George Thomson (1757-1851) [ Ludwig van Beethoven; Franz Josef Haydn; Robert Burns ]
To be had 'at the house of G. Thomson, Trustees Office, Exchange, Edinburgh; at Preston's Music Warehouse, 97, Strand; at Birchall's, 133, New Bond Street; J. Murray's, Albemarle Street, London; [...]'. 'Printed by J. Moir, Edinburgh, 1817.'
Thomson's friend Burns worked with him on the Scottish and Welsh melodies, which were arranged by Haydn and others. As Haydn's health was failing, Thomson turned to Beethoven for the arrangements of the Irish melodies, the first group of which were sent to him in 1809. 4pp., 8vo. Paginated 1-4. Unbound bifolium, stabbed as issued. In good condition, lightly-aged. Beneath the drophead title on the first page: 'On the 30th of May 1817, will be published the THIRD and CONCLUDING Volume of | Select Welsh Melodies; | [...]'.
'Printed by J. Evans and Sons, Long-lane, London", c.1795 [see BBTI]
One page, 4to, c.35 x 24cm, folded (with marks), creased slightly at edges and on folds, some foxing and pinholes, blank reverse grubby, with two small woodcuts at top. A sheet containing a number of Christmas songs: The Black Decree (Herod); O see man's Saviour in Bethlehem born; While Shepherds watch'd their Flocks by Night; On Christmas Night all Christians sing. No other copy traced.
[McGlennon's Cromlech Series; Felix McGlennon, Irish publisher in London]
McGlennon's Cromlech Series, Felix McGlennon Ltd., Printers and Publishers, City Garden Row, City Rd, London, N1. Both undated.
The two uniform stapled pamphlets, both 32pp., 12mo, in illustrated wraps printed in green, and both printed on newsprint. Both items uncommon, with no copies of either on COPAC. ONE: 'Irish Songs Old and New.' In fair condition, on worn and toned paper, with crease to front cover. Contains the lyrics to 34 songs, from 'Angels Whisper' and 'Ballinamona Oro' to 'Young Kate of Kilcummer'. TWO: 'Songs of the Gael'. In good condition, toned and lightly worn. Contains the lyrics of 28 songs from 'Awake and Lie Dreaming No More' to 'Where is the Slave so Lowly?'
Peter Seeger; Folkways Records, New York [South African; Pete Seeger, Robert Harter, Garrett Morris, Guy Carawan, Ned Wright]
Folways Records and Service Corp., 117W. 46th St. NYC USA. [1960.]
In black 19.5 cm square sleeve, with striking cover design showing the aftermath of Sharpeville, and notice 'The American Committee on Africa receives royalties from the sale of this record.' The four songs are Tina Sizwe (We, The Brown Nation); Nkosi Waqcine (God Save the Volunteers); Asikatali (We Do Not Care If We Go To Prison); Liyashizwa (Pass-Burning Song). Very good, lightly-aged, with the record itself (in brown paper sleeve) seemingly unplayed. The twelve-page booklet is stapled, with illustrated cover and three photographs of the Sharpville Massacre.
Troisième édition, revue et corrigée. Paris: E. Heu, éditeur, 10, Rue de la Chaussée-d'Antin. Propriété pour la France et l'etranger. [Circa 1866.]
 + 36pp., 8vo. In original yellow printed wraps. Title carries illustration by Fouget. Inscribed, at head of title, 'To "The Bairns" from Mr. ', 8 February 1866. Lightly-aged, with slight damp staining, in worn wraps. Clearly printed with simple musical scores, including such classics as 'Frère Jacques' and 'Sur le Pont d'Avignon'.?>
[H. de Marsan, publisher & bookseller; E.A. Sparks, illustrator]
H. de Marsan, Songs, Ballads, toy books. 60 Chatham St, NY. "Entered according to Act of Congress, in the year 1860, by H. DE MARSAN [...] Clerk's Office [...] for the Southern Dustrict of New York".
Handbill, one page, crudely coloured border with images of a black troubadour with banjo[?] , a native American, and a trapper [?], 26 x 17cm, three stanzas each eight lines plus chorus, edges chipped, laid down on a larger page. Commences, "Oh! listen a while., a story I will tell; | It will please you to death, I know berry well [...]" Decorative border signed "E A Sparks" ("Printed within colored pictorial border (De Marsan trapper border J, in Wolf, E. Amer. song sheets)." One copy of this imprint listed by WorldCat, two of another imprint (later).
[Georgian song book; Cluer Dicey & Co., London publishers; 'George Seghious'; 'The Black's Lamentation'; slavery]
Publication details and date not give. [London: Cluer Dicey & Co. 1770s?]
The full drophead title, beneath a headpiece of three lions in folliage, reads: The Gentleman's CONCERT. | BEING | A Choice Collection of Favourite SONGS. | Containing, | [following 10 lines in left-hand of two columns] 1. Where's my swain so blyth and clever | 2. To an arbour of woodbines. | 3. The flame of love sincere I felt. | 4. When all the Attic fire was fled. | 5. Cupid, god of pleasing anguish. | 6. As I walk'd forth, &c. | 7. O give me leave to love you dearly. | 8. When Fanny I saw as she trip'd, [sic] &c | 9. Bumpers 'Squire Jones. | 10. Sweet Annie.
