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Early modern books by women

“Popish Midwife” Elizabeth Cellier , English Catholic Midwife 1680

741G Elizabeth Cellier
741G Elizabeth Cellier

741G   Elizabeth Cellier fl 1668-1688

Malice defeated, or, A brief relation of the accusation and deliverance of Elizabeth Cellier wherein her proceedings both before and during her confinement are particularly related and the Mystery of the meal-tub fully discovered : together with an abstract of her arraignment and tryal, written by her self, for the satisfaction of all lovers of undisguised truth.

Includes “The matchless picaro” (caption title), two leaves at end (quire N), which was also published separately in the same year as “The matchless rogue” (Wing C1662).

 

London: Printed for Elizabeth Cellier, 1680           Sold

Folio   A-l2,[Inserted after p. 42 (L2) is a leaf (¹M1) containing “A postscript to the impartial readers,” dated 21 Aug. 1680, and signed: Elizabeth Cellier.]  , M2 (m2 is the begining of Wing C-1663)   First edition. Disbound, with generally clean, well margined leaves, though cutting into some marginal notation a bit, with some small stains on the title, some faint marginal toning.

“Popish Midwife”Cellier, who was know as the “Popish Midwife” first came into prominence through the pretended “Meal-Tub Plot” of 1680.   Nothing seems known of her life till her marriage with Peter Cellier, a Frenchman, and her conversion from Anglicanism. In 1678 the prisons were filled with Catholics in consequence of the national alarm caused by the fabricated plots of Titus Oates. Mrs. Cellier’s charity led her to visit and relieve these prisoners, and as her profession procured for her the acquaintance of many leading Catholic ladies, she often became the channel of their charity towards the prisoners. Among these ladies was the Countess of Powis, whose kindness was shown to, among others, a clever impostor, Thomas Dangerfield. Becoming aware of this man’s true character, Lady Powis ceased to assist him further, and he, in revenge, decided to denounce her to the Government as concerned in a new popish plot. His story was that he had been released from prison through the good offices of Lady Powis and Mrs. Cellier, on condition that he would assassinate the king, Lord Shaftesbury, and others. He further pretended that he was to be engaged in manufacturing false plots to be foisted on those who were known to be unfavorable to the Catholic cause. One of these shams was to be based on a document which, he alleged, was hidden in a meal-tub in Mrs. Cellier’s house. Search was made, and in a meal-tub the paper in question was found. This document charged with treason most of the leading Protestants, including the king’s natural son, the Duke of Monmouth, the Earl of Shaftesbury, and Sir Thomas Waller, who was the very official who conducted the search. In consequence of Dangerfield’s accusation founded on this document, Lady Powis and Mrs. Cellier were arrested, as well as some other Catholics, among them the Earl of Castlemain.  Mrs. Cellier’s trial took place on 11 June, 1680. She was charged with high treason, but practically the only evidence against her was that of Dangerfield himself, and she had little difficulty in proving him a witness entirely unworthy of credence. She was found not guilty, and Dangerfield himself was arrested on account of a felony, for which he had been previously outlawed. After her acquittal she published a this brief relation of the whole affair, under the title of “Malice Defeated”. This led not only to a long series of pamphlets for and against her, but also to her second prosecution. The charge this time was that of libel against the King and ministry, because she alleged that two witnesses in the Edmundbury Godfrey case had been tortured. But the real object of this prosecution, according to Roger North, was to prevent her from giving evidence in favor of the imprisoned Catholic peers.  For this she was sentenced to pay a fine of £1,000 and to stand three times in the pillory. During the reign of James II she planned the foundation of a corporation of skilled midwives and a foundling hospital. It is stated that she is buried in Great Missenden Church, Buckinghamshire. She wrote: (1) “Malice Defeated; or a brief relation of the Accusation and Deliverance of Elizabeth Cellier” (London, 1680); (2) “A scheme for the Foundation of a Royal Hospital and raising a revenue of £5000 or £6000 a year by and for the maintenance of a Corporation of skillful midwives” (London, 1687), printed in the “Harleian Miscellany” (IV, 142) and in the “Somers Tracts” (II, 243); (3) “To Dr. ______, An answer to his Queries concerning the College of Midwives” (London, 1687-88). This book was burnt by the authorities after Cellier was found guilty.

