Simon Beattie

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THEATRE.] HODSON, Joseph Charles, and Mrs KELSO. Original scripts for two early Edwardian plays: The Village Vagabond and The Workman’s Wife. [Apparently Sheffield,] 1901. [With:] HODSON, J. C. Original script for Monte Carlo. [Apparently Derbyshire,] 1908.

Manuscripts on paper, Village Vagabond/Workman’s Wife: small 4to (203 × 166 mm), pp. [70], [66], [6]; with 8 pages of further manuscript loosely inserted at the end; some browning and finger-soiling, waterstain to initial few leaves; crudely stitched in contemporary cloth wrappers (soiled, worn, a few short tears, some gatherings and leaves detached and reinforced in places with tape), with ink ownership inscription of author to front free endpaper recto (‘The Village Vagabond Written by Mr J. C. Hodson + his Daughter Mrs Kelso. This Book being the Property of J. C. Hodson 1901. Please keep clean + return when done with’), his ownership signature scattered throughout, as well as an inscription on the final page (‘ return when done with at the Theatre High Green Mortomley Sheffield October 9th 1901’). Monte Carlo: small 4to (199 × 159 mm), ff. [57] written first on rectos only, the book then turned over and written on versos; some browning, dust- and finger-soiling, and water staining; original boards, spine long perished, sections of boards worn away, sometime repaired with strips of brown paper, cutting from a contemporary playbill pasted to front cover, early ink ownership inscription of the playwright to final page (‘This Book is the Property of J. C. Hodson Written + arranged by him From The Gamblers Fate Monte Carlo October 12. 1908 Finished at Pilsley near Chesterfield’). Autograph manuscript scripts belonging to the playwright Joseph Charles Hodson of High Green, Mortomley, Sheffield, for The Village Vagabond and The Workman’s Wife. Both are apparently unpublished. We have traced little of Hodson save that he was responsible for a pantomime version of Robinson Crusoe, also in Sheffield, in 1900 (The Stage). The Village Vagabond is a play about a Dorset family by the name of Glyndon with the son, Harry, in the lead role, supported by various other characters including ‘Lazerous a Jew’. It is dated 3 October 1901 at the end, with a list of the players. The Workman’s Wife (dated 9 October 1901, with another list of players, e.g. ‘Mr Gordon no good, a nice fellow but acting off’). Monte Carlo, ‘written from The Gamblers Fate’, is dated at the beginning Tibshelf, Derbyshire, 16 September 1908. The plot focuses on the dangers of gambling, beginning auspiciously with the arrival of a young man in Monte Carlo, but ending tragically with a double suicide. Hodson had presumably had trouble in the past with people taking his scripts and folding back the covers when reading them. The inside front cover of the first volume here bears the handwritten instruction: ‘Please not to Double this Book up. Keep it sleight open. Double them up spoiles them.’ The binding, which is amateur, appears to be an unusual example of longstitch, otherwise not generally seen in England after the Middle Ages.
ROBBÉ]. Simoniana

ROBBÉ]. Simoniana, ou les loisirs d’un chauffeur, à l’usage des oisifs. Par M. F. Simon [pseud.], Inspecteur-général des Chauffages de l’Armée des Côtes de l’Océan. A Valenciennes, et se trouve par-tout chez les Marchands de Nouveautés. An XII de la République, et Ier de l’Empire Français [1803/4].

12mo (179 × 107 mm), pp. vi, [2], 218, [2]; some light browning and light occasional spotting, uncut in later nineteenth-century half calf, marbled paper sides, gilt with darker calf lettering-piece to spine, marbled endpapers, extremities lightly rubbed. First edition. Published under the pseudonym F. Simon, the book has traditionally been attributed to Robbé (cf. Barbier IV, 22); however, it has more recently been linked to Gabriel-Antoine-Joseph Hécart (1755–1838), the French man of letters, naturalist, and lexicographer known best for his Dictionnaire Rouchi-Français (Valenciennes, Lemaître, 1834). The work itself, satirical in nature, is divided into 43 sections, including a ‘Dictionnaire portatif, ou le guide du bon sens’ (‘Mariage. Espèce de loterie où les bons billets sont bien rares’, p. 48) and the brief and darkly humorous ‘La vie humaine’: La vie humaine est comme une tragi-comédie que l’on peut partager en quatre actes. Jusqu’à dix ans, inaction et plaisir. Depuis dix jusqu’à trente, plaisir et action, presque sans peine. Depuis trente jusqu’à cinquante, peine et action, presque sans plaisir. Et depuis cinquante jusqu’à soixante-et-dix, peine et inaction (p. 129). A printer’s note in the preliminaries, paired with a post-face letter from the author to the printer, also make for humorous reading. Quérard VIII, 67. A survey of COPAC and WorldCat locates 4 copies only (Bodley, Bibliothèque nationale, Illinois, UCLA).

