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THE CATCH CLUB or Merry Companions being a Choice Collection of the most Diverting Catches for Three and Four Voices Compos’d by the late Mr. Henry Purcell Dr. Blow &c. 1st part London Printed for I: Walsh Servant to His Majesty [1733]. [Bound with:] The Second Book of the Catch Club or Merry Companions being a choice Collection of the most diverting Catches for three and four Voices compos’d by the late Mr. Henry Purcell Dr. Blow &c. 2nd part London Printed for and sold by I: Walsh Musick Printer and Instrument maker to His Majesty [1733].

THE CATCH CLUB or Merry Companions being a Choice Collection of the most Diverting Catches for Three and Four Voices Compos’d by the late Mr. Henry Purcell Dr. Blow &c. 1st part London Printed for I: Walsh Servant to His Majesty [1733]. [Bound with:] The Second Book of the Catch Club or Merry Companions being a choice Collection of the most diverting Catches for three and four Voices compos’d by the late Mr. Henry Purcell Dr. Blow &c. 2nd part London Printed for and sold by I: Walsh Musick Printer and Instrument maker to His Majesty [1733].

First edition, second issue, in which the plates from the first issue (c.1725; no copy seemingly extant) have been amended so that the title-page to the first part reads ‘Compos’d by the late Mr. Henry Purcell Dr. Blow &c.’ (rather than ‘Compos’d by the most Eminent Masters of the Age’) and the names of John and Joseph Hare, having died in the interim, have been erased from the imprint. The second part recycles material from the folio Jovial Companions or Merry Club, which Walsh, in partnership with his brother-in-law Peter Randall, had published in 1709 (Smith 303). The collection brings together songs by a range of English Baroque composers— the vast majority by Purcell (‘with over fifty pieces, almost his entire printed output in the genre’, Newman; no other composer wrote half as many), but Aldrich, Blow, Clarke, Eccles, Henry Hall, Michael Wise etc. are also represented—and it is interesting to see that their music remained popular long after most of them had died. Many of these composers are remembered today for their church music, or perhaps what they wrote for the stage, but here we see another side to their output: the catch. ‘The essential characteristic of the genre is its humour: catches were a celebration of irresponsible male leisure time, spent out of reach of the demands of women and children. Their words are usually on such subjects as drink, tobacco, music, different trades and their shortcomings, poor service in taverns and, especially, sex in its most ridiculous and least mentionable forms, the bodily functions of women being described with schoolboyish gusto’ (New Grove). Drinking, smoking, and sex are certainly well covered here: ‘A Catch in Praise of White Wine’, ‘A Catch upon Small Beer’, ‘A Catch on Tobacco sung by 4 Men while smoaking their Pipes’, ‘My man John [had a thing that was long]’—something of a classic—by John Eccles (Master of the King’s Music under four monarchs), and Purcell’s ‘Once, twice, thrice I Julia try’d, the scornful Puss as oft deny’d, / and since I can no better thrive, I’ll cringe to ne’er a Bitch alive, / so kiss my Ar– disdainful Sow, good Claret is my mistress now.’ But it is not all bawdy. There are songs on military victories (e.g. ‘Catch on the Battle at Hailbron’, ‘A Catch on the modern Courage and Conduct of the French’), and others offer an insight into particular lives lived, whether ‘A Rebus on Mr Anthony Hall, who keeps the Maremaid Tavern in Oxford, & plays his Part very well on the Violin’ (by Purcell) or ‘A Catch on Mr. Jery Clarke’s [i.e. the composer, Jeremiah Clarke] old Dog Spott.’ ‘The tone of the Catch Club is a reflection of the London Clubs of the late seventeenth century—the heavy drinking at the punchbowl, the rough bawdy humor that makes many a modern locker-room anecdote seem pale and gutless, the male swagger celebrating its “freedom” from the scolding tongue of Xantippe at home, the bluff patriotic and political sentiments, and the verve with which all manner of nonsense songs are cultivated (bell imitations, mock epitaphs, hymns to tobacco, cats’ choruses). No doubt the eighteenth-century clubman found this material to his taste ‘Rummaging through the bawdy catches is both appalling and refreshing. Even our prolonged immersion in Freudian notions and our postwar tradition of the frankly prurient novel does not prepare us for the shocking ease with which Purcell and his colleagues sang the age-old words [but] the prominent position of the Catch Club in the story of bawdy music is not its only claim to significance. For various reasons, prudery among them, the catch genre has been undervalued. Purcell’s canons have been gutted by the milk-and-water bowdlerizations that replace the original texts in his complete works A more modern view might concur with Charles Burney’s verdict that Purcell “seems hardly ever to have been equalled in the wit, pleasantry, and contrivance of his Catches’ (Joel Newman, forward to the Da Capo facsimi
A new Version of the Psalms of David

A new Version of the Psalms of David, fitted to the Tunes used in Churches

TATE, Nahum, and Nathaniel BRADY. 8vo (218 x 137 mm), pp. 228; the occasional light spotting or soiling, insignificant wormholes/short track in the gutter of some leaves, text unaffected; final gathering sprung, but still holding; contemporary reversed calf, ornamental roll in blind, (ownership?) label to upper cover missing, a few small holes, some surface wear; contemporary gift inscription in ink ms to back flyleaf recto: ‘the Gift of Richard Bailiff – to Jane Loak My, Housekeper Nobr 3rd 1811-’, later inscription to front endpaper. By the end of the seventeenth century, the so-called Old Version of metrical psalms (the equivalent of a hymn book in the Anglican church) written by Sternhold and Hopkins in the Elizabethan era was, in the minds of many, in need of a revamp. Tate and Brady’s New Version came out in 1696, and ‘was designed to achieve a modernity and elegance of idiom, while remaining compatible with the traditional psalm tunes’ (Oxford DNB). Some of their texts are still in use today: ‘Through all the changing scenes of life’ (Psalm 34), ‘As pants the hart for cooling streams’ (Psalm 42) and, most famously, ‘While shepherds watched their flocks by night’ (first published in the 1700 Supplement to the New Version, and printed here on p. 223), the ‘only legally authorized Christmas hymn’ (Hugh Keyte, The New Oxford Book of Carols, p. 143) for much of the eighteenth century. For the present edition, ESTC locates 5 copies only (BL, Bodley, Cambridge, UCLA, Kansas).
A COLLECTION OF SACRED MUSIC designed principally for the use of Churches which sing without a Choir: from the most approved Authors

A COLLECTION OF SACRED MUSIC designed principally for the use of Churches which sing without a Choir: from the most approved Authors

