DOCSLIB.ORG

Coversheet for Thesis in Sussex Research Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Coversheet for Thesis in Sussex Research Online A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Performing Consumption and Consuming Performance: A 17th Century Play Collection Maria Kirk Submitted for the qualification of Doctor of Philosophy in English Literature University of Sussex February 2016 i Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature:.................................................................................... ii Acknowledgements First and foremost, I would like to thank my supervisor Professor Mat Dimmock, whose advice, guidance and persistent faith in my ability to complete this thesis have been invaluable. I would also like to thank my secondary supervisor Professor Margaret Healy who has supported my academic endeavours throughout my time as a postgraduate. I am also grateful to all of the Sussex CEMMS staff and doctoral students who have helped and supported me over the years. This thesis would not have been possible without the funding I received from the Arts and Humanities Research council, for which I am very grateful. I would also like to thank The National Trust and all the staff at Petworth House, in particular Exhibition Manager Andy Loukes who has been endlessly accommodating and enthusiastic about my research. I grateful to have received book handling training from Ylva Dahnsjo, and would also like to thank Tom Dommett, who provided me with important information about recent archaeological findings at Petworth. I would especially like to extend my gratitude to Professor Nicholas Pickwoad; without his expert guidance and information about bindings much of the first chapter in this thesis would not have been possible. I would like to extend special thanks to Lord Egremont for permitting me to use material from the Petworth House Archives in this thesis, for allowing me to access to his personal library, and also for sharing his thoughts on the Petworth play collection with me. I am grateful to the staff at Sussex University Library, The British Library, Senate House Library and the West Sussex Records Office, particularly archivists Alison McCann, Caroline Adams and Jennifer Mason at the latter, all of whom have been extremely helpful and accommodating in allowing me to access the Petworth House Archives. I am also grateful to the Duke of Northumberland for allowing me to access the the Northumberland Archives on microfilm. Special thanks also go to Stewart Collins, Tam Williams, and the cast of “The Petworth Plays” for bringing the collection to life on stage. During my studies I have crossed paths with a number of scholars working on either plays in the volumes or the Percy family and their wider circle. I am grateful to Dr Daniel Starza-Smith, Dr David McInnis and most of all to Professor Robert Alexander for their extremely valuable insights. As ever, I am grateful to my wonderful family: my parents, grandparents and sister who have all been infinitely supportive throughout my entire university career. Most importantly, I want to thank my husband Matt for his incredible and unfailing support over the years. Finally, I also acknowledge the contribution of our daughter Robyn: while her birth may have somewhat delayed the completion of this thesis, her happy smile is a constant source of encouragement and inspiration. iii UNIVERSITY OF SUSSEX MARIA KIRK DOCTOR OF PHILOSOPHY IN ENGLISH LITERATURE PERFORMING CONSUMPTION AND CONSUMING PERFORMANCE: A 17th CENTURY PLAY COLLECTION Summary This thesis explores the relationship between performance and consumption in relation to play collection in the 1630s, and also examines the wider contexts of performance and consumption in that decade. It proposes that the 1630s were a decade characterised by particularly self-conscious performances of consumption, and that this environment contributed directly to the beginnings of the collection of books for display purposes. A focus on the Petworth collection and its original collector is maintained throughout the thesis, which weaves together the material and literary content of the collection. Using material evidence from the volumes themselves, this thesis demonstrates that the collection was purchased in 1638 by the 10th Earl of Northumberland through an agent who assembled the collection specifically for the Earl just prior to his purchase of it. It also demonstrates, again using evidence from the volumes themselves, that the purchase was partly informed by principles of education, personal taste and a consideration for family history, but that the overwhelming motive was the drive to consume and to perform that consumption. Using the literary content of the collection to explore representations