24mo, pp. 330, [6 (table)]; title-page with a border of printer’s tools; a very good copy, ruled in red throughout, in handsome contemporary black morocco, with onlays in tan morocco (large diamond centrepiece and cornerpieces, central quatrefoil, all gilt with small floriate tools), gilt edges.
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The whole Booke of Psalmes, collected into English Meter by Tho. Strenhold, Jo. Hopkins, W. Whittingham, and others … with apt Notes to sing then withal …
A very attractive pocket psalm-book with tunes, ruled in red throughout and in a handsome binding. Such diminutive psalm books began to appear at the end of the sixteenth-century, printed for the Company of Stationers, who had the monopoly. The printer here was Thomas Cotes, most famous as printer of the Second Folio of Shakespeare in 1632, who became a Master of the Company in this year.
ESTC records three copies only, at Harvard, Yale and Trinity College Melbourne. STC 2672.7.
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CAIRO-PRINTED LITHOGRAPHIC CALLIGRAPHY CELALEDDIN, Mahmud (calligrapher).
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Unrecorded album of lithographed examples of calligraphy, mixing prayers and pen exercises, reproducing the calligraphy of a Daghestani émigré to Istanbul, Mahmud Celaleddin Efendi (d. 1829), and published in Cairo by Egypt’s Ministry of Public Education.
BY BECKFORD’S HALF-SISTER [HERVEY, Elizabeth].
The Mourtray Family. A Novel …
First edition of the penultimate novel by Elizabeth Hervey (c. 1748–1820), elder half-sister of the writer William Beckford – her father, Francis Marsh, had died and her mother Maria (née Hamilton) remarried another Jamaica plantation owner, William Beckford senior, who also died in 1770. Maria Beckford was therefore a powerful influence on both children and as a young woman Elizabeth was considered quite the intellectual equal of her younger brother. She married Colonel Hervey in 1774 and moved abroad, but on his death in 1778 she returned and published several novels – Melissa and Marcia (1788), Louisa (1790), The History of Ned Evans (1796) and The Church of Saint Siffrid (1797). The Mourtray Family was her last in this run, and nothing more followed until the final publication of Amabel (1814), where she finally dropped the mask of anonymity.