8vo (221 × 140 mm) in half-sheets, pp. [4], iv, [5]–67, [1] index; wood-engraved title vignette; additional words for a third verse of one hymn (p. 22) in early ms. ink; lightly browned due to paper stock; small stain in the lower margin, old waterstain to the first few leaves at head, small piece of upper margin of title cut away; contemporary quarter sheep and marbled boards, rubbed, corners worn, some surface wear; early ink ownership inscription of Rockwell Prit[??] (dated 1817) to the first page of music, later crossed out and replaced by ownership inscription of John D. Mann (the date changed to 1820), likewise on title-page. £300 First edition: ‘to furnish congregations who sing without a choir, with appropriate tunes’. Containing sixty-nine hymns, the book provides excellent insight into what music would have been heard and performed in smaller nineteenth-century New England churches. ‘A few of these tunes were composed by American authors; but most of them are from the pens of European Masters [e.g. Arne, Burney, Greene, Handel, Purcell]. They are printed in the octavo form, because it is thought the most convenient It was intended to arrange the tunes alphabetically: but it was found that the book would contain more than was anticipated, and the arrangement was interrupted Few books will be found to contain more music, in a smaller space, or at a less price’ (Preface). Shaw & Shoemaker 40519; John Camp Williams, An Oneida County Printer: William Williams, Printer, Publisher, Editor, with a Bibliography of the Press at Utica (1906), p. 74.
Specimens of the German Lyric Poets: consisting of Translations in Verse

Specimens of the German Lyric Poets: consisting of Translations in Verse, from the Works of Burger, Goethe, Klopstock, Schiller, &c. Interspersed with biographical Notices, and Engravings on Wood by the first Artists. Second Edition. London: Boosey and Sons and Rodwell and Martin 1823.

BERESFORD, Benjamin, and Charles Joseph MELLISH, translators]. 8vo (194 × 123 mm) in half-sheets, pp. [4], ii, iii, [3], 152; title vignette and 13 further wood engravings in the text; the occasional foxmark; contemporary full calf by J. Clarke, all edges gilt, spine gilt in compartments, red morocco lettering-piece, a little rubbed, one small scrape (sometime repaired) to upper cover; bookplate of G. & N. Ingleton (inkstamp, with catalogue number, to rear free endpaper), stamp of Ashwood’s, Sydney, to front free endpaper, early pencilled annotations to table of contents. Second edition (a reprint of the first, 1822). ‘The chief portion of the following Translations [73 of them, in fact] was published at Berlin, about twenty years ago, in a Musical Work [i.e. The German Erato, 1797], comprising some of the best German Melodies The great popularity which these Translations obtained abroad, their scarcity, and the unquestionable merit they possess, are the motives which gave rise to the present reprint of them A few more Poems [nine], translated from the same language, by Mr. Mellish, have likewise been added. To render this little Volume complete, the Publishers prevailed upon a gentleman, a German by birth, of great taste and knowledge of his native literature, to furnish Biographical Sketches of most of the eminent Writers from whose Works the Selection was made. These Sketches are partly original, partly derived from sources of difficult access, and from the information of persons of the highest authority on such subjects ’ (Advertisement). Jackson, p. 497; Carré, pp. 89–90; Morgan C26; Speck 239.
Studies of Sensation and Event; Poems London: Charles Fox 1843.

Studies of Sensation and Event; Poems London: Charles Fox 1843.

JONES, Ebenezer. 8vo (215 × 141 mm) in half-sheets, pp. [4], iv, 203, [1], with errata slip to p. iii; marginal browning, light spotting along the gutter in places, short tear to upper corner of title (the paper a little brittle), half-title loose; late nineteenth-century red full morocco, all edges gilt, corners worn, joints rubbed, the binding a little darkened; inscription (dated 1897) to front flyleaf. First and only edition of the author’s sole book of poetry. Jones (1820–1860), influenced by the likes of Shelley, Scott, and Carlyle, was a deeply romantic young man keen on joining the poetic elite. He published Studies at the age of age 23 to mixed reviews and failed to garner any significant attention during his lifetime. However, he would posthumously win the favour of Dante Gabriel Rossetti who, in 1870, ‘wrote a remarkable article in Notes and Queries which proclaimed Jones’s “vivid disorderly power” and prophesied that his reputation would be revived. Rossetti’s passionate, adulatory piece, coming at the height of his fame as a Pre-Raphaelite, renewed public interest in Jones, sparking several articles, brochures, and a most interesting series of biographical papers in The Athenaeum in 1878, and a nearly complete edition of Studies of Sensation and Event in 1879 with some additional pieces, a memoir by Sumner Jones, and reminiscences by Linton’ (Oxford DNB). Richard Garnett, in his article for the original DNB, wrote: ‘There can be no question of Jones’s genius; his infirmities were those of most young poets, especially the self-taught; his latest productions show that his faults had gradually cured themselves, and that he needed nothing but fortitude to have taken a distinguished place among English poets.’
Irish Melodies Second Edition. London: Printed for J. Power and Longman

Irish Melodies Second Edition. London: Printed for J. Power and Longman, Hurst, Rees, Orme, and Brown 1822.

MOORE, Thomas. Small 8vo (161 × 98 mm), pp. xii, 251, [1]; with wood engravings after W. H. Brooke throughout; final two leaves of prelims misbound; some light browning; attractive contemporary full calf stamped in gilt and blind, marbled endpapers, two green calf lettering-pieces to spine, a bit rubbed. Second edition, dedicated to the Marchioness Dowager of Donegal and published by fellow émigré Irishman, James Power. The Irish music publisher James Power (1766–1836) ‘set up with his brother William in Dublin in 1797 as James and William Power, music selling and publishing being eventually added to their activities. Towards the end of 1807 he moved to London, where he established himself as a military instrument maker and music publisher The brothers’ major publishing venture was Moore’s Irish Melodies. For this project they commissioned the poet Thomas Moore to provide original verses to be set to traditional melodies arranged by John Stevenson The first two parts were published in London and Dublin in 1808 and were an immediate success. After the sixth number (1815) a quarrel arose between the brothers, and part vii (1818) was issued by each separately. From part viii (1821) James employed Henry Bishop as arranger, though William also issued part viii, with arrangements by Stevenson’ (New Grove). As Moore explains in his preface, he was loath to produce an edition without the music, ‘but, besides the various shapes in which these have been published in America, they are included, of course, in the two editions of all my works printed at Paris, and have lately appeared, in a volume full of typographical errors, in Dublin.’ The first words-only edition was published by Power, in London, in 1821. Jackson, p. 482.
Letters from Cockney Lands. London: John Ebers 1826.

