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The first edition of this work was published by Maradan in 1804, although it had been serialised in the Bibliothèque des Romans and parts of it had been pirated and printed in various journals. It was enormously popular and ran to several editions. A continuation was published, also by Maradan, under the title Suite des Souvenirs de Félicie, Paris 1807. With a dedication to Madame de Genlis’ brother, the original preface to the 1804 edition in which she discusses the work’s early popularity and compares it to the Souvenirs of Madame de Caylus and of Madame Necker. It also includes the fictional introduction by the editor of the works of the late eponymous author.
‘Cet ouvrage superficiel et frivole n’est fait ni pour les penseurs ni pour les philosophes, mais il plaira peut-êtreà ceux qui aiment le naturel et la variété’ (Avertissement de l’Editeur des OEuvres posthumes de madame de L***, p. 11).

A scarce epistolary novel which examines the types and nature of love through a selection of episodes narrated by an abundance of characters. Attributed to an obscure lawyer from Rouen, this is erotic fiction presented as scientific abstract, with titles, divisions and subdivisions suggesting a philosophy of love in an attempt to ennoble this loosely connected collection of licentious stories. As the title suggests, the work is divided into three parts, for the ‘three ages’ of love: when love is young, when it enters middle age and finally when it reaches decrepitud: ‘le tems où l’Amour se déclare; celui de son progrès; celui de son déclin’ (Avertissement, p. 49). After a wide-ranging preface, the introductory material begins with ‘Naissance de ce Porte-Feuille’ (pp. xiii-xxxi), signed by Le Milord Sédrei, and ‘Dessein de cet Ouvrage’, which is presented in two parts, ‘Définition de l’Amour; distinction de deux Amours, & déclaration d’Amour de chacun des deux sexes’ and ‘Division générale ou les trois âges de l’Amour’. The introduction concludes with Letter VI, M. Méabbe à M. Ozime, under the subtitle ‘Le Temple de l’Amour. Songe’, where the author of the letter is awoken from his dream by a kiss from his his mistress Rosette. The first part, ‘L’Amour dans son enfance’, begins with an illustration of the phrase ‘Les influences de l’Amour sur un coeur’, in a letter from M. d’Ormeville to a friend, in which he describes his sixteen year old lover, the daughter of a famous actress.
There appear to have been two distinct editions published by Gaspard Menippe in 1769 under the same imprint. MMF and Gay both cite an edition with pp. xxxvi, 107 and have no mention of this edition, while OCLC locates four copies of this edition and none of the other. On the traditional assumption that the longer pagination should have priority - given the ease of resetting from text rather than manuscript - that would suggest this to be the first printing. The work was later expanded by M. de Jouy and published as a continuation of his Galerie des femmes, Amsterdam [Paris], 1802.
Gay is fairly damning of this work: ‘Scènes à tiroir. Série de lettres écrit par des personnages à noms bizarres. Livre mal fait’. The names are a little bizarre, but the text is none the worse for being peopled with lovers called ‘Mademoiselle Xiphaa’, ‘ma chère Yxi’, M. de Walfonze, Fanaol and Amévine, Vimarak, Paswau and Ravoul. The latter’s exploits include scaling the walls of a convent and obtaining the keys to the dormitory, in the true tradition of Clerico-Galante fiction.

An attractive, unsophisticated copy of the first edition of ‘Lettre à un Amateur de la Peinture’ by Christian Ludwig von Hagedorn, one of the most important art historiographers of the Enlightenment. A diplomat and director of the royal picture collection in Dresden, Hagedorn also assembled a significant collection of paintings, which are described and offered for sale in this work. Hagedorn’s ‘Lettre’, which occupies the first twenty pages, is followed by ‘Eclaircissemens historiques’, by Franz Christoph Janneck, the Austrian painter known for his paintings of festive gatherings who was much admired by Hagedorn. Janneck provides a description of the works in Hagedorn’s private collection, along with a series of biographical sketches and anecdotal digressions about various other painters. Janneck provides a wealth of information about both greater and lesser artists: the index designates those painters represented in the collection as well as other artists discussed in the digressions. Those painters thought to feature for the first time in a volume about painting are marked with an asterisk.
The frontispiece is an etching by Pierre-Jules Hutin (ca. 1720-1763), notable for its inclusion of a female figure engaged in aesthetic debate. The engraving depicts an artist’s studio with two groups of figures deep in discussion. In the foreground is a painting of Leda and the Swan with three figures clustered around it. Standing immediately next to the painting is a woman intently discussing the painting with two male connoisseurs. The more elegant of the men is seated, the other man holds up a glass to the painting and the woman is holding either a pointer or a paint brush.