MEUSEL, Johann Georg. Das gelehrte Teutschland, oder Lexikon der jetzt lebenden teutschen Schriftsteller. Angefangen von Georg Christoph Hamberger Fortgesetzt von Johann Georg Meusel Lemgo im Verlage der Meyerschen Buchhandlung, 1783[–91].

8 vols, 8vo (185 × 110 mm), pp. xxiv, 628, [2]; [2], 650, [2]; 672; 462, [2]; [4], 776, [2]; [4], 548; [2], xii, 418; [2], xvi, [3]–872; some light offsetting and spotting, a little worming to the hinges of most vols; contemporary German blue paper boards, rubbed, with the odd mark, extremities worn, corners lightly bumped, paper spine labels. First published in 1767, Johann Georg Meusel’s (1743–1820) noted bio-bibliography of living German writers, begun by Georg Christoph Hamberger (1726–1773), went a number of editions, eventually swelling to 23 volumes (1796–1823). ‘Quite unique for its time’, Meusel worked on it for almost half a century, beginning in 1773: ‘It was the first survey of contemporary literature and he included in it, in addition to scholarly authors, a number of poets and authors of literary works, a decision which signalled the change from baroque erudition to the “Bildung” of the Enlightenment period. The complete work, comprising forty-seven volumes (including all editions and unauthorized copies), lists over fifteen thousand contemporary authors and their works and is still significant to this day because it is also filled with references to more obscure and lesser works’ (The Bloomsbury Dictionary of Eighteenth-Century German Philosophers, p. 534). Meusel’s work was the impetus for several similar projects, including Jeremias David Reuߒs Alphabetical Register of all the Authors actually living in Great-Britain (Berlin, 1791), the first bibliography of eighteenth-century English literature. Listed authors here include Bürger (I, 223); Goethe (I, 575); Herder (II, 103); Kant (II, 257); Klopstock (II, 299); Kotzebue (II, 342); Lavater (II, 402); Moses Mendelssohn (II, 617); Johann Karl August Musäus (II, 647); Schiller (III, 377); and Wieland (IV, 206). A number of women are included, notably Sophie von La Roche (III, 276), but also Sophie Albrecht (I, 18); Antoinette Bamberger (I, 58); Caroline Adelheid Cornelia von Baudissin (I, 73); Elisabeth Christine of Brunswick-Wolfenbüttel-Bevern (I, 394); Elisabeth Charlotte Benigne, Fräulein von Hahn (II, 21); Anne Therese Khaser (II, 277); Katharine Kitt, II, 287); Karoline von der Lühe (II, 473); Mademoiselle la Motte (II, 619); Henriette Reine Reichin (III, 226); Magdalene Sibylle Rieger (III, 264); Karoline Christiane Luise Rudolphi (III, 307); Dorothee Henriette von Runkel (III, 318); Friederike Sophie Seyler (III, 551); Mariane Wilhelmine von Stevens (III, 627); and Christiane Stroth (III, 656). Goedeke IV/II, 274, 9 (not listing this ed.).
MARSHALL]. Catalogue of five hundred celebrated Authors of Great Britain

MARSHALL]. Catalogue of five hundred celebrated Authors of Great Britain, now living London: Printed for R. Faulder and B. Law 1788.