Bound with

“The matchless picaro

Wing C-1661 In this edition, the fourth line of the title ends: and du-

& bound with  C-1662

Cellier1

N.America LinkCalifornia State Library-Sutro 
LinkFolger Shakespeare 
LinkHenry E. Huntington Library and Art Gallery 
LinkNorthwestern University 
LinkUniversity of Kansas, Spencer Research 
LinkUniversity of Pennsylvania Van Pelt-Dietrich 

 

Katherine Philips 1631-1664 update

This is perhaps the most famous English collection of poems by a woman prior to 1700. P.W. Souers, in his critical biography of Katherine Philips, asserts for her the right to be historically the first English poetess—“In her, for the first time in the history of English letters, a woman was received into the select company of poets.” Jeremy Taylor dedicated to her his “Discourse on the Nature, Offices, and Measures of Friendship;” Abraham Cowley, Henry Vaughan the Silurist, Thomas Flatman, the Earl of Roscommon, and the Earl of Cork and Orrery all celebrated her talent, and Dryden could pay no higher compliment to Anne Killigrew than to compare her to Orinda.

 

933G Katherine Philips 1631-1664

Poems By the most deservedly Admired Mrs. Katherine Philips, The Matchless Orinda. To which is added Monsieur Corneilles Pompey & Horace,} Tragedies. With several other Translations out of French.

London: Printed by T.N. for Henry Herringman , 1678                                 $4,500

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Folio 11 x 7 inches.  [ ]2, A4, a-Z4, Aa-Tt4, Uu2.   Fourth edition This copy is in good condition internally. It is bound in full seventeenth century English calfskin.

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“The daughter of a London merchant, Katherine Fowler [her maiden name] was probably the first English woman poet to have her work published. She married a gentleman of substance from Cardigan, James Philips, and seems to have moved effortlessly into the literary circle adorned by Vaughan, Cowley, and Jeremy Taylor. She was best known by her pseudonym ‘Orinda’ and the name appears on the collection of her Letters, which give a useful picture of the early seventeenth-century literary world. Her translation of Corneille’s ‘Pompee’ was performed in Dublin in 1663 and a collection of her verses was published posthumously in 1664.” (Cambridge Guide to English Literature)Mrs. Philips’ poems were circulated in manuscript, and secured for her a considerable reputation. The surreptitious quarto edition produced in 1664 caused her much annoyance, and Marriott, the publisher, was obliged to withdraw it from sale, and publicly to express his regret for having issued it. Some trouble was taken, it would appear, to destroy the copies, which would account for its rarity. In the preface of the 1667 edition, reference is made to the ‘false edition,’ and a long letter from the author in relation to it is quoted. P.W. Souers, in his critical biography of Katherine Philips, asserts for her the right to be historically the first English poetess—“In her, for the first time in the history of English letters, a woman was received into the select company of poets.” Jeremy Taylor dedicated to her his “Discourse on the Nature, Offices, and Measures of Friendship;” Abraham Cowley, Henry Vaughan the Silurist, Thomas Flatman, the Earl of Roscommon, and the Earl of Cork and Orrery all celebrated her talent, and Dryden could pay no higher compliment to Anne Killigrew than to compare her to Orinda. Keats, in a letter to Reynolds in 1817, quotes her verses with approval. She died of smallpox in 1664 at the age of 33. Wing P-2035.

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                                      )0(

 

It is not usual to find a printed book which gives us such a vivid depiction of the literary world for 17th century women, this is a great book and I am constantly amazed by it.

 

Please enjoy reading about it.