An attractive copy of one of the dozens of reprints of Montesquieu’s seminal work, published under the same fictional Cologne imprint as the first edition of 1721. This edition includes the full 150 letters, as in the original printing, rather than the 140 included in Montesquieu’s expurgated version. Not originally intended as a novel, it spawned so many imitations in the form of novels (Lettres juives, Lettres chinoises, Lettres d’une Péruvienne etc) that even Montesquieu realised he had started a vogue: ‘My Lettres persanes taught people to write letter-novels’ (Montesquieu’s Mes Pensées: no. 1621).

An attractive set of a scarce chivalric romance by Charles Joseph de Mayer, mostly remembered for his impressive Cabinet des fées, a forty-one volume collection of fairy tales published between 1785 and 1789. The present novel, intended as a continuation of Tressan’s version of Amadis de Gaul, published in 1779, follows the adventures of Lisvart, the son of the Emperor of Constantinople. In keeping with Mayer’s interest in the fairy tale, Lisvart de Grèce includes plenty of fantastical sequences alongside the chivalric. In a fascinating introduction, in which Mayer talks of his involvement with Tressan in the Bibliothèque universelle des romans and discusses the state of French literature, he advises readers to start by reading Tressan’s work before moving on to his continuation, to save confusion between the different characters and generations. He suggests that this is a good time to publish the romances of chivalry, to restore a little French colour into a literature that has of late been besieged by translations from the English and the German. Following the lead of Tressan, Mayer has also attempted to update the genre to make it more accessible to a contemporary audience.
‘J’ai cru devoir imiter le Comte de Tressan... supprimer, ajouter, créer, polir, substituer, arrondir, & rapprocher un peu de nos tems & de nos mœurs la scene ancienne & le vieux théâtre; briser enfin le verre d’un tableau de lanterne magique, pour faire des tableaux vrais & les portraits ressemblans... Je devrois peut-être faire observer que le moment de mettre en lumière les Romans de Chevalerie est plus favorable qu’on ne feroit tenté de le croire. Depuis quelques années, la France ne reçoit & ne lit que des traductions de Romans Anglois, & des fictions prises dans les Auteurs Allemands: il me semble que toutes nos couleurs soient épuisées... il paroît même que les teintes légeres réussiroient; car nos passions paroissent entierement purgées de cette maniere noire qui a marqué nos Romans’ (pp. vi-x).
The novel is accompanied by a sequence of twelve songs, which accompany the text on engraved plates in which both words and musical score are given. These are composed by Pierre-Jean Porro (1750-1831), the influential composer and guitarist. Following the novel are two short stories by Mayer, Amours de Guillaume de St.- Vallier, Troubadour, (V, 255-294) and Amours de Jeanne, Reine de Jérusalem, de Naples, de Sicile, Comtesse de Provence; Roman Historique, (V, 295-330).

A ‘shop of riddles’, this scarce volume of poetry includes three hundred and thirty-seven enigmatic poems or verse riddles on subjects as diverse as the moon, the game of chess, glasses (‘nous sommes deux soeurs de même âge’), carnivals, fables, the opera and a pearl necklace. A key to the solutions is found at the back of the work.

An epistolary novel by Auguste Lafontaine, set in Russia in the early eighteenth century and translated by Isabelle de Montolieu, a writer strongly influenced by the German and English literature of the time. Lafontaine’s romantic fiction had a wide readership among women throughout Europe and was enormously popular in England. Summers lists some thirty titles published in English, in some cases in more than one version, many of which, including the present novel, were printed by the Minerva Press. The present novel, first published as Fedor und Marie in 1803, was translated as Dolgorucki and Menzikoff, A Russian Tale, London, Minerva Press, 1805 (see Blakey p. 214). There was also a three volume ‘Londres’ edition of this French translation, also 1804, but Cioranescu gives precedence to this Paris edition.