8vo (215 × 124 mm), pp. viii, [284]; some scattered spotting and marginal dust-soiling throughout, short tear to foot of C4 in the gutter; early nineteenth-century diced calf, rubbed with some marks to boards, boards ruled gilt, spine gilt in compartments with green morocco lettering-piece, neatly rebacked, early ink ownership signature of James Crighton to title-page. First edition of a bio-bibliography of contemporary authors aimed at ‘gratifying the inquisitiveness of the curious’ (Preface) and including such figures as: John Adams, ‘not able to produce a book that any body had resolution enough to read. It consists of dry, tedious and undiscriminated examples’; Anna Letitia Barbauld; James Boswell; Edmund Burke; Charles Burney; Frances Burney, ‘appointed in 1786 joint keeper of the robes to her majesty Since that time the hours of this celebrated genius are said to have been chiefly occupied in the folding of muslins’; Robert Burns; George Colman; Charles Cornwallis; William Cowper, whose verse is described as ‘greatly deformed and obscured by the total neglect of method’; the Chevalier d’Éon, erroneously listed as a woman; Benjamin Franklin; Edward Gibbon; William Godwin; John Jefferson [i.e. Thomas Jefferson]; Elizabeth Inchbald; Junius; John Kemble; James Macpherson; [Elizabeth] Montagu; Hannah More; Anne Murray, ‘one of the mob of writers, who have lately undertaken to produce books for the instruction of children’; Mark Noble, ‘a dull and inaccurate antiquarian’; Thomas Paine, ‘possessed of great political penetration and skill’; Joseph Priestley; J. N. Puddicombe, ‘a mad poet’; Henry James Pye; Joshua Reynolds; Anna Seward, ‘A lady of considerable accomplishments’; Richard Brinsley Sheridan; Adam Smith; Charlotte Smith; Horace Walpole, ‘a writer of considerable elegance’; George Washington; and Helen Maria Williams. The bio-bibliography was, unfortunately, rife with errors and inaccuracies, and was eviscerated by critics; The Critical Review dismissed it as ‘erroneous’ and ‘generally defective’ (1788), while The General Magazine called it ‘the most severe and uniform libel of modern times standing at the head of the most contemptible productions of Grub-Street’ (also 1788).

PRICE, Charles.] Histoire de Charles Price, fameux escroc de Londres, connu sous différens noms; traduite de l’Anglois sur la sixième édition A Londres, et se trouve à Paris, chez Volland, Libraire 1787.

2 vols, 12mo (160 × 93 mm), pp. [2], 206; [2], 232, with 1 folding engraved frontispiece by Ransonette, an exact mirror image of that in the original English edition; short nick to first few leaves in the upper corner, almost imperceptible water-stain in upper margin of vol. I; nineteenth-century quarter sheep by Edmond Huet, Le Mans (bookbinder’s ticket), vellum tips, marbled edge and endpapers, rubbed with some wear to extremities, upper corner of vol. I worn, upper joint of vol. II cracked but sound; inscribed ‘A Mme Lalande’ to verso of frontispiece, with ink ownership inscription (‘Lalande’) at foot of each title-page; bookplate of Juliusz Wiktor Gomulicki (1909–2006; activist, antiquarian bookseller, and bibliographer). First edition in French of the lowlife biographical Memoirs of a Social Monster; or the History of Charles Price; otherwise Bolingbroke, otherwise Johnson, otherwise Parks, otherwise Wigmore, otherwise Brank, otherwise Wilmott, otherwise Williams, otherwise Schutz, otherwise Trevors, otherwise Polton, otherwise Taylor, otherwise Powel, &c. &c. &c. and commonly called Old Patch (London, 1786). Published to warn ‘thoughtless youth from the destructive way of wickedness’, the book begins with an ‘Invocation to Lucifer’, playing to the outrageous and disreputable character of the infamous banknote forger Charles Price (d.1786), who had hanged himself in Bridewell Prison before his case came to trial. ESTC lists only two English-language editions (1786 and 1790). We presume the statement on the title here that it was translated from the ‘sixth edition’ is an instance of mention fictive. Rochedieu, p. 368. WorldCat lists 3 copies outside Europe (Cornell, UCLA, Yale).
Histoire des passions

Histoire des passions, ou avantures du Chevalier Shroop. Ouvrage traduit de l’anglois A La Haye, chez Jacques Neaulme. 1751.