840g    Philips, Katherine.1631-1664

LETTERS FROM ORINDA TO POLIARCHUS

LONDON: PRINTED BY W.B. FOR BERNARD LINTOTT, 1705                       $3,500

 

OCTAVO,6.75 X 3.75 INCHES.  FIRST EDITION A-R8  BOUND IN ORIGINAL CALF recently rebaked it is a NICE ORIGINAL CONDITION COPY WITH ONLY SOME BROWNING, SPOTTING AND DAMP STAINING, IT IS A VERY GOOD COPY.

 

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This is a collection of 48 ( XLVIII) actual letters written by Philips to her patron Sir Charles Cotterell published several decades after her death, there is quit a bit of discussion of the literary culture of the seventh century in Britain. Including insite to Philips writing and reading habits. she often mentions books she is reading and plays which she is working on.

Philips was interested in the epistolary form, she founded the Society of Friendship in 1651 until 1661 was a semi-literary correspondence circle made up of mostly women, though men were also involved. The membership of this group, however, is somewhat questionable, because the authors took on pseudonyms from Classical literature (for example Katherine took on the name Orinda, in which the other members added on the accolade “Matchless.”)

It is interesting to see the relations between the female members of the circle, especially Anne Owen, who is known in Philips’s poems as Lucasia.  Half of Katherine’s poetry is dedicated to this woman. Anne and Katherine seem to have been lovers in an emotional, if not in a physical, sense for about ten years. Also significant as correspondents and lovers were Mary Awbrey (Rosania) and Elizabeth Boyle (Celimena). Elizabeth’s relationship with Katherine, however, was cut short by Philips’ death in 1664.

In  “The Sapphic-Platonics of Katherine Philips, 1632-1664”   Harriette Andreadis

Source:Signs: Journal of Women in Culture and Society 15, no. 1 (autumn 1989): 34-60.

Ms Andreadis, in this essay nicely gives a view of Orinda’s live (and Loves) in relation to her writing by using excerpts from her poems and These letters;

 

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103gPhilips, Katherine.1631-1664

Letters from Orinda to Poliarchus

 London: printed by W.B. for Bernard Lintott, 1705                       $5,500

Octavo,6.75 X 3.75 inches.  First edition A-R8  Bound in original calf totally un-restored a very nice original condition copy with only some browning, spotting and damp staining, It is a very good copy.

It is housed in a custom Box.

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934G William Cartwright.  (1611-1643)

Comedies, Tragi-Comedies, With other Poems by Mr. William Cartwright late Student of Christ–Church in Oxford and Proctor of the University. The Ayres and Songs set by Mr. Henry Lawes Servant to His late Majesty in His Publick and Private Musick. —nec Ignes, Nec potuit Ferrum,—

London: Printed for Humphrey Moseley, and are to be sold at his Shop, at the sign of the Prince’s Arms in St Pauls Church–yard, 1651.         $4,750

[Portrait]1, [a]-b8, *14 , *8, ¶4, **8, ***14, *10, a-e8, f4, g-k8, A-T8, U3,  U8, X2, with leaf *11 in cancelled state as usual and showing the original stub. Leaves **7 and U1-3 appear to be in uncancelled state with no evidence of stubs, otherwise this collation matches that described by Evans. First Edition. DSC_0059 3This copy is bound in later green Morocco gilt spin a distinguished looking copy.

 

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“Cartwright enjoyed a considerable success among his contemporaries but posterity has been less kind and his work is only known to students of seventeenth century literature. He was educated at Westminster School and went up to Christ Church, Oxford, in 1628; he spent the rest of his short life there. He wrote four plays, intended for academic performance: The Ordinary or The City Cozener (1634) shows clearly the influence of Ben Jonson; The Lady Errant, The Royall Slave, and The Siege or Love’s Convert were published in 1651. The Royall Slave, with designs by Inigo Jones and music by Henry Lawes, was acted for King Charles I and Henrietta Maria at Oxford in 1636 and proved a great success. Cartwright took holy orders in 1638 and wrote no more plays but he became a celebrated preacher; in 1642 he became reader in metaphysics to the university. A Royalist, Cartwright preached at Oxford before the king after the Battle of Edgehill. The edition of his works published in 1651 contained 51 commendatory verses by writers of the day, including Izaak Walton and Henry Vaughan. The Plays and Poems of William Cartwright were collected and edited by G. Blakemore Evans and published in 1951. (Stapleton) This work also includes the first poem by Katherine Phillips to be printed (DNB). 

