Printed chez Madame Huzard under her maiden name. With an early lithograph.

Printed by Madame Huzard under her maiden name (née Vallat la Chapelle).
With an early French lithograph.
 
Sanfourche. Moyens de conserver l’aplomb du cheval par la ferrure. Paris: Madame Huzard (née Vallat la Chapelle), 1818. 8vo [18.8 x 12.0 cm], 20 pp., with a folding lithograph [30.5 x 24.9 cm]. Quarter bound in 19th-century pebbled cloth and marbled pasteboards. Remnant of shelfmark label on spine, boards rather rubbed, some edge wear to boards, yellow edges. Unobtrusive mend to inner margin of title, occasional wrinkling and minor staining, later ownership inscription on upper flyleaf, blind stamp and shelfmark of Bibliotheek Rijdende Artillerie on title, short clip to fold of lithograph at upper edge, some toning to folds of lithograph. 
 
 
Rare (1 U.S. copy: Library of Congress) first and only edition of this pamphlet on a new method of horseshoeing by the soldier/veterinarian/blacksmith Sanfourche, a work of interest principally for its folding lithograph by Charles Motte (1785-1836) – an early example of the new technology as practiced in Paris – and for having been printed by Madam Huzard (Marie-Rosalie Huzard) (1767-1849), a specialist publisher in the agricultural and veterinary sciences who regularly displayed her maiden name (“née Vallat la Chapelle”) on the books printed in her shop.
 
Scott Ellwood of the Grolier Club recently wrote about the Vallat-la-Chapelle/Huzard/Bouchard-Huzard line of women printers in Paris, and his words are worth quoting at length: “For one hundred years, a modest dynasty of imprimeur-libraires printed, published, and sold books in Paris with three generations of women at its core. The story of this family shows, first, how women often played hidden roles in the print and book trade, occasionally revealed when a widow inherited the firm, a son-in-law took over, or a woman ran the business herself from the start. Second, it shows that recognition of women’s contribution to science does not typically extend to women who disseminate science by printing or selling books. (This family carved a niche in veterinary and agricultural sciences over the decades through their publications of journals, books, and catalogues.) Third, it exemplifies how the frequent changing of women’s names through marriage tends to hide female dynasties from the record. This family is no exception, changing from Vallat-la-Chapelle to Huzard to Bouchard-Huzard, concealing the intergenerational continuity of their business … Marie-Rosalie Vallat-la-Chapelle (1766-1842) married Jean-Baptiste Huzard in 1792 … Marie-Rosalie and Jean-Baptiste seem to have had a reciprocal professional relationship. Huzard was a professor and inspector general at l’écoles vétérinaires de France. A writer and a collector of veterinarian science, he founded the Librairie et imprimerie vétérinaire in 1787 or soon after. Marie-Rosalie Huzard took over this imprimerie-librairie when she married Huzard in 1792, and by 1798 she was the printer for the écoles vétérinaires de France as well (a year after Jean-Baptiste was named the school’s inspector general). She maintained steady business also as the printer for the journals Annales de l’agriculture, Mémoires de la Société d’agriculture du département de la Seine, and Annales des mines. In addition to leveraging her husband’s academic connections, she tapped into her mother’s professional legacy, as exemplified by an auction catalogue which she issued in 1814 as ‘Imprimerie de Madame Huzard (née Vallat la Chapelle).’ Her choice to use both her husband’s and her mother’s name demonstrates how she drew on both sets of connections to build a strong business and hints at her long involvement in the trade from before her marriage” (Elwood, “One dynasty, three names”).
 
Charles Motte’s (1785-1836) folding lithograph for Moyens de conserver l’aplomb du cheval par la ferrure (1818) is an early example of the technology/art as practiced in Paris. In 1817 Motte began producing lithographs at his press at 13 rue des Marais, Faubourg St. Germain, following only Godefroy Engelmann (1788-1839) and Charles Philibert de Lasteyrie (1759-1849), who both trained in Munich and established the first lithographic presses in Paris in 1816. The presence of a lithograph is proudly noted on the title page of Moyens de conserver l’aplomb du cheval par la ferrure. Another year or two would pass before lithography became commercially popular and widely practiced by artists in France.
 
OCLC records 1 U.S. example of this title (Library of Congress), which is also rare in European census.
 
* Scott Ellwood “One dynasty, three names,” May 24, 2019, (https://grolierclub.wordpress.com/2019/05/24/one-dynasty-three-names)