of performed consumption, this thesis tracks the development of the conceptualisation of consumption on the stage from the wariness about dangerous consumption in the late Elizabethan period to the much more open, and yet still rather complex, attitudes of the 1630s. Finally, the thesis discusses some other kinds of public, performed consumption, including a procession by Northumberland and an entertainment with which he was connected, exploring the explicitly social elements of performance. The Petworth play collection is at once anomalous and typical as an example of mid-17th century book collection, and it can be used to illustrate and map the multitude of issues, concepts and attitudes which surround performance, consumption and collection in the 1630s, and beyond. iv Abbreviations EEBO – Early English Books Online ESTC – English Short Title Catalogue DEEP – Database of Early English Playbooks DOI – Digital Object Identifier JSTOR – Journal Storage MS - Manuscript PHA – Petworth House Archive URL – Uniform Resource Locator Further notes All images of the Petworth playbooks taken by the author and included with permission from The National Trust. All other images used with permission. Stable URLs are given for online sources, primarily from JSTOR and EEBO, or if these are not available then DOI numbers are given instead. All early printed books, except for the plays themselves, were accessed via EEBO. In some cases, EEBO copies of some of the Petworth plays were also consulted; stable URLs are provided in the bibliography for these editions only. All stable URLs given for EEBO access via Jisc Historical Books. v Contents Declaration i Acknowledgements ii Summary iii Abbreviations iv Notes iv Contents v List of figures vii List of tables viii Introduction 1 Petworth and the Percy family 8 The play collection 15 Playbooks, sammelbände and composite volumes 17 Methodology 23 Consumption, performance and collection: Defining some terms 25 The content of the thesis 33 Chapter 1: Consuming Collection 37 The shape of the collection and the “missing” plays 47 The purchase of the plays 53 The organisation of the collection 58 Authorship 60 Theme and genre 70 Date 74 Marks and annotation 80 Conclusion: methods of construction 98 Chapter 2: Performing Collection 103 Collecting in the 1630s: art and architecture 111 Learning to collect 115 Composite volumes as collections 124 Collecting in the 1630s: books 129 Play collection and popularity 140 Conclusion: the purpose of the collection 144 Chapter 3: Performing Consumption on the Theatrical Stage 151 Allure and danger 158 Intoxicants on the stage 169 Communities of consumption 180 Hospitality and morality 188 Consuming books on the early modern stage 202 Conclusion: performance, consumption and communication 209 Chapter 4: Consuming on the social stage 210 The entertained audience 214 The gift of feasting and the hospitable host 220 vi Procession and publicity 226 Performance and drama in the 10th Earl’s library 239 “To the Reader”: Books as entertainment and the imagined audience 245 Conclusion: deliberate consumption, deliberate performance 252 Conclusion 255 Belonging: the collection and the library 255 The 1630s: a time of change 262 Conclusion: the Petworth collection and its place in history 268 Bibliography 270 Appendix 1: List of plays in the Petworth collection by volume 285 Appendix 2: List of plays in the lost volumes 311 vii List of figures Chapter 1 1.1 Annotation on King Lear 43 1.2 Percy crest on volume 10 44 1.3 Play list for volume 1 48 1.4 1690 catalogue listing plays by volume 49 1.5 Detail of 1690 catalogue showing omission of most plays in volume 12 50 1.6 Detail of 1690 catalogue showing pencil ticks and zeros 51 1.7 Crossed out author name (“by John Lyly”) on Loves Metamorphosis 82 1.8 Crossed out author name (John Lyly) on The Woman in the Moon 82 1.9 Pre-emptive copying of worn lines on The Two Noble Kinsmen 84 1.10 Alteration of 0 to 6 on Wine, Beer, Ale and Tobacco 84 1.11 Asterisk on The Broken Heart 86 1.12 Ownership mark “Rich Crashawe” on A Woman Never Vext 87 1.13 Ownership mark “Rich Crashawe” on The Love of King David and Fair Bethsabe 87 1.14 Ownership mark “Judith Cundel” on What You Will 88 1.15 Ownership mark “Elizabeth Wallor” on Two Wise Men and All the Rest Fools 89 1.16 Number annotation on title page of Poetaster 89 1.17 Number annotation on title page of A Looking Glass for London and England 89 1.18 Number annotation on title page of The Revenger’s Tragedy 89 1.19 Possible “bundle” price on the title page of Parasitaster 91 1.20 Restoration on Parasitaster 93 1.21 Restoration on Parasitaster 93 Chapter 2 th 2.1 Henry Percy, 9 Earl of Northumberland (1602) 106 th 2.2 Nicholas Hilliard, (c.1595).
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H.