Cartwright was well liked, and many of his wide circle of friends contributed to the verses occupying the first 100 pages or so; Dr. John Fell, Jasper Mayne, Henry Vaughan the Silurist, Alexander Brome, Izaak Walton, Francis Vaughan, Thomas Vaughan, Henry Lawes, Sir John Birkenhead, James Howell and many others. 

 

Wing C-709; see also The Plays and Poems of William Cartwright by G. Blakemore Evans, pages 62-72; Hayward English Poetry Catalogue, 104; Greg page 1027.

An Essay on the Art of Ingeniously Tormenting

JANE COLLIER,  1714-1755

 

An Essay on the Art of Ingeniously Tormenting; with Proper Rules for the Exercise of that Amusing Study…with some general instructions for plaguing all your acquaintance.

 

Art_of_Ingeniously_Tormenting2
“The Cat doth play,/ And after slay.”

London, A Millar, 1757.                                                       $2,900

8vo, pp [2], iii, [1], 234, etched frontispiece [of a cat tormenting a mouse, after Hogarth], bound in contemporary polished calf, spine gilt with raised bands,  spine slightly cracked and chipped at ends, but a clean sound copy,

SECOND EDITION ‘corrected’, with the ‘advertisement to the reader’ added;, one of the classic satires of the 18th Century, the work of a female friend of Samuel Richardson. Porkington Library bookplate with 19th Century signature of Mary Jane Ormsby, a much painted beauty married to the Irish MP William Ormsby-Gore.

Wickedly funny and bitingly satirical, The Art is a comedy of manners that gives insights into eighteenth-century behavior as well as the timeless art of emotional abuse. It is also an advice book, a handbook of anti-etiquette, and a comedy of manners. Collier describes methods for “teasing and mortifying” one’s intimates and acquaintances in a variety of social situations. Written primarily for wives, mothers, and the mistresses of servants, it suggests the difficulties women experienced exerting their influence in private and public life–and the ways they got round them. As such, The Art provides a fascinating glimpse into eighteenth-century daily life.swift-tormenting6.jpgAn Essay on the Art of Ingeniously Tormenting was a conduct book written by Jane Collier and published in 1753. The Essay was Collier’s first work, and operates as a satirical advice book on how to nag. It was modelled after Jonathan Swift’s satirical essays, and is intended to “teach” a reader the various methods for “teasing and mortifying” one’s acquaintances. It is divided into two sections that are organised for “advice” to specific groups, and it is followed by “General Rules” for all people to follow.

Although the work was written by Jane Collier, there are speculations as to who may have helped contribute to the content and style of the work, ranging from friends to fellow writers such as Sarah Fielding, Samuel Richardson and James Harris. There was only one edition printed during Collier’s life, but there were many subsequent revisions and republications of the work

In 1748, Collier was living with her brother Arthur in London. The conditions were not suitable, and she became the governess for Samuel Richardson’s daughter, Patty, by 1750.  Richardson was impressed by her understanding of Latin and Greek along with her ability to perform her domestic duties.   During this time, Collier was living with Sarah Fielding, and Richardson would spend time discussing writing with them.

It was under Richardson’s employment that she wrote An Essay on the Art of Ingeniously Tormenting.   It has been suggested that Richardson helped Collier write the work, but Richardson’s lack of satirical skill has dispelled such ideas.

Instead, it was probably James Harris and Fielding who helped craft the satire, and all three probably helped to edit the work.  However, most of Collier’s help came from Fielding, who was a close friend and shared many of her earlier works with Collier.

The first edition was printed by Richardson for Andrew Millar in 1753.  A second edition of the Essay was published by Millar in 1757, two years after Collier’s death, but with revisions made by her shortly after its first printing.  Subsequently editions and revisions were published in 1795, 1804, 1805, 1806, 1808, 1809 and 1811.

