’un Paysan Philosophe et dédié à L’Ami des Hommes [i.e. Mirabeau].

HIRZEL, Hans Caspar. Originally written in German (Die Wirthschaft eines philosophischen Bauers, Zurich, 1761), it was this French translation, first published in 1762, which brought Hirzel's description of a model farm to a wider audience, notably Arthur Young. 'This was the most successful German socio-economic work of the 18th century [and] it illustrates several points about translations at this time. It shows the importance of French as an intermediary language. From the French it was translated into Italian in 1777 and into Russian in 1789. More importantly, through the French translation it came to the attention of Arthur Young who had it translated and published as an appendix to his Rural oeconomy (1770) which went through several editions. The translation made for Arthur Young was also published several times in the American colonies and in the early years of the new republic. The myth it fostered of the superior virtue of the agricultural life has been a powerful and persistent force in American life' (Carpenter, Dialogue in Political Economy, Kress Library exhibition, 1977, item 15). The striking block-printed paper used for the endpapers here is Italian. See Kopylov, Papiers dominotés italiens 107. 12mo (165 × 95 mm) in half-sheets, pp. [4], 172; complete with half-title; natural paper flaw to lower margin of B4; a little light browning; near-contemporary full calf, spine decorated gilt in compartments, front board skilfully reattached.
  • $526
Six Etchings from Sketches by Mr. O'Neill

Six Etchings from Sketches by Mr. O’Neill, of the Ruins of the late Fire at Christ Church, Oxford. To which is prefixed some Account of the Fire, and the Buildings injured by it

CROTCH, William. First edition: Crotch’s first published set of etchings, ‘made with the help of the London engraver John Girtin and published by Crotch’s brother-in-law Robert Bliss, jr, in Oxford; the topicality of the event gave interest to the set, which was widely advertised at 12s., or 26s. on India paper, and was sold in London’ (Alexander, Biographical Dictionary of British and Irish Engravers, p. 253). Crotch the composer was also remarkable as an artist, exhibiting a number of times at the Royal Academy. He had drawn since childhood, and in Oxford became acquainted with the drawing master John Malchair (c.1730–1812), a fellow musician, and it has been argued that ‘Malchair’s teachings found their most influential advocate in Oxford’s Professor of Music, William Crotch, who passed on the old man’s theories to someone who could put them to best advantage—John Constable. Because of their mutual interest in both music and art, Malchair and Crotch became firm friends, and they discussed every possible aspect of Malchair’s theories. When Crotch arrived in London, he met Constable (around 1806), and this friendship, too, soon developed [They] both came from the eastern counties, and although Crotch had not been brought up in the country, as Constable had, he was nevertheless strongly attracted to the small cottages and village churches, the cornfields and the oak trees, and the infinitely variable aspects of the sky, which formed the ever-recurring themes of both men’s artistic work’ (Rennert, William Crotch: Composer, Artist, Teacher, p. 94). The fire had broken out in buildings on Christ Church’s Tom Quad on the night of 3–4 March 1809; so fierce was the blaze that there were fears for both the Hall and Tom Tower. ‘The whole property was consumed with the exception of some books and manuscripts, which, being kept in a room on the ground floor, were rescued from the flames, (as it was reported,) through the exertions of a person acquainted with their value and situation’ (p. [3]). Small folio (352 × 265 mm), pp. 6, [2], plus an engraved plan by Girtin and 6 etchings by Crotch, one in two states, all prepared by Girtin, numbered 1–4, ‘4’, 5–6; slightly creased in places, the title and final blank page finger-marked/soiled and a little ragged, the plates likewise finger-soiled, short tear to the lower corner of two plates, marginal inkstain to five of them, the final plate a little dusty and ragged (old tape repairs to verso), lower left-hand corner torn away, not touching the image; stitched as issued and preserved in a paper wrapper, with remains of the original front cover, with printed paper label, laid down.
  • $589
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The Absent-Minded Beggar Copyright in England and the United States by the Daily Mail Publishing Co.,