The first and most famous of Brantôme’s Mémoires, this volume includes the outspoken Vies des Dames Illustres. Written after his retirement from public life in 1589, Brantôme had left instructions that his Mémoires should be published, but it was not until 1665 that this first volume appeared. Written in a frank, conversational manner, Brantôme describes his years at the centre of the glittering court and gives detailed and highly personal accounts of his contemporaries. His accounts give a highly colourful picture of court life and his descriptions of the sex lives of the ladies of the court are striking because of his ability to present graphic detail in a straightforward and almost bland style, as if he were talking about the weather.

A light-hearted sentimental novel set in diplomatic circles in Brussels and the Hague. The author, an officer in the cavalry, was a popular novelist ‘connu comme littérateur dans le genre léger où il a fait preuve d’un certain esprit’ (DLF). Desboulmiers, as he was known, also had an interest in the theatre and a broad knowledge of its history. His two most important works on theatre history, Histoire anecdotique et raisonnée du théâtre italien, Paris 1769 and Histoire du théâtre de l’Opéra-Comique, Paris 1769, are still consulted today.
This is one of three novels first published in 1766 by Desboulmiers, the others being De tout un peu ou les amusements de la campagne, Amsterdam 1766 and Honny soit qui mal y pense ou histoires de filles célebres du XVIIIe siècle, Londres 1766. This is the second of two editions of this work which appeared in the same year under the same imprint. MMF record a further three editions.

An important economic treatise on the causes of financial distress in France, with suggested political and economic solutions. Boullainvilliers’ frank exposé of the last years of Louis XIV’s reign was rather too much for the authorities, who had it condemned on publication. His political writings - ‘original to the point of eccentricity’, says Christopher Betts in the New Oxford Companion to Literature in French - were hostile to royal policy and express an extreme version of feudalism, ‘le chef d’œuvre de l’esprit humain’, in which power is returned from the king to the nobles. An expansion of the economic sections of his more famous État de la France, the present work is dedicated to the duc d’Orléans. In common with all Boulainvilliers’ works, the present memoir was published posthumously and outside France.
Boulainvilliers presents his argument in six parts or memoirs, the most striking of which is the second, that comes down heavily against the financiers and proposes a separate office for the state treasure, the third memoir, which attacks arbitrary taxation and the sixth, particularly resonant, which attacks poor financial administration. Boulainvilliers may have been an eccentric, but many of his economic theories were well ahead of his time and anticipated the ideas of the physiocrats, by whom he was much admired.
‘Some scholars happily ascribe all six memoranda under consideration to Boulainvilliers in order (it appears) to enhance his reputation - for once an attractive reputation - as an aristocratic liberal or progressive reformer of the 18th century. In fact, one may exclude from the Boulainvilliers corpus two or even three of the six memoranda under consideration. In keeping with Boulainvilliers' character, the author of memorandum 1 claims no expertise in fiscal matters, recommends instead that some faithful, enlightened, and wise persons screen any financial advice or projects submitted to the regent, and urges him above all to assemble the Estates. Equally consonant with Boullainvilliers' character is memorandum 4’ (H. A. Ellis, S. 244f).

A scarce edition of this extremely popular novel, first published in 1743. With a fictional ‘Constantinople’ imprint, accentuating its fashionable eastern appeal, the novel romanticises the stay of the Turkish ambassador in Paris, while recounting his amorous adventures in the form of a memoir written by the ambassador himself. Godard d’Aucour was a French tax officer and prolific author of a number of novels, epistolary and adventurous. In the present work, the combination of political satire and libertine edge made it an under-the counter best-seller with more than a dozen editions published before the end of the century. Probably because of the surreptitious nature of the text, all these early editions are now scarce, with only a handful of copies of each edition listed in Worldcat. 'Ce voyage galant dans les cours de l'Europe et particulièrement dans celle de France, a été mis à l'index, comme immoral, par mesure de police, en 1825... c'est un des romans satiriques les plus gais et les plus empoignants du siècle dernier. Il se rapproche en quelque manière des Lettres persanes...' (Gay III, 190).

'Puisque je me trouve dans un pays si fertile en Auteurs', begins the text, 'on me permettra bien de l'être aussi. Un Turc, quoiqu'on en dise à Paris, est un home comme un autre. Les François sont assez polis pour me pardoner les fautes que je ferai en leur langue. Je l'avois apprise dans mon enfance avec un soin extreme; mais je l'ai un peu négligée depuis quelques années que je travaille à metre l'Alcoran en vers Turcs'.