The Essay is modelled on Jonathan Swift’s satire Instructions to Servants (1746), and even mentions Swift directly, but Collier reverses the roles in Swift’s satire and instead writes from a servant’s perspective in the first book.  All of her suggestions are to aid in the process of “teasing and mortifying”.

She begins her work with an actual “Essay on the Art of Tormenting” that serves as an introduction, before dividing the book into two parts. In this introduction, the narrator claims:

“One strong objection, I know, will be made against my whole design, by people of weak consciences; which is, that every rule I shall lay down will be exactly opposite to the doctrine of Christianity. Greatly, indeed, in a Christian country, should I fear the forces of such an objection, could I perceive, that any one vice was refrained from on that account only. Both theft and murder are forbidden by God himself: yet can anyone say, that our lives and properties would be in the least secure, were it not for the penal laws of our country?”

 

Part the First is divided into four sections: “Instructions to Masters and Mistresses, concerning their Servants”, “To the Patronesses of an Humble Companion”, “To Parents” and “To the Husband”. To the master and mistresses, the narrator claims that “you are no true lover of the noble game of Tormenting, if a good dinner, or any other convenience or enjoyment, can give you half the pleasure, as the teasing and mortifying a good industrious servant, who has done her very best to please you.”

 

Part the Second is divided into four sections: “To Lovers”, “To the Wife”, “To the Friend” and “To your Good Sort of People; being an appendage to the foregoing chapter”. To wives, she tells them to “Be out of humour when your husband brings company home: be angry, if he goes abroad without you; and troublesome, if he takes you with him.” When speaking to friends, she argues that “injuries go nearest to us, that we neither deserve nor expect”.

 

Added to the work are “General Rules for plaguing all your acquaintance; with the description of a party of pleasure” along with a “Conclusion” and “A Fable”. As a general rule, the narrator says, “By all means avoid an evenness of behaviour. Be, sometimes, extremely glad to see people; and, at other times, let your behaviour be hardly within the rules of good breeding”

 

Most of her contemporaries had only good things to say about the work. Henry Fielding complimented Collier on the work by declaring she had “an Understanding more than Female, mixed with virtues almost more than human”.  This line was part of a greater poem written by Fielding and inscribed on a copy of his favourite book of Horace.  This was one of Fielding’s last actions before he left for Lisbon, where he died shortly after.

 

Later, Betty Rizzo described the work as the “best-known generic satire written in the eighteenth century by a woman”.

Martin and Ruthe Battestin stated that Collier was “an author of wit and spirit”

Some critics find it interesting that Collier would “yoke” Richardson with those that he “felt especial antipathy” with: Swift and Fielding.

Craik describes the work as “a courageous social satire published at a time when satires were usually written by and for men”.

 

 

 

An Essay on the Art of Ingeniously Tormenting

JANE COLLIER,  1714-1755

 

An Essay on the Art of Ingeniously Tormenting; with Proper Rules for the Exercise of that Amusing Study…with some general instructions for plaguing all your acquaintance.

 

Art_of_Ingeniously_Tormenting2
“The Cat doth play,/ And after slay.”

London, A Millar, 1757.                                                       SOLD

8vo, pp [2], iii, [1], 234, etched frontispiece [of a cat tormenting a mouse, after Hogarth], bound in contemporary polished calf, spine gilt with raised bands,  spine slightly cracked and chipped at ends, but a clean sound copy,

SECOND EDITION ‘corrected’, with the ‘advertisement to the reader’ added;, one of the classic satires of the 18th Century, the work of a female friend of Samuel Richardson. Porkington Library bookplate with 19th Century signature of Mary Jane Ormsby, a much painted beauty married to the Irish MP William Ormsby-Gore.