KIPLING, Rudyard. 'This souvenir is presented by Mrs. Langtry on the occasion of the 100th performance of the "Degenerates" at the Garrick Theatre. For permission to use Mr. Kipling's poem Mrs. Langtry has made to the "Daily Mail" a contribution of £100 for the benefit of the wives and children of the Reservists fighting in South Africa.' Kipling wrote 'The Absent-Minded Beggar' to assist the Daily Mail's 'Soldiers' Families Fund', established to raise money for comforts such as tobacco, cocoa, and soap for the troops, and clothing and postage for parcels from home for their families. Many of the men mobilised were ex-soldiers in permanent employment for whom returning to military duty meant a significant cut in their income, and there was no legislation to protect Reservists' employment. Poverty hit many families when the lifestyle maintained comfortably on a workman's wage of twenty shillings could not be kept up on the infantryman's 'shilling a day': When you've shouted "Rule Britannia" when you've sung "God Save the Queen" When you've finished killing Kruger with your mouth Will you kindly drop a shilling in my little tambourine For a gentleman in kharki ordered South? The poem was first published in the Daily Mail on 31 October 1899; both Kipling and the artist Richard Caton Woodvillethe image of a defiant Tommy was commissioned to accompany Kipling's poem, and endlessly reproducedcontributed their fees, and the Fund raised £100,000 in three months. While not rare in commerce, this is a particularly nice example, well preserved. Folding cream silk 'triptych' (287 × 588 mm; 287 × 200 mm when folded), printed in green, the poem in manuscript facsimile, portrait of Kipling on the front and Richard Caton Woodville's 'A gentleman in kharki' inside printed in sanguine; the silk stitched over three pieces of card, as issued; in very good condition.
  • $362
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[Drop-head title:] Le Creuset, par James Rutledge, Citoyen.

RUTLIDGE, James. Prospectus for a new biweekly The Crucible set up by the quarrelsome young Jacobite Sir James Rutlidge (also Jean-Jacques Rutledge, 1742 1794) and which ran for 63 numbers between January and August 1791. Born in Dunkirk, of French Irish descent, and brought up bilingual in English and French, Rutlidge s principal claim to fame was his promotion of English literature in France [He] also corresponded with Oliver Goldsmith, sending him a French version of The Deserted Village, which he published along with Goldsmith s reply, as well as trying his hand at a series of essays, Le babillard (3 vols., 1778), in the style of Addison and Steele. Other works included a Mémoire sur le caractère et les moeurs des François comparés à ceux des Anglois (1776) and La quinzaine angloise, purportedly a posthumous study by Lawrence Sterne, which was translated as The Englishman s Fortnight in Paris (1777); a sequel, Le second voyage de milord, was published in 1779. Rutlidge s disputatious character was well suited to the factionalism that resulted from the French Revolution. He became a champion of the Paris bakers and in the affaires des boulangers accused Louis XVI s minister, Necker, of conspiring to deprive the capital of bread. He was arrested and imprisoned at the Châtelet in November 1789. Released in the following January, he continued his attacks on Necker, for which he was rewarded with membership of the Cordeliers Club but refused entry into the Jacobin Club on account of his reputation for slander. Between January and August 1791 he published a number of pieces of political journalism for the periodical Le Creuset but was soon after expelled from the Cordeliers Club (Oxford DNB). Hatin, p. 207. Small 8vo (176 × 117 mm), pp. 4; uncut; a few marks; nineteenth-century paper wrappers.
  • $197
De la corruption du goust dans la musique françoise