Second edition of Dieudonné Thiebault’s detailed memoirs of the court of Frederick II covering Frederick himself, his family, the court, the Academy, schools, philosophers and intellectuals, and the military and civil government of Prussia. Thiebault had first gone to Berlin in 1765 to take up a post as Professor of Literature at the Academy on the recommendation of d’Alembert. He subsequently became an advisor to the king, helping him with his addresses to the Académie des sciences de Berlin and editing many of his works prior to publication. Thiebault remained in Berlin for twenty years, where he was given a place in the Academy and was granted a pension by Frederick.

Provenance: Michel-Frédéric Pillet-Will (1781-1860), with black labels lettered ‘Pillet-Will’ in gilt at the foot of the spines.

An attractive copy of one of Mercier's most important works, a collection of short essays, some written in the form of dream sequences, and one or two 'contes'. Some parts had previously been published in Mercier's Songes philosophiques, 1768, but this was very much part of Mecier's distinctive style. 'He published prodigiously by recycling passages from one book to another and stretching essays into multi-volume tracts. His major works - L'An 2440, Tableau de Paris, and Mon Bonnet de Nuit - therefore have a formless character. They are composed of short chapters on a wide variety of subjects, which Mercier cobbled together without worrying about narrative coherence. When a book caught on, he expanded it, cutting and pasting and fighting off pirates as he advanced from one edition to the next. The result was never elegant, but it often had a gripping quality, because Mercier knew how to observe the world around him and to make it come alive in anecdotes and essays. There is no better writer to consult if one wants to get some idea of how Paris looked, sounded, smelled, and felt on the eve of the Revolution' (Darnton, The Forbidden Best-Sellers, 1996, p. 118).
The work is made up of two distinct parts. In the first edition, volumes III and IV bear exactly the same imprint as the present edition but have a different pagination, viz. pp. [iv], 390; [iv], 382. It was inordinately popular and many editions followed, both in two and in four volumes. MMF lists a total of twenty-six editions. The final two volumes were also published under the title, Mon Bonnet du Matin.

Jean Claude Gorgy, a minor sentimental novelist, had his hour of glory with this little novel, which was first published in 1784. ‘Nouveau Voyage Sentimental contains engaging pages, true paintings, a happily studied dialogue, and above all, a frank feeling of honesty. There is reason to believe that there is much of Gorjy's own history as the secretary of the Marquis de Villeurnoy’ (Larousse). As can be seen from the title, this production was heavily influenced by Sterne. It was very popular and was republished numerous times in France as well as in Germany and England. Gorgy later published another tribute to Sterne, a sentimental novel called Ann'quin Bredouille, ou le Petit-Cousin de Tristram Shandy, Paris, 1792.

A curious Ossian style production, with a Norwegian saga written in Italian terza rima and printed alongside the supposedly English prose original, ‘Almurka and Snivenus’. Set in early medieval Norway where the enlightened monarchs Alminda (the name has been changed to be more resonant with the Italian language) and Sniveno reign over a peaceful nation, though under the rule of Britain. One sorrowful day the King of Britain summons Sniveno, ‘come to the English court; an high reason of state requires it’ and despite the anguished entreaties of his wife, fearful of the raging seas, he submits to the order and embarks for Britain. A few days later, the vessel ‘was assailed in a dark night by a terrible storm. The ship was flinged up and down by the waves and beated at once by winds, hail, and rain. The thunder bursted in the darkness. The Master of the ship was appaled for the danger; the thunderbolt rending the clouds sended on the surge a flash of livid light. The sailors had lost their art and spirit. The vessel was plunged down almost topsyturvy and cryes and groans were heard. The whirlwind broke masts and sails; the surpassing and raged waves fluttered around the bodys of agonizing and dead men, and some of them not yet entirely drowned uttered in their throat with a dying groan the name of their fathers, children and wives’. The spirit of Snivenus assumes the form of the drowned king and returns in a dream to Almurka, who goes to the shore where she finds her husband’s corpse and promptly dies of grief. The Italian poem is clearly the original, but the florid English translation, so clearly non-native, is charming.
Alminda e Sniveno first appeared in Milan in 1818 and this second edition was first published in 1821. OCLC lists only the 1821 edition of Novella Romantica, at Bodleian and the BN. The Bodleian copy is catalogued as pp. [24], which brings the volume to the conclusion of ‘Alminda e Sniveno’, with a final Italian poem printed on the verso. In the present volume, the dates on the imprint have been altered to 1823 and a further eight pages have been added, comprising Italian poems on mainly historical themes. The second work in the volume, Pascoli’s Improvvisi, contains a selection of verse on various subjects; it was first published in 1812 (actually 1821) with slightly differing contents. The divisional title, ‘Rime Faceto-Morali’ has been stamped ‘Estemporanee’. The final work in the volume is a New Year’s poem for 1823. Although not recorded as by Pascoli, its inclusion in this volume and the similarity with his other publications, would suggest his authorship.