Wickedly funny and bitingly satirical, The Art is a comedy of manners that gives insights into eighteenth-century behavior as well as the timeless art of emotional abuse. It is also an advice book, a handbook of anti-etiquette, and a comedy of manners. Collier describes methods for “teasing and mortifying” one’s intimates and acquaintances in a variety of social situations. Written primarily for wives, mothers, and the mistresses of servants, it suggests the difficulties women experienced exerting their influence in private and public life–and the ways they got round them. As such, The Art provides a fascinating glimpse into eighteenth-century daily life.swift-tormenting6.jpgAn Essay on the Art of Ingeniously Tormenting was a conduct book written by Jane Collier and published in 1753. The Essay was Collier’s first work, and operates as a satirical advice book on how to nag. It was modelled after Jonathan Swift’s satirical essays, and is intended to “teach” a reader the various methods for “teasing and mortifying” one’s acquaintances. It is divided into two sections that are organised for “advice” to specific groups, and it is followed by “General Rules” for all people to follow.

Although the work was written by Jane Collier, there are speculations as to who may have helped contribute to the content and style of the work, ranging from friends to fellow writers such as Sarah Fielding, Samuel Richardson and James Harris. There was only one edition printed during Collier’s life, but there were many subsequent revisions and republications of the work

In 1748, Collier was living with her brother Arthur in London. The conditions were not suitable, and she became the governess for Samuel Richardson’s daughter, Patty, by 1750.  Richardson was impressed by her understanding of Latin and Greek along with her ability to perform her domestic duties.   During this time, Collier was living with Sarah Fielding, and Richardson would spend time discussing writing with them.

It was under Richardson’s employment that she wrote An Essay on the Art of Ingeniously Tormenting.   It has been suggested that Richardson helped Collier write the work, but Richardson’s lack of satirical skill has dispelled such ideas.

Instead, it was probably James Harris and Fielding who helped craft the satire, and all three probably helped to edit the work.  However, most of Collier’s help came from Fielding, who was a close friend and shared many of her earlier works with Collier.

The first edition was printed by Richardson for Andrew Millar in 1753.  A second edition of the Essay was published by Millar in 1757, two years after Collier’s death, but with revisions made by her shortly after its first printing.  Subsequently editions and revisions were published in 1795, 1804, 1805, 1806, 1808, 1809 and 1811.

The Essay is modelled on Jonathan Swift’s satire Instructions to Servants (1746), and even mentions Swift directly, but Collier reverses the roles in Swift’s satire and instead writes from a servant’s perspective in the first book.  All of her suggestions are to aid in the process of “teasing and mortifying”.

She begins her work with an actual “Essay on the Art of Tormenting” that serves as an introduction, before dividing the book into two parts. In this introduction, the narrator claims:

“One strong objection, I know, will be made against my whole design, by people of weak consciences; which is, that every rule I shall lay down will be exactly opposite to the doctrine of Christianity. Greatly, indeed, in a Christian country, should I fear the forces of such an objection, could I perceive, that any one vice was refrained from on that account only. Both theft and murder are forbidden by God himself: yet can anyone say, that our lives and properties would be in the least secure, were it not for the penal laws of our country?”

 

Part the First is divided into four sections: “Instructions to Masters and Mistresses, concerning their Servants”, “To the Patronesses of an Humble Companion”, “To Parents” and “To the Husband”. To the master and mistresses, the narrator claims that “you are no true lover of the noble game of Tormenting, if a good dinner, or any other convenience or enjoyment, can give you half the pleasure, as the teasing and mortifying a good industrious servant, who has done her very best to please you.”

 

Part the Second is divided into four sections: “To Lovers”, “To the Wife”, “To the Friend” and “To your Good Sort of People; being an appendage to the foregoing chapter”. To wives, she tells them to “Be out of humour when your husband brings company home: be angry, if he goes abroad without you; and troublesome, if he takes you with him.” When speaking to friends, she argues that “injuries go nearest to us, that we neither deserve nor expect”.

 

Added to the work are “General Rules for plaguing all your acquaintance; with the description of a party of pleasure” along with a “Conclusion” and “A Fable”. As a general rule, the narrator says, “By all means avoid an evenness of behaviour. Be, sometimes, extremely glad to see people; and, at other times, let your behaviour be hardly within the rules of good breeding”

 

Most of her contemporaries had only good things to say about the work. Henry Fielding complimented Collier on the work by declaring she had “an Understanding more than Female, mixed with virtues almost more than human”.  This line was part of a greater poem written by Fielding and inscribed on a copy of his favourite book of Horace.  This was one of Fielding’s last actions before he left for Lisbon, where he died shortly after.