Frederic Clay [Frederic Emes Clay] (1838-1889), English composer [Emily Huntington Miller (1833-1913), American poet]
2pp., 8vo. On both sides of a leaf of scored 29.5 x 23 cm paper. Aged and folded. The first page is numbered 330 in the top left-hand corner, and headed "I love to hear the Story"'. The first page carries the first and third verses of Miller's hymn, scored for piano, signed at foot 'Frederic Clay.' On the reverse, with no heading, is the score of the second verse: 'I'm glad my blessed Saviour was once a child like me / To show how pure and holy His Little ones might be'.
Thomas John Dibdin (1771-1841), playwright, illegitimate son of dramatist Charles Dibdin (1745-1814), brother of songwriter Charles Dibdin (1768-1833) [Regency dress; Georgian clothing; fashion]
Undated [circa 1802?].
2pp., 4to. Good, on lightly-aged paper. Divided into eight four-line stanzas, each with the same two-line refrain. The first stanza: 'Fashion was formed when the World began, | And Adam I am told was a very smart man, | As for Eve I shall say nothing more or less. | |But that Ladies of Fashion now copy her dress. | Yet barring all pother of this that & tother we all bow to Fashion in turn'. Containing witty references to the fashion for hunting boots and crops, New Bond Street, Tudor and Stuart clothing, Whigs and Tories.
James Ballantine (c.1807-1877), Scottish writer and artist in stained glass
Edinburgh; 16 August 1856.
1p., landscape 8vo. On the first leaf of a bifolium. Very good, on lightly-aged paper. Well presented, with the second blank leaf neatly inserted into a windowpane border. The poem is sixteen lines long, arranged in four stanzas, neatly written out on a piece of wove paper. The first stanza reads 'Confide ye aye in Providence, for Providence is Kind | And bear ye a' lifes changes, wi a calm an' tranquil mind | Though pressed an' hemmed on every side, hae faith, an' ye'll win through | For ilka blade o grass keeps its ain drap o dew'.
Chevalier William Henry Grattan Flood (1857-1928), musicologist and historian
Rosemount, Enniscorthy, Ireland, 20 Dec. 1909.
Three pages, 12mo, in bifolium, black-edged, with original envelope, also black-edged,1.5 inch tear to fold, mainly very good. He explains that his father's illness and death (and consequent complicated affairs) delayed his response to Arkwright's letter. He thanks him for his advice as to my Preface & Introduction to Moore's Melodies [underlined; he edited a new standard edition of Moore’s Irish Melodies, 'The Spirit of a Nation' (1911)].
[Jonathan Blewitt (1782-1853), English composer] [The Flying Dutchman]
Without date or place. [London, 1850s?]
Printed on one side of a piece of wove paper, 32.5 x 24 cm. Text clear and complete, on aged paper with chipping and closed tears to edges. The only copy of this title on COPAC is at the British Library (folio, 4 pp, published by Zenas T. Purday), where it is ascribed to Blewitt and tentatively dated to around 1850. Six eight-line stanzas with chorus 'Jump high, jump low, jumping we go.' Possibly written with satiric intent.
Pádraig Breathnach [Father Patrick Walsh (c.1885-1927), Irish cleric, republican and folklorist]
Dublin: Muinntir Bhrúin & Nualláin do chlódh-bhuail. [circa 1920?]
16mo (15 x 12 cm), 32 pp. Stapled pamphlet, in original green printed wraps. Text complete and clear, on aged and dogeared paper. Wraps worn and stained. Part three only of an annotated collection of ballads. Six-page English glossary at rear. Scarce: the National Library of Ireland only appears to have Part Five, and the only record on COPAC is of Parts One and Three at Trinity College, Dublin.
[Victorian street ballad; broadsheet; handbill; death; nineteenth-century folk song]
Date [circa 1840?] and publisher not stated.
On one side of a piece of thin wove paper, roughly 260 x 95 mm. Aged and creased, with internal 25 mm closed tear affecting four words of text (all of which can be completed from the context) repaired on blank reverse with archival tape. Otherwise text and illustration clear and entire. Small (30 x 40 mm) woodcut at head, showing two early nineteenth-century country coves outside a cottage. The poem consists of ten four-line stanzas.
[Victorian street ballad; handbill poem; street ballad; broadsheet; nineteenth-century folk song]
Publisher and date not stated. [Circa 1840?]
Printed on one side of a piece of wove paper roughly 280 x 95 mm. Aged, creased and spotted, with chipping to extremities, but with text and illustration clear and entire. Curious small (roughly 40 x 65 mm) crude illustration at head, showing dove with olive branch and acorn. Forty-line poem arranged in five stanzas. Interestingly-garbled nineteenth-century folk song with ancient antecedents.
[Victorian London street ballad; broadsheet; handbill; death]
Date and publisher not stated. [London; circa 1840?]
Printed on one side of a piece of wove paper roughly 230 x 90 mm. On pitted, aged paper. Text complete. Approximate 30 x 50 mm piece torn away from top right-hand corner, causing loss to small illustration at head, which appears to be a crude woodcut of a woman lying in a coffin. The poem consists of thirty-six lines arranged in five stanzas. The first stanza reads 'Dear Peggy, read this letter, | its the last one I'll send, | Our long correspondence, | is now at an end.