Letters from Cockney Lands. London: John Ebers 1826.

AINSWORTH, William Harrison]. 8vo (174 × 111 mm), pp. [8], 93, [3]; some spotting to endleaves and edges, portion of upper margin of final two leaves torn away (no loss); uncut in the original publisher s boards, printed spine label, spine a little chipped. Scarce first edition of this lively poetical jaunt around London, an early work by the novelist William Harrison Ainsworth (1805 1882). That the present Work should be offered anonymously to the public, must be ascribed to the Author s unwillingness to forfeit his present relations with society, in which he might be considered a dangerous character, if known to be connected with the press as now conducted (Advertisement). These two lengthy verse epistles offer a fascinating ride through nineteenth-century London. Arrayed around topics including London squares, The City, club houses, McAdamizing and the Opera House, are satirical observations on the full gamut of life in the capital. Ainsworth makes passing references to poets including Byron and Swift, and attempts to determine whether English or foreign beauty is superior. 1826 was a busy year for Ainsworth: he moved from Manchester to London, was admitted to the King s Bench, published his first novel, Sir John Chiverton, and entered into business with John Ebers (1778 1858), the publisher here. An established publisher and manager of the Italian Opera House, Ebers introduced Ainsworth to literary and dramatic circles, as well as to his daughter Fanny, who would become Ainsworth s wife. The newlyweds lived with Ebers for a time, but domestic and professional proximity proved too much and both the marriage and business partnership ended in separation. Not in Jackson.
Musings and Prosings Boulogne. Printed by F. Birlé 1833.

Musings and Prosings Boulogne. Printed by F. Birlé 1833.

BAYLY, Thomas Haynes. 8vo (210 × 125mm), pp. [8], 208, 203–324, [1], 325–8, [1] blank, [4] list of subscribers (old water stain in upper margin); offsetting and occasional spotting, with some browning, largely in the margins, a few marks to pp. 293–9, small holes to a couple of leaves; untrimmed in recent quarter calf; contemporary ownership inscription (‘Marianne Ede’) to front free endpaper; stamp of the Mercantile Library of Philadelphia to title. First edition, published in France by subscription, to aid the fortunes of a failing gentleman poet. In addition to a variety of light verses, Musings contains a reprint of Bayly’s most successful farce, Perfection, or, The Lady of Munster (1830). Though slight—he contended that it was written entirely on a stagecoach between Sussex and London—it was ‘very favourably received’ (The Times) when it opened at Drury Lane with Madame Vestris as the Irish heiress Kate O’Brien. Bayly (1797–1839) was brought up in comfort in Bath, but following the collapse of his family’s coalmining investments in 1831 became totally dependent on writing, and the burden of family responsibility preyed on his mind. He spent extended periods abroad to restore his physical and mental wellbeing—and possibly to escape his creditors—which doubtless explains the Boulogne imprint here. It seems likely that the curious subscription list, which includes Sir Robert Peel, represents financial well-wishers and contacts from a more prosperous time. Other sources (including Nicoll) assume this to be first printed in 1836, but this must be its first edition. Not in Jackson.
The Welcome of Isis

The Welcome of Isis, a Poem, occasioned by the Duke of Wellington s Visit to the University of Oxford. By the Author of The Oxford Spy. . Oxford: Printed and Sold by Munday and Slatter; Sold also by Mssrs. Whittaker . London. 1820.

BOONE, James Shergold]. 8vo (210 × 130 mm), pp. [4], 31, [1]; some foxing to the initial two leaves; disbound. First edition of a poem in praise of the Duke of Wellington by the author of the notorious Oxford Spy. This poem is a ringing paean to both the Duke and Oxford s dreaming spires by Christ Church undergraduate James Shergold Boone (1798 1859). He exhorts Wellesley to understand that the patriot ardours of the soul may be found in even the most letter d breasts , and that he will receive a clamorous welcome on his planned visit to Oxford. In the event, the publication proved rather premature as Wellesley s visit was postponed, though he eventually made good on the visit, and was Chancellor of the University of Oxford from 1834 until his death in 1852. Boone s sincerity here is in stark contrast to most famous work, The Oxford Spy (1818), an anonymous verse satire on university life which was highly critical of Oxford’s curriculum and examinations, and which caused a sensation when he published it as an undergraduate. Not in Jackson. COPAC lists copies of the first edition at the BL, Bodley, and Felbrigg Hall (NT) only in the UK (the latter wanting the final blank), to which WorldCat adds Yale and the Newberry in the US.
The Social Day: A Poem

The Social Day: A Poem, in four Cantos . Illustrated with thirty-two Engravings . London: Printed by D. Moyes . for James Carpenter & Son . and R. Ackermann . 1823.

COXE, Peter. Large 8vo (245 × 155mm), pp. xvi, [16], 354, [2], with 32 engraved plates by Scriven, Bond, Scott, Byrne, Moses, Landseer, Anker Smith, Bragge, Skelton, Burnett, Middiman, Thomson, or Warren after Chalon, Cooper, Lugar, Herme, Papworth, Rheni, Pyne, Constable, Hills, Singleton, Alexander, Bigg, Ward, Calcott, Stothard, Jackson, Nash, Jones, Smirke, and Wilkie, including an additional engraved title-page and portrait frontispiece (offset onto title), some marginal browning to the plates; contemporary full vellum, spine and upper edge gilt, joints cracked, labels rubbed; engraved bookplate of C. B. Farwell. First edition: a sumptuous illustrated volume with a plate after Constable, and subscribers including George IV and Queen Charlotte. The book was inspired by an enjoyable weekend visit to a friend’s country house. Coxe’s poem is a paean to the pleasures of rural pastimes—including country sports—as well as domestic sociability, and he celebrates games nights, dinners, and a dramatic episode involving a china jug broken at night. The plates, by all manner of Royal Academicians, illustrate excerpts from the verse, and depict rural vistas, hunting and nature (including a fine stag), and scenes of domestic life in a country villa. These include the dramatic moment the guests enter the room in which they have heard the jar breaking. This plate, ‘Silent the guest surveyed the crowd’ was engraved by Charles Warren, the leading protagonist of steel-engraving at this time. Dated 1822, it has been considered the first steel-engraved book illustration. Hunnisett has expressed doubts about this, but the plates certainly represent some of the very earliest examples of the form and include a countryside vista with a windmill engraved by John Landseer after John Constable, who was enthusiastic about the medium’s potential for illustration.
Dunstable: A Poem; and Graves of the Poor. To which is subjoined History of Dunstable; with some Account of Dun the Robber . Dunstable: Printed for the Author

Dunstable: A Poem; and Graves of the Poor. To which is subjoined History of Dunstable; with some Account of Dun the Robber . Dunstable: Printed for the Author, and Sold by T. and J. Higgins, Printers, &c. [1830].