De la corruption du goust dans la musique françoise

BOLLIOUD DE MERMET, Louis. Rare first edition. A German translation, Abhandlung von dem Verderben des Geschmacks, appeared in 1750. Bollioud de Mermet (17091794) was 'elected to membership in the Académie des Beaux-Arts of Lyons in 1736, and in the Académie des Sciences et des Belles-Lettres in 1739; when these bodies combined in 1758 he was appointed secrétaire perpétuel. Between 1736 and 1757 he read before both bodies a number of essays on music, five of which remain in manuscript. His single published work on music, De la corruption du goust dans la musique françoise, added to the controversy between the supporters of Lully and those of Rameau. A conservative, he took issue with the musical novelties of the time, rejecting virtuosity in favour of a simple, natural and rational art based on models of an earlier period, particularly the works of Lully and Lalande. While in his works he praised the theories of Rameau, he questioned the practical application of those theories. He proposed two inventions intended for use by performers: the phtongomètre, an aid to tuning keyboard instruments, and the chronomètre harmonique, a means of regulating musical beats. According to La Borde and contemporary accounts he was a talented organist and singer, and by his own testimony (in the Athénée de Lyon retabli) he composed works for keyboard and chamber ensembles, a cantata and at least 40 motets. None of his compositions survives, although two sacred works by him were apparently published in Lyons' (New Grove). The paper used for the wrappers here is reproduced in Koplyov, Papiers dominotés français, no. 192, as a variant of the points de Hongrie motif (a popular textile pattern at the time). It may well have been made locally. A number of Lyons papers illustrated in Kopylov (especially nos. 46, 47, 56) share the same palette. RISM Écrits, p. 160. WorldCat locates 4 copies outside Europe (Columbia, NYPL, Newberry, Chicago). Small 8vo (168 × 110 mm) in half-sheets, pp. 53, [1], plus final blank; etched title vignette by Mathey; some light marginal browning; uncut in contemporary block-printed wrappers, worn in places, a few tears to spine.
  • $625
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Hortus Gottingensis quem proponit simulque orationem inchoandae professioni sacram

First edition, printed for the author: a history of the University of Göttingen's botanical garden by its young new director, 'at the same time a prayer of initiation into the sacred profession'. In his Begegnungen und Gespräche, Goethe fondly remembers the garden and its director: 'I would very often pay a visit to Professor Hoffmann [thanks to whom] I became more intimately acquainted with cryptogams, which had always been impenetrable territory for me' (my translation). Hoffmann (17611826) later became director of the botanical garden in Moscow and the genus Hoffmannia is named after him. This is quite a grand book, fashionably illustrated with aquatint, 'perhaps the most beautiful form of illustration in the history of books' (Colin Franklin). The printing, by Johann Christoph Dieterich of Göttingen, is elegant, the illustrations attractive (they somehow look almost modern, gently recording the quiet of the garden), the colouring neat. It is a book executed with care. To judge from the subtitle, it was also for the young botanist, embarking on the next stage of his career, akin to something spiritual. Stafleu & Cowan II, 2888; Pritzel 4133. WorldCat locates only a handful of copies outside Europe: New York Botanical Garden, Dumbarton Oaks, Minnesota, Harvard, Penn. Folio (375 × 241 mm), pp. [2], 14, [2]; with a finely hand-coloured folding etched plan by Riepenhausen; aquatint title vignette and coloured illustration at the head of p. [1] by Besemann; original printed blue paper over thin boards, slightly sunned, marbled paper backstrip; early nineteenth-century ms. label ('Hoffmann') at head of front cover, one spot at foot, bookplate of the Johannishus library, traces of another label to inside front cover, small ink monogram at foot of title.
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A striking image of the Scottish portrait and landscape painter, George Paul Chalmers (18361878).

Rajon (1842/31888) 'first exhibited at the Paris Salon of 1868 and received medals in 1869, 1870, 1873 and 1878. His widowed mother placed him with her brother-in-law, a photographer, and there Rajon learned how to touch up negatives. When he was older he went to Paris, and after leading a rather Bohemian existence colouring photographs and drawing portraits, he joined the École des Beaux-Arts and studied under Pils. He remained there only a month. It was his acquaintance with Léopold Flameng and Gaucherel that determined his future career he became a successful etcher and was a supplier to the print firm Maison Goupil. During the war of 1870 he enrolled in a battalion of francs-tireurs. After the war he went to London where he made some interesting connections. He also made the acquaintance of the eminent New York art publisher Frederick Keppel, who brought his work to the attention of the American public. In 1880 he went to live with his friend Daubigny and remained with him until the end of his life' (Benezit). Chalmers visited Paris in 1872, though it is possible the two met on one of Rajon's visits to London. Béraldi, Les graveurs du XIXe siècle, vol. XI, no. 151: 'de trois quarts à droite, cheveaux rares et longs, moustaches, favoris longs, in-8.' Etching (plate: 150 × 110 mm; paper: 270 × 200 mm), unsigned, printed on Japanese paper, a few creases and spots, but still good; mounted.
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Miyama no Shiori.