A scarce edition, in three parts, of five major works by the Italian physician, historian and biographer Paolo Giovio, including his account of Muscovy and his history of Britain.
The first part features the ‘Elogia doctorum virorum’ of 1546 - an encyclopaedia of early humanism celebrating with short biographies important scholars of the time including Trapetiuntius, Regiomontanus, Thomas Linacre, Copernicus, Machiavelli and Zwingli. The second includes his ‘Descriptiones Britanniae, Scotiae, Hyberniae & Orchadum’ of 1548, devoted to the history and ethnography of the British Isles, followed by ‘elogia’ of important British figures including Thomas More, chronological annals of the kingdom and a genealogical diagram of the kings of England. The third part begins with his influential account of Muscovy first published in 1525: a fundamental source for the knowledge of Russia in 16th-century Europe, with sections on its history, customs, religion and language. His first and less famous ‘De Romanis Piscibus libellus’ of 1524 is also included, an account of all the kinds of fish which could be caught in the River Tiber, as well as ‘Descriptio Larii Lacus’, a topographical account of Lake Como, near which Giovio lived.
In a fine contemporary binding, probably from southern Germany: the blind stamps of the Crucifixion, with the snake wrapped around the Cross and St Peter is typical of sixteenth century bindings from Bavaria and Saxony.

An early edition - for many years thought to be the first - of Diderot’s first original work, bound in nineteenth century morocco. An immediate furore followed its initial publication and it was condemned to be burnt by the Paris Parlement for its dangerous and anti-religious content: ‘the venom of the most criminal opinions that the depravity of human reason is capable of’. Diderot’s original manuscript had been purchased by the bookseller Durand and the first editions were printed in Paris at the clandestine press of l’Epine. It was to become one of Diderot’s most popular and controversial works, running to at least eighteen editions in the eighteenth century and prompting numerous refutations.
At this stage in his life, the young Diderot was a Deist and in the Pensées he sets out to demonstrate the existence of God through evidence of the material world. He attacks atheism in this work, but also criticises revealed religion and religious asceticism and challenges the existence of miracles. He writes eloquently of human passions and argues for the reconciliation of feeling with reason. The work is presented in the form of sixty-two short chapters, some of which are little more than maxims, brief and quotable in the manner of La Rochefoucauld, such as: ’A thing is not proved just because no one has ever questioned it’; ‘One may demand of me that I should seek truth but not that I should find it’ and ‘Skepticism is the first step towards truth’. The work concludes with a final detailed index.
This is one of four editions that appeared in 1746, all with the imprint ‘A la Haye, aux dépens de la compagnie’. The present printing was long thought to be the first edition, partly on account of its errors in pagination, but Adams demonstrates that it is third in priority. Furthermore he concludes that the present edition was entirely reset, rather than as previously thought a few corrections being made to a number of pages. The printer’s ornament is the same as both previous editions, but the double rule in the imprint of this copy measures 50mm, rather than the 45mm as called for by Adams.
With an attractive engraved frontispiece in the manner of Eisen, in which the voluptuous figure of Truth standing on the right removes the mask from the foul looking figure of Superstition, who is lounging on the floor with a broken sceptre. In our copy the plate measures 98 x 57 mm.