DERBYSHIRE, George. 8vo (180 x 105 mm), pp. [4], 144; a little spotted in places; original publisher’s cloth-backed boards, printed paper label, cloth torn along joints, section missing from foot. First edition: a celebration of the town of the Bedfordshire market town of Dunstable, by an enthusiastic local historian. Derbyshire offers a long narrative poem about the town’s history, going back to the days of Roman occupation, but the most well-known local legend relates to Dun the Robber, the legendary highwayman who stalked the crossroads where the Icknield Way meets Watling Street (now the A5). The legend goes that Dun so terrorised travellers that they appealed to King Henry I, who travelled to Dunstable and ordered a stake placed in the ground, upon which he tacked a valuable ring. The plan was to capture Dun in the act of theft, but he somehow managed to evade the trap, stealing the ring from under soldiers’ noses. The king was supposedly flummoxed by this, and having no other strategies in his arsenal, decided to clear the area and found a town on the spot. In Derbyshire’s version Dun is brought to justice, and executed. Not in Jackson, or Johnson. COPAC records copies at the BL and Bodley, to which WorldCat adds Yale and Stanford.

FALSE SANCTITY, [Versified.] Or, The Modern Tartuffes. To my Country . London: Roake and Varty . November, 1831.

8vo (200 × 130 mm), pp. 39, [1]; light water stains to first and last few leaves at head; stitched in recent blue paper wrappers. First edition of a verse play which sends up early nineteenth-century abolitionists. False Sanctity is set at a meeting of the London Anti-Slavery Society, which was founded in 1823 by Thomas Fowell Buxton (1786–1845), MP, abolitionist, brewer, and social reformer. It takes the form of speeches by Buxton and other members of the society, who are portrayed as self-congratulatory hyperbolists, inciting rebellion amongst enslaved people in the West Indies, and posing a threat to Britain’s status quo with their reforming zeal. This type of work is typical of anti-abolitionist sentiment, which glibly sends up what it sees as the pointless manumission of enslaved people in the Caribbean. The poet presents Buxton et al as dangerous radicals, attacking beloved institutions such as the Church, and beloved individuals such as Lord Nelson (who was a vocal opponent of abolition). Although the slave trade had been abolished in 1807, Buxton and his fellows wished to abolish the institution of slavery. In the House of Commons in May 1823, Buxton introduced a resolution condemning the state of slavery as ’repugnant to the principles of the British constitution and of the Christian religion’, and called for its gradual abolition ‘throughout the British colonies’. Very much on the wrong side of history, this work demonstrates the kind of rhetoric deployed by Britain’s vocal anti-abolitionist factions. Of course, Buxton and his compatriots would win out very shortly after its publication, with the Reform Act of 1832 followed by the abolition of slavery in 1833. It represents a lost and losing voice. Not in Jackson.
Stanley: or the Infidel reclaimed; and other Poems A new Edition

Stanley: or the Infidel reclaimed; and other Poems A new Edition, to which is added, Stanzas for the Coronation Day. London: Hamilton, Adams, & Co. Weymouth: B. Benson. 1839.

FYLER, James C. 8vo (171 × 109 mm), pp. viii, 87, [1], 7, [1]; uncut in the original publisher’s blind-stamped cloth, upper cover lettered gilt, short tears to head of spine. Second edition (first published the previous year): a selection of Romantic poems which travel from Lancashire and Wales via France and Switzerland. Inscribed ‘With the Author’s Kind regards.’ Fyler evidently undertook a tour of the continent (his footnotes are in French), and provides details in ‘Jura and Switzerland’, ‘Falls of the Rhine, at Schaffhausen’, and ‘On the Allied Troops in Paris’. There is also much evidence of Welsh peregrinations, including ‘Llagollen’s Grave’ as well as the short but emphatic poem on ‘Piercefield’, the celebrated picturesque landscape in Monmouthshire. Piercefield was created in the eighteenth century by Valentine Morris, a plantation owner from Antigua. Morris ultimately went bankrupt and had to return to the West Indies, but the garden was a popular tourist destination throughout the nineteenth century. Its lofty situation above the Wye river valley and its ‘amphitheatres of verdure’ are received rapturously here by Fyler. The story of the titular ‘Stanley’ is taken from The Traditions of Lancashire by J. Roby, and gives a rousing versified account of Sir Edward Stanley, Lord Mounteagle (1460–1523), hero of the Battle of Flodden and founder of the Grade I listed Hornby Chapel. This second edition not found in COPAC.
Takings; or

Takings; or, the Life of a Collegian. A Poem. Illustrated by twenty-six Etchings, from Designs by R. Dagley London: John Warren and G. and W. B. Whittaker 1821.

GASPEY, Thomas]. Large 8vo (240 × 150 mm), pp. xxxix, [1], 184, [2]; with 26 etched plates after Dagley; rather browned due to paper stock, especially the plates which are offset; contemporary half calf and marbled boards, rebacked; bookplate of the Archibal Church Library, Northwestern (stamped withdrawn), ownership stamp of George Barrett, Wintershall on flyleaf and title. First edition of this illustrated compilation of humorous poems on nineteenth-century varsity life. In the vein of eighteenth-century progress works, Takings evokes the spiralling vices of a dissipated student who is by turns a lush, a gambler, and an embarrassment to his family. Gaspey’s work is gentler than its Hogarthian forerunners, however, and his moral lessons are couched in caricature and humour. He is keen to point out ‘the merits of the Ludicrous’ in his prefatory note. The work is illustrated with fine designs by the genre painter and engraver Richard Dagley (1765–1841). Dagley began his career as a designer of jewellery before becoming an Academician, but had an erratic career. He exhibited irregularly at the Royal Academy from 1785 until 1833, made several medals, took to watercolour drawing, worked for a time as a drawing-master in a lady’s school in Doncaster, and published A Compendium of the Theory and Practice of Drawing and Painting, and Gems Selected from the Antique (1804). His later years were spent in book illustration, though he died in penury. Takings was Gaspey’s only real poetic effort. He began his literary career with several novels including The Mystery (1820), and Calthorpe, or, Fallen Fortunes (1821), before purchasing in 1828 a share in the Sunday Times. There, he ‘raised its tone as a literary and dramatic organ’ (Oxford DNB). Not in Jackson.
Greek title] Symptoms of Rhyme
Carmina Selecta

Carmina Selecta, tum Græca, tum Latina . Londini: Typis R. Taylor et Socii. M.CCC.X [1810].