Rare catalogue of fifty Japanese textile designs, and a tour de force of woodblock-printing, with its beautiful gradations of colour and use of metallic inks. The title translates, roughly, as 'Deep in the mountains, broken branches', referring to the practice of breaking branches along a mountain path to show the way. The book itself is a waymarker. Textile manufacturers would have used books such as this as a kind of ideas catalogue for prospective clients, who could look through the book and choose a design, or use the designs presented to help describe something they would like, and ask the company to make it. The Unkindo firm in Kyoto was one of the main publishers of such books at the time. One could imagine such a book in the West would have been produced by chromolithography. And yet even though the process did exist in Japan, everything here has been done by hand, perhaps signifying the skill and care with which the textile manufacturer would also work: the designs were produced by the artist, Nakamura, then given to the block-cutter, after which the carved woodblocks were passed on to the printer. Unkindo would only have hired the most skilled craftspeople, and the final product is itself an object of both artistic skill and beauty. WorldCat locates the National Diet Library copy only. 2 vols, 8vo (250 × 175 mm), pp. 26 + plus one folding leaf; 29; tissue guards intact; stitched as issued in the original block-printed wrappers, printed title labels, covers rubbed, more so to the first vol., wear at heads of spines, but in very good condition overall, the contents bright and fresh.
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A Commercial Dictionary, in the English and Russian Languages; with a full Explanation of the Russian Trade, &c. &c.

Rare first edition, published by subscription, of the first EnglishRussian dictionary to be printed in Britain. 'The author was induced to undertake this Work, in consequence of the very increasing Commerce between England and Russia, and from a conviction in his own mind of the necessity of having some Guide by which the English Trader, not conversant in the Russian Language, might soon acquire such a Pronunciation as to render himself intelligible to the Russian, without having recourse to the laborious and difficult task of learning the Russian Characters, which would appear so formidable to his imagination, that he would be deterred from making the attempt' (Preface). 'This publication is far less and far more than a dictionary. The "dictionary" section is in fact a relatively limited vocabulary of about 650 words intended to be of use to merchants and their agents It is hard to believe that this can have been much use to those seeking to sell their wares in Russia. The compiler's knowledge of Russian seems to have been limited; his name, moreover, is German-sounding [although a member of the Russia Company, he was originally from Riga], and the transliterations may owe something to a German accent. 'However, the book is immensely informative in other ways; the vocabulary is only the start of its 135 pages. There are statistics of Russian exports to Britain and other countries [including America], lists of goods prohibited from export or import, ships arriving at St Petersburg (more than half of them British at this time), the coinage, means of conveying goods to the interior and translations of various Government edicts on trade, duties payable to the King of Denmark on goods for Britain passing the Elsinore Straits, and advice to ships' masters and private travellers arriving at or departing from St Petersburg. Apparently they had to expect their luggage would be sealed and not released for up to twelve days, and advance notice of departure had to be advertised in Russian and German in the Petersburg papers so that any Russian having financial claims might make them. If the book did not foster linguistic knowledge and understanding, it obviously provided other types of valuable information to assist the trader' (James Muckle, The Russian Language in Britain, 2008, pp. 1920). Alston XIV, no. 471; Cat. Russica K-1357; Goldsmiths' 17967; not in Kress, though there is a copy at Harvard's Baker Library. ESTC adds 4 others only: BL, LSE, NLS, Penn. 8vo (221 × 133 mm) in half-sheets, pp. v, [3], 135, [1]; leaves a little toned, some old waterstains to the first half of the bookblock; original publisher's pink boards, title printed within a decorative border to upper cover; sometime rebacked, corners worn, some soiling to the boards, but sound.
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Von unten gesehen. Impressionen und Aufzeichnungen des Obergefreiten Felix Harlaub. Herausgegeben von Geno Hartlaub.

