Small folio, ff. ; tiny stain at foot of first two leaves, but an excellent copy, in brown morocco by Zaehnsdorf, title stamped in gilt on upper cover, top edges gilt, some others untrimmed.
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Parthenia or the maydenhead of the first musicke that ever was printed for the virginalls.
Facsimile reprint of the original edition of c. 1612/13, handsomely bound by Zaehnsdorf. At the end is a short introduction to the work by the great Austrian musicologist and bibliographer Otto Erich Deutsch.
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[SOCIETY OF ARTISTS.]
A Catalogue of the Pictures, Sculptures, Models, Designs in Architecture, Drawings, Prints, &c. Exhibited by the Society of Artists of Great-Britain, at their New Room, near Exeter-Exchange, Strand. April the twenty-fifth, 1774, the fifteenth Year of exhibiting …
First edition of the Catalogue for the selling exhibition of 1774. The Society of Artists emerged in 1760 as a loose association of artists, including Joshua Reynolds and Francis Hayman, who wanted greater control over exhibitions of their work than they experienced under William Shipley’s Society of Arts (est. 1754). They held an alternative exhibition in London, May 1761, and in 1765 obtained a Royal Charter as the ‘Incorporated Society of Artists of Great Britain’. By 1774, however, the leading artists had joined the more prestigious Royal Academy, founded in 1769, although there are still examples here of paintings contributed by George Stubbs (‘A portrait of a horse’) and Joseph Wright of Derby (his celebrated ‘The old man and death’).
Poetick Miscellanies …
First edition. Writing from the isolation of Newcastle, then a rural parish in fell country, Rawlet developed a mode of religious and descriptive poetry distinctly out of step with his own age, as is acknowledged by the editor in a verse preface: ‘Reader, expect not here, the filth of th’ Stage, / Poems that please, but more debauch the Age.’ Rawlet’s poems, such as ‘On a great Thunder and Storm’, ‘On a Cross with a Crown upon it, in Burton, betwixt Lancashire and Kendale’, and ‘On the sight of Furness Fells’, while looking back to Herbert in their weaving of the spiritual and the physical, please more by their anticipation of the topographical and sentimental concerns of the succeeding century.