JODRELL, Richard Paul. 8vo (210 × 140 mm), pp. [8], 107, [1]; with an engraved frontispiece portrait of the author (not called for) by Lightfoot after Mercier pasted onto the half-title verso; a little light browning throughout; contemporary full vellum, spine lettered direct; boards slightly bowed; the author’s copy, with his armorial bookplate. First edition, privately printed and very scarce, of a selection of Greek and Latin verses by (later Sir) Richard Paul Jodrell (1781–1861) while he was at Eton. His copy. Jodrell’s work was subject to lengthy analysis in The Critical Review (1811), which decided that Jodrell ‘has ventured indeed much beyond the greater part of his contemporaries in Latin verse’. The reviewer particularly praises ‘Mr Taylor on his neat and correct typography’, and indeed the volume is attractively produced, with a variety of charming devices and vignettes within the text. Jodrell was the appropriately bookish son of the classical scholar, successful playwright, and friend of Samuel Johnson, Richard Paul Jodrell, first Baronet (1745–1831), who had contributed the supplementary notes to Robert Potter’s edition of Aeschylus (1778), published two volumes of commentaries on Euripides, and written a series of plays that enjoyed mixed fortunes on the London stage. Not in Jackson, or Martin. COPAC lists copies at the BL, Bodley, Durham, and Aberdeen to which WorldCat adds Illinois.
The Lady Arabella Stuart. A Poem. By E. S. L. [Title verso:] London

The Lady Arabella Stuart. A Poem. By E. S. L. [Title verso:] London, Printed by G. Barclay [c.1836].

LAW, Elizabeth Susan, later Elizabeth Abbot, Baroness Colchester]. [Bound with:] Giustina: a Spanish Tale of Real Life. A Poem in three Cantos. By E. S. L. Not Published. [London: Ibotson and Palmer, Printers] 1833. [And:] . Views in London. By an Amateur. Sketched from a Window in the Palais de la Verité. And Extracts from an Album. Dedicated to Sophia, Countess of Darlington. Not Published. [Chiswick: Printed by C. Whittingham] 1833. 3 works in one vol., 12mo (185 × 120mm), pp. [4], 126; [6], 63, [1]; viii, 66; a little marginal browning; later nineteenth-century long-grained blue cloth, patterned blind with gilt central lozenge ( Poems by Lady Colchester, Unpublished ), spine darkened, a little rubbed. A very scarce compilation of privately printed verse by Elizabeth Abbot, Lady Colchester (d.1883). The three works pre-date 1836 when the Hon. Elizabeth Susan Law E. S. L. married Admiral Charles Abbot, 2nd Baron Colchester, but the volume was obviously complied after the marriage, as the binding indicates. Abbot is an elusive figure, but was an accomplished and prolific poet, and a wry wit. Views in London is a kind of progress which sends up the matrimonial market: The Descent of Venus in Kensington Gardens, Anticipation; Or, Coming Out , Disappointment; or, The Last Almack s , Maternal remonstrances at the close of the London Season , Advice to a young Lady on her Birthday, from a Maiden Aunt, Miss Griselda Singleheart . The whole closes with the amusing Epigram on John Bourne, toll-keeper of the gate in the vicinity of the Norfolk Arms, Balcombe ; which paints him as a lackadaisical gate-keeper who is fond of the drink. Abbot prefixes Giustina, the Spanish romance, with an affectionate printed dedication to Hugh Leycester. This and The Lady Arabella Stuart are both lengthy narrative romances. It is unclear whether Abbot continued to write following her marriage, but she produced several of these works for circulation amongst her circle. We have found only one other copy of this volume, with the ‘Lady Colchester binding, at the British Library. Giustina: Jackson, p. 573; Martin, p. 445; Views in London: Jackson, p. 577.
The Pleasures of Society; a Poem . London: Printed for C. and J. Rivington . 1824.

The Pleasures of Society; a Poem . London: Printed for C. and J. Rivington . 1824.

LUSCOMBE, Matthew Henry]. 8vo (205 x 130 mm), pp. [8], 60; contemporary smooth green calf panelled gilt, edges gilt, marbled endpapers; spine sunned and rubbed, chipped at head; presentation copy, inscribed ‘To Mrs Amelia Opie, / in testimony of unfeigned respect / from the Author / M. H. L. / Paris, Oct. 19 1829.’ First edition of a lengthy poem, by missionary bishop Henry Luscombe (1775–1846), which celebrates schooldays, university days and adult friendships, as well as the enlargement of the mind ‘by social intercourse in foreign countries’ and the means by which such contact can help to ‘remove national prejudices’. As such, it acts as a sort of anonymous autobiography for Luscombe. He was educated at Exeter grammar school and Trinity College, Cambridge, and was for a time master of the East India Company’s school at Haileybury, Hertford. In 1819 Luscombe moved to Caen, and subsequently to Paris, where in 1824 ‘George Canning looked to appoint Luscombe embassy chaplain, and, in recognition of the need for supervision of Anglicans overseas, general superintendent of the English congregations on the continent. However, he soon afterwards agreed to a proposal made originally by Luscombe’s former pupil Hook, that the bishops of the Scottish Episcopal church should consecrate Luscombe to a continental bishopric, with the status of a missionary bishop, giving him jurisdiction over people rather than territory. On 20 March 1825 Luscombe was consecrated at Stirling by Bishop Jolly of Moray’ (Oxford DNB). The printed dedication to Canning here doubtless owes much to his patronage. This copy is inscribed to the Romantic novelist, Amelia Opie (1769–1853). She certainly knew Luscombe, and attended events at his house on several occasions during 1849, as well as society weddings which he performed. She described one such in her memoirs: ‘The marriage took place at the ambassador’s chapel, and the bride and her husband were a sight to see, as they knelt before Bishop Luscombe, picturesque from his fine face and large sleeves!’. See Cecilia Lucy Brightwell, Memorials of the Life of Amelia Opie (Norwich, 1854), p. 234–5, 386. Jackson, p. 505. COPAC records six copies in the UK: BL, Cambridge, Edinburgh, NLS, Glasgow, St Andrews.
A Collection of local Songs

A Collection of local Songs, and other Pieces . Newcastle upon Tyne: Printed by R. T. Edgar, at the New Circulating Library . 1824.