TOUSSAINT, François-Vincent]. 8vo (158 × 96 mm), pp. [8], 356, [4], title-page printed in red and black, small copperplate engraved vignette signed ‘Eben’; some light browning and soiling, particularly to first few gatherings, waterstain to lower right-hand corner of gathering M, front endpapers soiled and rather ragged; contemporary vellum, a little marked; bookplate of Erik Larsson Bremberg. First edition of a novel following the life of ‘Chevalier Shroop’, an ordinary Englishman (‘Je me contenterai de dire qu’il étoit Anglois, que ses Ancestres n’étoient pas ni de la première qualité, ni du rang le plus abject’, p. 1) who learns life lessons about love and jealousy, generosity and ambition, and, ultimately, the importance of family: ‘Il fit ses adieux à sa chère femme, & à ses enfans avec une grande tranquillité d’esprit, & après s’être retourné d'un autre côté il passa de ce monde à l’éternité, comme s’il fe fût laissé aller à un doux sommeil’ (p. 355). Toussaint (1715–1772) was a lawyer, translator, and man of letters who collaborated with Diderot on the Encyclopédie (1751–1772). He was best known in his time for Les Mœurs (1748), a scandalous novel reprinted over a dozen times in its first year alone, and referred to by Robert Darnton as a part of ‘the first great barrage of Enlightenment works’ (The Forbidden Best-Sellers of Pre-Revolutionary France, p. 90). Cioranescu 62080; Grieder, p. 152.
HOCHZEITS-ZEITUNG Humoristisch-Satyrischer Hochzeits-Kladderadatsch zur Vermählungsfeier. Dresden

HOCHZEITS-ZEITUNG Humoristisch-Satyrischer Hochzeits-Kladderadatsch zur Vermählungsfeier. Dresden, Heineck Nachf[olger]., late 19th/early 20th century.

13 numbers, 4to (c.295 × 230 mm), each pp. [4]; plus 10 Tafel-Lieder (slim folio, printed on recto only), a leaf of Tafel-Satzungen, and 2 Rundgesänge, each printed in a spiral; some light browning due to paper stock, creased or chipped in places; offered with a printed score of Carl Michael Ziehrer’s song A Love Letter (Liebesbrief), New York, G. Schirmer, copyright 1888 [not found in WorldCat], inkstamps of Hans Veroni and the Deutsches Volks-Theater San Francisco, and ms. poem, ‘Liebesbrief’ (copying out the text of the song, perhaps for performance?), on headed notepaper (Hans Veroni, 221 Sansome St, San Francisco, ‘Pacific Coast Representative, Transatlantic Fire Insurance Company of Hamburg’). The Hochzeitszeitung (‘wedding newspaper’) is a genre of occasional printing found in German-speaking countries. Normally they are bespoke, something to which friends and family might contribute anecdotes about the happy couple which are then turned into a ‘newspaper’ to be distributed among the wedding guests. The internet is full of tips for making them. Curiously, the publication offered here is generic, and appears to have been something one could buy for handing out at weddings, rather than as a template for what one might include in one’s own Nuptial News. (A potential bibliographical headache is that, when they have a number, they are all ‘Vol. I, No. 1’, although the publishers do appear to have marked them, maybe for their own identification, by means of a hand-stamped number in the upper corner and letterpress signature at the foot of the first page.) We have been unable to locate it in any of the usual databases. Where there is an imprint, it is Heineck in Dresden. Offered with the Zeitung are a variety of occasional pieces, presumably for handing out at a wedding: slipsongs, two rounds for singing, a leaf of ‘table rules’, an illustrated marriage certificate written in Saxon dialect, and another official-looking lithographed marriage document.
The Merchant of Venice

The Merchant of Venice, a Comedy in five Acts, by William Shakespeare, as presented at the Lyceum Theatre, under the Management of Mr. Henry Irving, on Saturday, November 1st, 1879. One hundredth Performance, Saturday, February 14, 1880. London: Printed at the Chiswick Press. 1880.