    [Show full text]
  • Jonson's Use of the Morality of Vice in Volpone and the Alchemist
    JONSON'S USE OF THE MORTALITY VICE IN VOLPONE AND THE ALCHEMIST JONSON'S USE OF THE MORALITY VICE IN VOLPONE AND THE ALCHEMIST By JANE CHRISTINE GARRETT A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jane Christine Garrett, September, 1990 MASTER OF ARTS (1990) McMaster University (English) Hamilton, Ontario TITLE: Jonson's Use of the Morality of Vice in Volpone and The Alchemist AUTHOR: Jane Christine Garrett, Hons. B.A. (McMaster University) SUPERVISOR: Dr. Anthony Brennan NUMBER OF PAGES: vi, 98 11 ABSTRACT This thesis is an attempt to demonstrate the ways in which Ben Jonson incorporates some of the qualities of the Morality Vice into the lead characters of Volpone and The Alchemist. While critics have often ignored Jonson's Morality heritage, the similarity between his lead cozeners and the Vice is often striking. Face and Mosca's overwhelming love of the theatre manifests itself in their superior ability to create a drama in which their scheming partners and ambitious clients expose the faults to which all humanity is prone. Certainly, as it strives to rule the dramatic world, the Vice forms a precarious bond with the audience. Its Morality traits underscore its evil nature and therefore alienate us from the Vice to some degree. However, this figure could imitate humanity and thus invites the audience into an uncomfortable camaraderie which exposes the spectators' own attraction to greed. The first chapter of my thesis examines many of the Vice's central characteristics, such as his love of masks and his ability to create and sustain anarchy.
    [Show full text]
  • October 8, 2019 Elist MILLER
    RULON~ October 8, 2019 eList MILLER BOOKS To Order: Call toll-free 1-800-441-0076 Outside the United States call 1-651-290-0700 400 Summit Avenue E-mail: [email protected] St. Paul, Minnesota Other catalogues available at our website at Rulon.com 55102-2662 USA Member ABAA/ILAB ~ R a r e & f i n e b o o k s VISA, MASTERCARD, DISCOVER, and AMERICAN EXPRESS accepted. If you have any questions regarding billing, methods of payment, in many fields shipping, or foreign currencies, please do not hesitate to ask. Manuscripts 1. Aesop. Fables of Aesop and other cution of Charles I, and in the midst of the eminent mythologists: with morals and controversy over the oath of loyalty demanded reflections. By Sir Roger L'Estrange, Kt. by the new republican government. Addresses London: printed for R. Sare, T. Sawbridge "Paying taxes," "Personall service," "Taking oaths," etc. Wing A3920. [et al.], 1692. $1,500 First L'Estrange edition, folio, pp. [10], 28, [8], 306, 319-480; gatherings S and T switched but the book is complete; this is a variant as noted by ESTC with p. 144 (first occurrence) misnum- bered 132; engraved portrait frontispiece of L'Estrange and plate of Aesop surrounded by animals; full speckled calf with a 20th-century rebacking, black morocco label on spine; light wear to boards, dampstain to upper right corner, very good. With the armorial bookplate of John Lord De La Warr. Wing A-706. 2. Ascham, Antony. A discourse wherein is examined, what is particularly lawfull during the confusions and revolu- tions of government.
    [Show full text]
  • Parish of Skipton*
    294 HISTORY OF CRAVEN. PARISH OF SKIPTON* HAVE reserved for this parish, the most interesting part of my subject, a place in Wharfdale, in order to deduce the honour and fee of Skipton from Bolton, to which it originally belonged. In the later Saxon times Bodeltone, or Botltunef (the town of the principal mansion), was the property of Earl Edwin, whose large possessions in the North were among the last estates in the kingdom which, after the Conquest, were permitted to remain in the hands of their former owners. This nobleman was son of Leofwine, and brother of Leofric, Earls of Mercia.J It is somewhat remarkable that after the forfeiture the posterity of this family, in the second generation, became possessed of these estates again by the marriage of William de Meschines with Cecilia de Romille. This will be proved by the following table:— •——————————;——————————iLeofwine Earl of Mercia§=j=......... Leofric §=Godiva Norman. Edwin, the Edwinus Comes of Ermenilda=Ricardus de Abrineis cognom. Domesday. Goz. I———— Matilda=.. —————— I Ranulph de Meschines, Earl of Chester, William de Meschines=Cecilia, daughter and heir of Robert Romille, ob. 1129. Lord of Skipton. But it was before the Domesday Survey that this nobleman had incurred the forfeiture; and his lands in Craven are accordingly surveyed under the head of TERRA REGIS. All these, consisting of LXXVII carucates, lay waste, having never recovered from the Danish ravages. Of these-— [* The parish is situated partly in the wapontake of Staincliffe and partly in Claro, and comprises the townships of Skipton, Barden, Beamsley, Bolton Abbey, Draughton, Embsay-with-Eastby, Haltoneast-with-Bolton, and Hazlewood- with-Storithes ; and contains an area of 24,7893.