OLIVER, William. 12mo (175 × 105 mm), pp. 24; a very good clean copy, stiched in recent paper wrappers. Scarce first edition of this compendium of Tyneside songs and poems in a Geordie dialect. The son of a cheesemonger, songwriter William Oliver (1800–1848) was born in The Side, near the Quayside in Newcastle. He worked for many years as a draper and hatter, before joining his brother Timothy in his grocery shop in 1830. A popular local singer and songwriter, Oliver toured venues with his works in the Geordie dialect. His most popular and well-known work, ‘Newcassel Props’, appears here, in which he celebrates an affectionate rogue’s gallery of local characters, lately deceased. Contemporary events are also included, such as ‘On the death of Mr Thomas Handyside, who lost his life in the Newcastle Theatre, while attempting to escape, in Consequence of an Alarm of Fire’. Handyside was a friend of Oliver’s and fellow member of the Newcastle Polemic Society. Many of Oliver’s works encapsulate his political leanings. He was a member of several reformist societies, such as Sons of Apollo, Stars of Friendship, and the Corinthian Society. Amongst the miscellaneous works here are those which push for what would become the 1832 Reform Bill, including an ‘Address to the Newcastle Polemic Society’. Johnson 670; not in Jackson. COPAC records copies at BL, Bodley, and Newcastle only.
An Essay on Marriage

An Essay on Marriage, Adultery & Divorce, (now first Printed): and, an Essay on the State of the Soul between Death and the Ressurection, (the third Edition): to both of which Premiums have been adjudged by the Church-Union Society. The Outline of a Sermon; and a Lecture on Taste. With and Appendix, containing various Illustrations, particularly ‘The deserted Village-School,’ a Poem: and a Postscript, containing some Notices of a large MS. Volume, entitled, ‘Traditions and Recollections, domestic, clerical and literary.’ [Polyblank, Printer, Truro] London: Printed for J. Nichols and Son 1823.

POLWHELE, Richard. 12mo (183 × 111mm), pp. [4], 239, 243–249, [2]; edges a little browned but a very good copy, untrimmed in the original publisher’s boards, neatly rebacked with original spine and printed label laid down. First edition, printed in Truro, of a literary and devotional compilation by the Cornish clergyman and poet Richard Polwhele (1760–1838). This volume produces two Church Union Society prize essays, on adultery, marriage, and divorce, and on the condition of the soul after death. These appear as part of a collection which includes previously published works alongside new material. A hybrid of prose and poetry, part of the ‘Lecture on Taste’ and—curiously—the appendix, are in verse. Polwhele began to write poetry at twelve years old. On his father’s death in 1777 he accompanied his mother on a visit to Bath and Bristol, where he met fashionable literary figures including Catharine Macaulay and Hannah More. Whilst there, he presented Macaulay with an ode on her birthday, which was printed at Bath, with five others, in April 1777. He continued in this prolific vein, and wrote many works of poetry, alongside devotional texts, and ambitious histories of Devonshire and Cornwall (1793–1806 and 1816 respectively). He was a contributor to the Gentleman’s Magazine, the Anti-Jacobin Review, the European Magazine, and the British Critic, and he was a long-time correspondent of Cobbett, Cowper, Erasmus Darwin, Edward Gibbon, Catharine Macaulay, Walter Scott, and Anna Seward. Items of correspondence between Polwhele and Macaulay are reproduced in the present volume. Polwhele’s somewhat staid reputation was enlivened in the 1970s by feminist critiques of his Unsex’d Females, a Poem (1798), which features a dispute between Christ and the devil as embodied by the politically diametrical personalities of Hannah More and Mary Wollstonecraft. Not in Jackson. Very scarce: COPAC locates copies at the BL, Bodley, and Exeter only.
Naomi; a Dramatic Poem: and other Pieces London: Hamilton

Naomi; a Dramatic Poem: and other Pieces London: Hamilton, Adams and Co. Norwich: Jarrold and Sons [1844].

ROUSE, Miss. 8vo (190 x 115 mm), pp. 90; a little light spotting; uncut in the publisher’s brown blind-stamped cloth, spine lettered gilt; spine snagged at head, and a little torn at foot; contemporary inscription to front free endpaper. First edition, printed in Norwich. The titular poem is a six-part dialogue based on ‘the exemplary Naomi, and the amiable Ruth’. The other works include contemplative fare but also some contemporary and local content, including ‘On Visiting the Halls of Houghton and Holkham’, Norfolk’s eighteenth-century Palladian masterpieces. Rouse’s volume is dedicated to the mistress of Holkham, Marchioness of Cholmondeley Lady Georgiana (née Bertie). Indeed, the Marchioness is found atop the list of subscribers—she gave one pound—and her husband the Marquess also appears. George Cholmondeley was Sir Robert Walpole’s great grandson and inherited his Palladian mansion which, along with Lord Burlington’s Houghton, were the Whig power houses of Norfolk in the eighteenth century. Rouse takes a contemplative and pious view of the ‘pictures and statues-grottoes-bowers, and streams’, but the poems demonstrate the increasing importance of visitors to the economy of great houses in the nineteenth century. Miss Rouse was likely an inhabitant of Fring, not far from Hunstanton; two poems are dedicated to Fring’s vicar, Rev. Bacon, one on his birthday and another on the occasion of his retirement. Very scarce, with copies at just the BL, Bodley, and Cambridge. Not in Johnson.

Poems, chiefly in the Scottish Dialect . Jedburgh: Printed for the Author, and Sold by Fairburn and Anderson, Edinburgh; A. Rutherford, Kelso; W. Renwick, and W. Easton, Jedburgh; and R. Armstrong, Hawick. 1821.

SCOTT, Andrew. 18mo (150 × 95mm), pp. iv, 192; engraved portrait frontispiece by R. Scott; offsetting from the frontispiece and one gathering loose; edges a little browned; uncut in the original blue boards, printed paper label, chipped; loss of paper on the spine in places revealing printer’s waste beneath. Second edition (first published 1811) of these poems by a Scottish shepherd who fought in the American Revolutionary War. Scott (1757–1839) was a shepherd boy when he enlisted at the outset of the American War of Independence, and served for the duration of the campaign. Of the many poems he penned there, most were lost, but ‘The Oak Tree’ survived and is printed here. It refers to a tree in Kemp’s Landing, Virginia, ‘of very enormous size, but not so much for its height, as for the large circular space described by its shadow upon the ground, so that many of our tents were pitched under the shade of it’. The tree describes its former master’s rebellious urges to ‘run for shelter / Under the banners of Washington’, and its new distinction as a home for the British. The British retreated to Kemp’s Landing in 1781 after suffering decisive defeats at Kings Mountain and Cowpens. Cornwallis intended evacuation, but the French naval victory in September deprived them of an escape route and a joint Franco-American army led by Rochambeau and Washington laid siege to the British forces at Yorktown. With no sign of relief and the situation untenable, Cornwallis surrendered in October 1781. Scott returned home unscathed. Johnson 805; not in Jackson.
Worcester Field; or

Worcester Field; or, the Cavalier. A Poem in four Cantos, with historical Notes London: Published by Longman, Rees, Orme, Brown, and Green [1826].