SHAKESPEARE.] 8vo (205 × 134 mm), pp. [8], 74, [2], with original programme, printed in sepia, bound in; half-title printed in red and black; some light dust-soiling to first few leaves; original parchment-covered boards lettered gilt, all edges gilt; soiled and marked, spine discoloured, headcap bumped. Souvenir script and programme to celebrate the one hundredth performance of Henry Irving’s staging of The Merchant of Venice at the Lyceum, featuring Irving and Ellen Terry in the lead roles. The performance was accompanied by a banquet in the performance space itself, and was attended by 350 guests including Oscar Wilde, whose poem ‘Portia’ was written after first seeing Ellen Terry in the role in 1879. It was then, after the toast, that ‘attendants brought round books of the Merchant of Venice, as arranged by Mr. Irving, specially prepared for the occasion. They were bound in white parchment and lettered in gold, the cover as well as the title-page’ (The Musical World; the title-page here is printed in black). The event, like its accompanying souvenir, was lavish: ‘All the paraphernalia of the stage and the piece had been removed [from the stage], and over the whole vacant space, of some 4000 square feet, rose an immense pavilion of white and scarlet bands, looped around the walls with tasteful draperies and lit by two gigantic chandeliers The transformation was so magically effected, and displayed such thoroughness of organization in all concerned’ (ibid.). Jaggard, p. 399.
La déclamation

La déclamation, théâtrale, poëme didactique en trois chants, précédé d’un discours. A Paris, De l’Imprimerie de Sébastien Jorry, rue & vis-à-vis la Comédie Françoise 1766.

DORAT, Claude-Joseph]. Tall 8vo (241 × 152 mm) in half-sheets, pp. 128, with engraved frontispiece and 3 additional plates (of 4?, but see below) by Emmanuel-Jean-Népomucène de Ghendt after Charles Eisen; some light plate toning; uncut with generous margins; some light browning, nineteenth-century dark blue morocco, fully gilt with spine in compartments, lavishly gilt inner dentelles, marbled endpapers and flyleaves, two short tears to head and foot of first marbled flyleaf near gutter, upper joint sometime repaired, extremities lightly rubbed. First edition of one of Dorat’s most popular works. Divided into three songs (‘La Tragédie’, ‘La Comédie’, and ‘L’Opéra’; another, ‘La Danse’, appeared the following year), La déclamation discusses theatre, spectacle, and taste—issues so hotly debated over in the Enlightenment—in the form of a didactic poem. Claude-Joseph Dorat (1734–1780) himself attributed the decline of the French theatre ‘to the pernicious influence of Drury Lane, which he described piquantly as London coal-dust which had contaminated the Paris fogs and soiled the Muse of French imitators’ (Hallowell, Claude-Joseph Dorat, Opponent of the “Drame Bourgeois” and Critic of the English Theatre, p. 358). Cioranescu 25131; Cohen–de Ricci, col. 312; Quérard II, 577; Inventaire du fonds français XVIIIe siècle, vol. X, nos. 21–5. COPAC lists 2 copies of the first edition only: BL (lacking the plates), Rylands (3 plates plus frontispiece). Cohen–de Ricci and the Inventaire call for a frontispiece and 4 plates, but it is not clear whether they are including the extra plate from ‘La Danse’ (1767), as found in some copies.

PETER I, the Great.] A true, authentick, and impartial History of the Life and glorious Actions of the Czar of Muscovy: from his Birth to his Death The whole compiled from the Russian, High Dutch and French Languages, State Papers, and other publick Authorities. London: Printed for A. Bettesworth G. Strahan J. Stagg J. Graves S. Chapman R. Frankling J. Harding T. Edlin and J. Jackson [1725].

8vo (195 × 122 mm), pp. [8], 207, 202–429, [1]; complete despite pagination; some light spotting, more so in the margins; contemporary sprinkled calf, rubbed, joints cracked but firm, spine gilt in compartments, extremities chipped, leather spine label lettered gilt. Unacknowledged second edition, ‘a reissue of “An impartial history of the life and actions of Peter Alexowitz”, London, 1723 [1722], with the table of contents added at front, and text (covering the death of the Czar) at end’ (ESTC), thereby making it one of the earliest ‘complete’ English biographies of Peter the Great (1682–1725). In the past, the book has been attributed to Defoe (see Moore 451, for the first edition), but Furbank & Owens argue otherwise: ‘[This is] a lengthy and eulogistic account of the life and career of Peter the Great Defoe, in the Review, frequently criticised Peter the Great as a brutal despot, and a protest from the Czar once nearly got him into serious trouble. It thus seems unlikely that he would later have produced such a uniformly flattering biography’ (Defoe De-attributions 451). Cat. Russica H-928; Minzloff, Pierre le Grand dans la littérature étrangère 38, 3, 2.