First edition: the first appearance of any of Hartlaub's wartime notes and impressions, edited and published by his sister, the Gruppe 47 writer Geno Hartlaub (19152007). It is thought Hartlaub died sometime in May 1945 during the siege of Berlin by the Red Army, at the age of 31. His body was never found. 'The list of great writers who died young is a soberingly long one For great writers who die before they had the chance to produce or publish anything substantial, the spaces on the shelves where their books should be are the most poignant. The sense of what might have been is perhaps strongest of all with Felix Hartlaub. He published nothing during his short lifetime beyond his doctoral thesis and beyond that left nothing more than a scatter of notebooks, diaries and letters to his father. Despite this, Hartlaub is regarded as one of German literature's great lost writers, a man who left just enough to tantalise posterity at what heights he may have scaled had he lived just another two weeks until the German surrender' (Charlie Connelly, 'Posts from Paris under the Nazis', The New European, 18 Aug. 2022). The presence of two different dust-jackets here seems unusual. While books in post-war Germany were sometimes furnished with two jackets (one for the shop protecting another beneath for when the book was purchased), I have never seen a book with two different jackets. Both were designed by Karl Staudinger. One wonders if book shops could decide which to display. 8vo (190 × 113 mm), pp. 156; blob of wax to p. 7, small stain to pp. 1467; top edge blue; original boards, cloth spine, with two different illustrated dust-jackets (see below), a little light browning, some waterstaining to the spine; from the library of the writer Albrecht Goes (19082000), though there are no marks of provenance.
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Sobranie ruskikh prostykh pesen s notami. Chast’ tretiia [A Collection of simple Russian songs with music. Third part].

First edition, the third part, of the first printed collection of Russian folksongs with music, 'unquestionably the first example of national musical ethnography' (Marina Ritzarev, Eighteenth-Century Russian Music, p. 152). Trutovsky (c.1740c.1810) came from Ukraine. 'In 1761 he entered the Russian Imperial court as a singer and gusli player. Apparently by 1792 he left the court and continued to pursue his musical activities under the patronage of the Russian aristocracy. His Sobraniye russkikh prostïkh pesen s notami ("Collection of Simple Russian Songs with Music") was the first printed collection of Russian folksongs with melodies. Parts iiii were published anonymously with texted melodies and a single bass line. In part iv and the 1796 edition of part i, Trutovsky added a fuller harmonic texture. The collection contained songs popular in St Petersburg at the time; parts iiiiv also contained Ukrainian songs' (New Grove). The four parts were published over nineteen years: 1776 (no copy extant; any surviving copies of the first part, e.g. at the British Library, are either the 1782 or 1796 reprint), 1778, 1779, and 1795 and are all extremely rare: RISM gives only two locationsSantini Collection, Münster (parts 1, 3, and 4) and British Library (parts 14)and the Svodnyi katalog but three (Russian State Library, Moscow (parts 24); Academy of Sciences, St Petersburg (part 4 only), State Public Historical Library, Moscow (parts 23 only)). No locations are given by WorldCat, which only lists a 1953 reprint. 'The melodies were mostly transcribed by Trutovsky himself although he used some materials from manuscript songbooks, previously published collections of songs texts, [and] music by Russian composers Trutovsky did not organize the songs into categories; the ordering is based only on alternation between fast and slow songs The collection has considerable interest as a document of musical practices and repertory of the time. L'vov and Pratsch published 46 of the songs in their collection [Sobranie narodnykh russkikh pesen, 1790] and several were used by the Russian composers Pashkevich, Serov, Musorgsky and Rimsky-Korsakov' (ibid.). RISM T 1300; Svodnyi katalog 7384; Vol'man, p. 210. 4to (265 × 212 mm), pp. 23, [1]; music printed typographically; dust-soiled and some staining, the paper rather limp; disbound, short tear in the gutter, creased in places and a few tears to the final leaf, remains of old stitching, publisher's stamp to title verso.