STRICKLAND, Agnes. 12mo (150 × 103 mm), pp. [4], 163, [1]; title-page a little soiled but a good copy, uncut in the original boards, cloth spine with remnants of printed label; front free endpaper sometime removed; authorial presentation copy, inscribed: ‘With Agnes and Eliza / Strickland’s kind love / to Miss Cameron / June 1st 1826’, book labels of John L. Marks and Percival F. Hinton. First edition of this poem by the historian Agnes Strickland (1796–1874), inscribed by the author and her sister Elizabeth (1794–1875). Worcester Field was the poem with which Strickland launched her literary career, and was one of several long poems she published before finding her métier as a historian. The family had some connection to the Stricklands of Sizergh, but Agnes and her siblings were born and raised in Kent, by a progressive father who ‘believed that girls should be educated “upon the same plan as boys because . it strengthened the female mind”’ (Oxford DNB). The family moved in 1808 to Reydon Hall, an Elizabethan manor in Suffolk, but Agnes and Eliza spent much of their time in London attempting to establish careers as professional writers. They moved in the same circles as Southey and Lamb, but benefitted most from the society of women of letters, notably Barbara Hofland and the Porter sisters. Agnes experienced some modest success with her poetry, but it was her Lives of the Queens publications which secured her reputation as a historian of note, and which gave biographical weight to previously neglected female royalty. Jackson, p. 526.
Vallis Vale

Vallis Vale, and other Poems. By the Author of ‘The Juvenile Poetical Moralist.’ London: Sold by Longman, Hurst, and Co. J. B. Holdsworth C. Penny T. Smith, Bath; and M. and S. Tuck, Frome. 1823. Crockers, Printers, Frome.

TUCK, Elizabeth]. 8vo (190 × 120 mm), pp. vi, [2], 102, [2]; first couple of leaves a little browned; late nineteenth-century textured blue cloth; specks of white paint to spine, sunned; preface signed ‘Eliz. Tuck Frome Som’. First edition of a poetic celebration of the West Country, signed by the author. Tuck’s titular poem is named for Vallis Vale, the ancient woodland site in Somerset with its spectacular rock outcrops. This archetypal Romantic landscape provides ample fodder for Tuck’s poetic style, which describes the Vale’s timelessness through the eras; the earliest Druidic days, the Vale’s visitation by Aldhelm, monk of Malmsbury (who founded a monastery nearby), and the ‘sturdy Romans’ who came later. Amongst the rhapsodies, Tuck introduces some fascinating historical snippets: ‘Monday afternoon is the favourite season chosen by the lower classes for recreation here during the summer months, when they frequently assemble in large and numerous groups. Musical parties also frequently meet here .’ She describes one ‘Seraphic Rowe’, Elizabeth Singer Rowe (1674–1734), another poetic resident of Frome, who ‘had a house contiguous to the Vale’ and a grotto named after her. In later life, Tuck would become a fervent member of the Anti Corn-Law League, a political movement which sought to abolish the statutes which levied taxes on imported wheat and protected landowners’ interests. In 1845 her team of canvassers raised an impressive £125, in part through hosting an exhibition of some of the contributions, which included local crafts such as a chair embroidered with children toiling in cornfields, and a model ship, ‘The Cobden’, under full sail for free Trade. COPAC records copies at BL and Bodley only, to which WorldCat adds Yale, Emery, UC Davis, and Stanford. Jackson, p. 498.
The Doom of Colyn Dolphyn. A Poem; with Notes illustrative of various Traditions of Glamorganshire London: Longman

The Doom of Colyn Dolphyn. A Poem; with Notes illustrative of various Traditions of Glamorganshire London: Longman, Rees, Orme, and Co.; White, Merthyr; Bird, Cardiff; Williams, Swansea; and other Booksellers. 1837.

WILLIAMS, Taliesin. 8vo (195 × 125 mm), pp. [4], [9]–160; apparently lacking two leaves from the prelims; the occasional mark; still a good copy in early cloth-backed boards. First edition. One of only two English songs produced by the prolific Welsh poet and chronicler Taliesin Williams (1787–1847). Named for the sixth-century Brythonic bard of Sub-Roman Britain, it was perhaps inevitable that Taliesin Williams would become a poet. He had an inauspicious beginning, supposedly born in a Cardiff prison, but he worked with his father as stonemason, and in 1816 opened a school at Merthyr Tydfil, where he remained until his death. His literary output began following exposure to promoters of the Provincial Societies in 1820, and from that time he became a prominent advocate for the retention and promotion of Welsh culture, particularly through the eisteddfodau held at Merthyr Tydfil, and those of the Abergavenny Cymreigyddion. The Doom of Colyn Dolphyn is one of two works Williams published in English songs, along with Cardiff Castle (1827). He also wrote Welsh poems and won the chair in the Cardiff eisteddfod of 1834 for an Y Derwyddon (‘the Druids’). ‘His contemporaries spoke of him as being a likeable, pleasant, and friendly man, and he was remarkably successful as a schoolmaster’ (Enwogion Cymru. A Biographical Dictionary of Eminent Welshmen, 1852).
Les nuits anglaises

Les nuits anglaises, ou recueil de traits singuliers, d’anecdotes, d’événemens remarquables, de faits extraordinaires, de bizarreries, d’obervations critiques & de pensées philosophiques, &c. propres à faire connaître le genie & le caractère des Anglais A Paris, [c]hez J. P. Costard 1770.

CONTANT D’ORVILLE, André-Guillaume]. 4 vols, 8vo (163 × 102 mm), pp. [2], 28, 368; [2], viii, 368; [2], viii, 400; [4], 376, [2]; old water stain to the fore-margin of the first few leaves in vol. II, some light browning elsewhere, more so to the margins at the end of vols I and III; contemporary mottled calf, red morocco spine labels (vol. III bound almost identically, but seemingly from another set), marbled endpapers; a little rubbed, some corners worn, to vol. IV headcap chipped, upper joint starting, but firm, a few marks. First edition. Contant d’Orville (c.1730–c.1800) was a prolific writer known best for his extensive ethnographic Histoire des différents peuples du monde (1768), and history of opéra bouffon (1771). Here he offers a kaleidoscopic view of England and its people, supposedly based on personal experience, but the whole work is invention. In fact, Josephine Grieder calls it ‘the most egregious example of a fake traveller’s account His method of presentation follows exactly that of the legitimate visitors. He insists on his impartiality’ (pp. 40–1n), though has plagiarized other works. The account is divided into 45 ‘nights’, which cover a wide range of topics, from politics, and the English antipathy towards the French, to literature (Chaucer, Shakespeare, Spenser, Milton, Dryden, Pope), and women, including a visit to an Englishwoman’s library, where the author finds ‘des Livres parfaitement bien rangés [et] superbement reliés & bien dorés’ (II, 278). Cioranescu 21098; Quérard II, 277.
New Idylles Translated by W. Hooper MD. With A Letter to M: Fuslin

New Idylles Translated by W. Hooper MD. With A Letter to M: Fuslin, on Landscape Painting, and the Two Friends of Bourbon, a Moral Tale, by M. Diderot. London, Printed for S. Hooper & G. Robinson 1776.