    [Show full text]
  • Shakespeare in Geneva
    Shakespeare in Geneva SHAKESPEARE IN GENEVA Early Modern English Books (1475-1700) at the Martin Bodmer Foundation Lukas Erne & Devani Singh isbn 978-2-916120-90-4 Dépôt légal, 1re édition : janvier 2018 Les Éditions d’Ithaque © 2018 the bodmer Lab/université de Genève Faculté des lettres - rue De-Candolle 5 - 1211 Genève 4 bodmerlab.unige.ch TABLE OF CONTENts Acknowledgements 7 List of Abbreviations 8 List of Illustrations 9 Preface 11 INTRODUctION 15 1. The Martin Bodmer Foundation: History and Scope of Its Collection 17 2. The Bodmer Collection of Early Modern English Books (1475-1700): A List 31 3. The History of Bodmer’s Shakespeare(s) 43 The Early Shakespeare Collection 43 The Acquisition of the Rosenbach Collection (1951-52) 46 Bodmer on Shakespeare 51 The Kraus Sales (1970-71) and Beyond 57 4. The Makeup of the Shakespeare Collection 61 The Folios 62 The First Folio (1623) 62 The Second Folio (1632) 68 The Third Folio (1663/4) 69 The Fourth Folio (1685) 71 The Quarto Playbooks 72 An Overview 72 Copies of Substantive and Partly Substantive Editions 76 Copies of Reprint Editions 95 Other Books: Shakespeare and His Contemporaries 102 The Poetry Books 102 Pseudo-Shakespeare 105 Restoration Quarto Editions of Shakespeare’s Plays 106 Restoration Adaptations of Plays by Shakespeare 110 Shakespeare’s Contemporaries 111 5. Other Early Modern English Books 117 NOTE ON THE CATALOGUE 129 THE CATALOGUE 135 APPENDIX BOOKS AND MANUscRIPts NOT INCLUDED IN THE CATALOGUE 275 Works Cited 283 Acknowledgements We have received precious help in the course of our labours, and it is a pleasure to acknowl- edge it.
    [Show full text]
  • Notes on the Bacon-Shakespeare Question
    NOTES ON THE BACON-SHAKESPEARE QUESTION BY CHARLES ALLEN BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY ftiucrsi&c press, 1900 COPYRIGHT, 1900, BY CHARLES ALLEN ALL RIGHTS RESERVED GIFT PREFACE AN attempt is here made to throw some new light, at least for those who are Dot already Shakespearian scholars, upon the still vexed ques- tion of the authorship of the plays and poems which bear Shakespeare's name. In the first place, it has seemed to me that the Baconian ar- gument from the legal knowledge shown in the plays is of slight weight, but that heretofore it has not been adequately met. Accordingly I have en- deavored with some elaboration to make it plain that this legal knowledge was not extraordinary, or such as to imply that the author was educated as a lawyer, or even as a lawyer's clerk. In ad- dition to dealing with this rather technical phase of the general subject, I have sought from the plays themselves and from other sources to bring together materials which have a bearing upon the question of authorship, and some of which, though familiar enough of themselves, have not been sufficiently considered in this special aspect. The writer of the plays showed an intimate M758108 iv PREFACE familiarity with many things which it is believed would have been known to Shakespeare but not to Bacon and I have to collect the most '; soughtO important of these, to exhibit them in some de- tail, and to arrange them in order, so that their weight may be easily understood and appreci- ated.
    [Show full text]
  • Witch, Warlock, and Magician, by 1
    Witch, Warlock, and Magician, by 1 Witch, Warlock, and Magician, by William Henry Davenport Adams This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Witch, Warlock, and Magician Historical Sketches of Magic and Witchcraft in England and Scotland Author: William Henry Davenport Adams Release Date: February 4, 2012 [EBook #38763] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK WITCH, WARLOCK, AND MAGICIAN *** Produced by Irma äpehar, Sam W. and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) Transcriber's Note Greek text has been transliterated and is surrounded with + signs, e.g. +biblos+. Characters with a macron (straight line) above are indicated as [=x], where x is the letter. Witch, Warlock, and Magician, by 2 Characters with a caron (v shaped symbol) above are indicated as [vx], where x is the letter. Superscripted characters are surrounded with braces, e.g. D{ni}. There is one instance of a symbol, indicated with {+++}, which in the original text appeared as three + signs arranged in an inverted triangle. WITCH, WARLOCK, AND MAGICIAN Historical Sketches of Magic and Witchcraft in England and Scotland BY W. H. DAVENPORT ADAMS 'Dreams and the light imaginings of men' Shelley J. W. BOUTON 706 & 1152 BROADWAY NEW YORK 1889 PREFACE.