A scarce book of considerable significance, this was the first work to introduce the ideas of Immanuel Kant (1724-1804) to the French-speaking world. In the long preface, Villers discusses the impact of Kant’s works and their principal opposition, comparing him in importance with Descartes and Copernicus. ‘C’est en 1781 que parut le livre à jamais mémorable, Critique de la Raison Pur... une doctrine nouvelle [qui] ruinait toutes les métaphysiques qui l’avaient précédé... Ce livre renfermait la plus désolante et la plus irréfragable définition du mot savoir, chose que tant de savans ignorent’ (pp. xix-xx). Villers highlights Kant as one of two game-changing thinkers of the age, the other being Lavoisier: ‘La nouvelle chimie, la nouvelle philosophie, sont les deux tendances majeures de notre âge, les deux degrés scientifiques les plus remarquables qu’a monté notre génération’ (p. x).
Villers expresses his surprise that such a key thinker has remained unknown in France: ‘Depuis près de vingt ans, une nouvelle philosophie qui intéresse tout le savoir humaine... est encore inconnue aux Français, et il ne s’en est pas encore trouvé un seul qui ait entrepris de l’étudier et de la faire connaître à sa patrie... Mais il semble qu’il y ait une distance infranchissable de l’esprit français à l’esprit allemand; ils sont placés sur deux sommets entre lesquels il y a un abîme. C’est sur cet abîme que j’ai entrepris de jeter un pont’ (pp. lx-lxiv).
Villers studied at the Benedictine College in Metz and then went on to the School of Applied Artillery in the same town, where he developed an interest in animal magnetism. After the French revolution, he moved to Göttingen where he had an affair with the German intellectual Dorothea von Schlözer, subsequently moving in with her and her husband, Mattheus Rodde, where the three lived openly as a menage à trois. It was Villers’ French nationality that protected the household during the French occupation in 1806, a narrative that is described in his a letter written to Fanny de Beauharnais and published as Lettre contenant un récit des événements qui se sont passés à Lübeck le 6 novembre 1806, [sans lieu] 1807, a popular work which in later editions carried Fanny de Beauharnais’ name on the title-page.

A scholarly anthology of minor Greek poetry edited by the English physician Ralph Winterton and first published in Cambridge in 1635. The volume concludes with Winterton’s own substantial commentary on Hesiod. The selection, with a Latin translation printed in parallel text facing the Greek, was based on the earlier compilations of Henry Stephen, published in 1566 and of Jean Crispin, published in 1600. Winterton dedicated his work to Archbishop Laud, presumably out of personal gratitude for his part in helping Winterton to obtain his Cambridge degree. Some incident of unfitting conduct in December 1631, thought to have been a theological debate in hall, had set the authorities of Kings against him and a succession of pleas to grant him his degree had been refused. It was finally Archbishop Laud’s intervention in December 1633 that, within a fortnight, resulted in Winterton’s being granted his degree. Following this setback, Winterton’s Greek metrical version of the aphorisms of Hippocrates was published to such acclaim that he was appointed as regius professor of physic in 1635. His intention had been to extend the present volume but his diligence in fulfilling his professorial duties to the college prevented his doing so.
Winterton’s edition of the minor Greek poets was very popular, appearing in half a dozen editions into the next century. This is a delightful copy of a late seventeenth century edition, bound in contemporary full vellum with a distinctive armorial device - half man, half beast - gilt in the centre of both covers, within a gilt border. Holes in the boards suggest an earlier clasp or the use of ties. These are no longer present and the holes have been covered internally by pastedowns, probably in the eighteenth century. The volume was in the collection of the bibliophile Reinhold Dezeimeris (1835-1913), avid collector of Hesiod amongst other, particularly Greek, authors, and bears his pink Latin and Greek printed bookplate on the front pastedown.

An attractive copy of a scarce edition of this major political essay by Quevedo, first published in 1626. This edition is published by the same Confraternity of St. John the Evangelist who also published an edition of his works in the same year.
‘The treatise attempts to establish the theoretical groundwork for a governmental system based on Christian ideals. The best form of government, according to Quevedo, is a monarchy, one whose authority is absolute because it issues from divine will. The king should govern using Christ as his supreme model. Much attention is paid to the qualities required of the king’s counselors, they being probably as important as the king himself. Quevedo rejects tyrannicide as the solution for an evil monarch, choosing instead to present the latter as a form of divine punishment which must be suffered in silence. The work contains few truly original ideas, its significance stemming principally from the mastery of its style as well as the great popularity it achieved’ (Bleiberg, Dictionary of the Literature of the Iberian Peninsula, II, p. 1336).