GESSNER, Salomon. Large 8vo (263 × 182 mm) in half-sheets, pp. [4], 129, [1], plus etched and engraved title-page, head- and tailpieces, and 9 plates by Sparrow or Chambars after Gessner; printed on thick paper; some light spotting, dust-soiling in the upper margin of pp. 76–77; early ink ownership inscription of John Bell, Kensington, to p. [1]; nineteenth-century half morocco, rubbed, pebble-grain cloth sides, spine lettered gilt. £350 First edition in English of the Moralische Erzæhlungen und Idyllen (Zurich, 1772). ‘The former works of M. Gessner have been received with that applause by Europe in general, as renders all apology for this publication superfluous, and all commendation by any individual unnecessary. The translator, however, cannot refrain from declaring the singular satisfaction he enjoys in presenting the English reader with a work, he thinks, equal in the beauty of composition (allowance made for the difference of language) to the Idyls of Theocritus, or Virgil, and far superior in benevolent and pathetic sentiments. ‘The historical plates and vignets with which this work is embellished, were all designed and drawn by M. Gessner himself. ‘The story of the Two Friends of Bourbon was communicated by M. Diderot to our author, who thought proper to publish it with these Idyls, as a monument of friendship that the cultivation of letters alone has produced between two men, whom distant countries have ever held separate’ (Advertisement). Adams DD46 (‘Première traduction anglaise d’un conte de Diderot’); Morgan 2319; for the first edition, see Borst 234 and Goedeke IV/1, 82, 9.

Pizarro; a Tragedy, in five Acts; as performed at the Theatre Royal in Drury-Lane: taken from the German Drama of Kotzebue; and adapted to the English Stage by Richard Brinsley Sheridan. London: Printed for James Ridgway 1799.

KOTZEBUE, August von. 8vo (209 × 130 mm) in half-sheets, pp. [8], 76, [4]; some light foxing towards the beginning and the end, and a little offsetting elsewhere; disbound; early ink ownership inscription of Peter Speirs. £200 First edition of this bestselling English version of Die Spanier in Peru. There were two issues, on ordinary paper (sold at 2s 6d), and a ‘Superior Edition, on fine wove Paper, hot-pressed’, for 5s. The paper here is wove. ‘Evidence of differing press figures and broken “p” in “hot-pressed” in last line on titlepage [as here] suggests copies made up from mixed sheets’ (ESTC). With the reading ‘No! thought and memory are my Hell’ (as opposed to ‘no living! thought and memory ’) on p. 64. There were no less than seven English translations of this play; Sheridan’s was the most popular, and went through at least twenty editions within a year, in London, Dublin, Cork, Belfast, New York, Charlestown, and Philadelphia. ‘On the stage it drew crowded houses for sixty-seven nights at Drury Lane in the first season, afterwards at other London theatres as well, and soon in the provinces’ (Stockley, p. 181). Williams notes the play ‘was such a success that it brought the theatre in “at least £15,000 during its first season.”’ Morgan 5305; Sabin 80340 (erroneously calling for two plates); Williams, p. 234.
A Farce in one Act as performed at the Royal Olympic Theatre. Oct. 12th 1837. Leipsic

ROMANCE HISTORIQUE, ou sont esquissés les faits les plus marquants de la Révolution, précédée et suivie de pieces de vers relatives à la Révolution et à la Restauration; par Mr. P. A. Mt. Sy. Anc. Cap. d’Inf. au Régt. D’Angoumaois, sous les règnes de Louis XV et Louis XVI. Saint-Dizier, Imprimerie de Fournier-Mérigaut. 1825.

8vo (198 × 118 mm), pp. [4], 173, [1], with printed cancel slips (one loose) to pp. 33 and 80; some light browning and spotting to first few leaves; some insignificant worming to front pastedown, free endpaper, and lower margin of title; pp. 3–5 a little creased, slightly sprung; contemporary polished tree sheep, a couple small marks or indentations to boards, spine gilt with black morocco label, head and tail chipped but still a nice copy. First (and apparently only) edition. An exceedingly rare book of fiery provincial verse, whose author ‘n’a eû d’autre intention que celle d’exprimer sa haîne constante pour la révolution, comme son amour aussi respecteux qu’invariable pour ses rois légitimes et leur auguste famille’ (Avant-Propos). The main poem, radiating pride for the Bourbons and detestation for their opponents in equal measure, is accompanied by a host of smaller, similarly themed poems: ‘A Bonaparte, après l’assassinat du Duc d’Enguien’; ‘Sur le premier retour des Bourbons, en 1814’; ‘Stances pour la fête du roi, jour de Saint-Louis, 25 Aout 1814’; ‘Stances pour Monseigneur le Duc de Berru, a son passage a Saint-Dizier, en octobre 1814’; ‘Stances pour Monsieur, frère du roi, a son passage a Saint-Dizier, en novembre 1814’; ‘Couplets sur les chambres dissoutes au retour du roi’; ‘Stances en l’honneur du roi et de la famille royale, a l’occasion du marriage de S.A.R. le Duc de Berri’; ‘Remises a Mgnr le Duc d’Angoulême, a son passage a Saint-Dizier, avec un mémoire pour demander la crois de Saint-Louis’; ‘Stances sur le sacre presume du roi’; ‘Sur l’élection et le rejet de Grégoire’; ‘Sur l’assassinat de Mgnr le Duc de Berri’; ‘Sur la naissance de Mgnr le Duc de Bordeaux’; and ‘Couplets sur le baptême de S.A.R. Mgnr le Duc de Bordeaux’. The Catalogue collectif de France locates a sole copy, at Chalons-en-Champagne (c.40 miles northwest of St Dizier), to which WorldCat lists 1 copy only, at Basel. Not in the BnF catalogue.