    [Show full text]
  • WRAP Theses Crowther 2017.Pdf
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 97559 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications James Shirley and the Restoration Stage By Stefania Crowther A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy in Renaissance Studies University of Warwick, Centre for Renaissance Studies June 2017 2 3 Acknowledgements This thesis was supported by the James Shirley Complete Works Project, and funded by the AHRC, and Centre for Renaissance Studies, University of Warwick. I would like to thank these organisations, and in particular Jayne Browne, Ingrid de Smett, David Lines, Jayne Brown, Heather Pilbin, Paul Botley, and especially Elizabeth Clarke and Paul Prescott for their very helpful guidance during the upgrade process. Special thanks are due to Hannah Davis, whose URSS project on Restoration Shirley, supervised by Teresa Grant, provided the starting point for this thesis. I am also enormously grateful to the colleagues, friends and tutors who have inspired and supported my work: Daniel Ashman, Thomasin Bailey, Stephen Clucas, Michael Dobson, Peter Foreshaw, Douglas Hawes, Simon Jackson, Victoria Jones, Griff Jameson, Peter Kirwan, Chris Main, Gerry McAlpine, Zois Pigadas, Catherine Smith, Lee White, Susan Wiseman.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust.
    [Show full text]
  • Catalogue 14
    CATALOGUE 14 CATALOGUE 14 4 E. Holly St., Suite 217, Pasadena, Ca 91103 · Tel. (626) 297-7700 · [email protected] www.WhitmoreRareBooks.com Books may be reserved by email: [email protected] and by phone: (626) 297-7700 We welcome collectors and dealers to come visit our library by appointment at: 4 E. Holly St., Suite 217, Pasadena, Ca 91103 For our complete inventory, including many first editions, signed books and other rare items, please visit our website at: www.WhitmoreRareBooks.com Follow us on social media! @WRareBooks @whitmorerarebooks whitmorerarebooks Catalogue 14 1. Audubon, John James The Birds of America, From Drawings Made in the United States and Their Territories. New York & Philadelphia: J. J. Audubon & J. B. Chevalier (Printed by E. G. Dorsey), 1840 - 1844. First Octavo Edition. A Very Good+ to Near Fine set in a solid contemporary binding. Dark brown, half-morocco over marbled boards, matching marbled end-papers and page edges. Pages measure 252 x 165 mm. A few of the inner hinges just starting to split, but bindings are generally holding well. Expert repairs to the inner hinges of volumes 6 and 7; front end paper of volume 7 cracked and secured. Light scattered foxing on some of the tissue guards and pages adjacent to the plates, although the plates themselves do not seem to be affected and are all in lovely shape. Complete with all 500 plates, each with its original tissue guard. Half-titles in volumes 2 - 7. List of subscribers moved forward in volume one, found at the end of the other volumes.
    [Show full text]
  • The First Quarto Edition of Shakespeare's Othello William Shakespeare, Othello. London: Thomas Walkley, 1622. 7 Inches X 4
    The first quarto edition of Shakespeare’s Othello William Shakespeare, Othello. London: Thomas Walkley, 1622. 7 inches x 4 3/4 inches (178 mm x 121 mm); [4], 80, 89–99, [1] pages; A2 B–M4 N2 (Title, A2, B1–D4, I2, I3, K1–N2 in facsimile). The | Tragœdy of Othello, | The Moore of Venice. | As it hath beene diuerse times acted at the | Globe, and at the Black-Friers, by | his Maiesties seruants. | Written by VVilliam Shakespeare. | [Okes’ device] | London, | Printed by N. O. for Thomas Walkley, and are to be sold at his | shop, at the Eagle and Child, in Brittans Bursse. | 1622. Shakespeare’s quartos, so named because of their format (a single sheet folded twice, creating four leaves or eight pages), are the first printed representations of his plays and, as none of the plays survives in manuscript, of great importance to Shakespeare scholarship. Only twenty-one of Shakespeare’s plays were published in quarto before the closure of the theaters and outbreak of civil war in 1642. These quartos were printed from either Shakespeare’s “foul papers” (a draft with notations and changes that was given in sections to actors for their respective roles); from “fair copies” created from foul papers that presented the entire action of the play; from promptbooks, essentially fair copies annotated and expanded by the author and acting company to clarify stage directions, sound effects, etc.; or from a previously published quarto edition. The quartos were inexpensive to produce and were published for various reasons, including to secure the acting company’s rights to the material and to bring in money during the plague years in London when the theaters were closed.
    [Show full text]