 

Later, Betty Rizzo described the work as the “best-known generic satire written in the eighteenth century by a woman”.

Martin and Ruthe Battestin stated that Collier was “an author of wit and spirit”

Some critics find it interesting that Collier would “yoke” Richardson with those that he “felt especial antipathy” with: Swift and Fielding.

Craik describes the work as “a courageous social satire published at a time when satires were usually written by and for men”.

 

 

 

“Popish Midwife” Elizabeth Cellier , English Catholic Midwife 1680

741G Elizabeth Cellier
741G Elizabeth Cellier

741G   Elizabeth Cellier fl 1668-1688

Malice defeated, or, A brief relation of the accusation and deliverance of Elizabeth Cellier wherein her proceedings both before and during her confinement are particularly related and the Mystery of the meal-tub fully discovered : together with an abstract of her arraignment and tryal, written by her self, for the satisfaction of all lovers of undisguised truth.

Includes “The matchless picaro” (caption title), two leaves at end (quire N), which was also published separately in the same year as “The matchless rogue” (Wing C1662).

 

London: Printed for Elizabeth Cellier, 1680          $1,800

Folio   A-l2,[Inserted after p. 42 (L2) is a leaf (¹M1) containing “A postscript to the impartial readers,” dated 21 Aug. 1680, and signed: Elizabeth Cellier.]  , M2 (m2 is the begining of Wing C-1663)   First edition. Disbound, with generally clean, well margined leaves, though cutting into some marginal notation a bit, with some small stains on the title, some faint marginal toning.

“Popish Midwife”Cellier, who was know as the “Popish Midwife” first came into prominence through the pretended “Meal-Tub Plot” of 1680.   Nothing seems known of her life till her marriage with Peter Cellier, a Frenchman, and her conversion from Anglicanism. In 1678 the prisons were filled with Catholics in consequence of the national alarm caused by the fabricated plots of Titus Oates. Mrs. Cellier’s charity led her to visit and relieve these prisoners, and as her profession procured for her the acquaintance of many leading Catholic ladies, she often became the channel of their charity towards the prisoners. Among these ladies was the Countess of Powis, whose kindness was shown to, among others, a clever impostor, Thomas Dangerfield. Becoming aware of this man’s true character, Lady Powis ceased to assist him further, and he, in revenge, decided to denounce her to the Government as concerned in a new popish plot. His story was that he had been released from prison through the good offices of Lady Powis and Mrs. Cellier, on condition that he would assassinate the king, Lord Shaftesbury, and others. He further pretended that he was to be engaged in manufacturing false plots to be foisted on those who were known to be unfavorable to the Catholic cause. One of these shams was to be based on a document which, he alleged, was hidden in a meal-tub in Mrs. Cellier’s house. Search was made, and in a meal-tub the paper in question was found. This document charged with treason most of the leading Protestants, including the king’s natural son, the Duke of Monmouth, the Earl of Shaftesbury, and Sir Thomas Waller, who was the very official who conducted the search. In consequence of Dangerfield’s accusation founded on this document, Lady Powis and Mrs. Cellier were arrested, as well as some other Catholics, among them the Earl of Castlemain.  Mrs. Cellier’s trial took place on 11 June, 1680. She was charged with high treason, but practically the only evidence against her was that of Dangerfield himself, and she had little difficulty in proving him a witness entirely unworthy of credence. She was found not guilty, and Dangerfield himself was arrested on account of a felony, for which he had been previously outlawed. After her acquittal she published a this brief relation of the whole affair, under the title of “Malice Defeated”. This led not only to a long series of pamphlets for and against her, but also to her second prosecution. The charge this time was that of libel against the King and ministry, because she alleged that two witnesses in the Edmundbury Godfrey case had been tortured. But the real object of this prosecution, according to Roger North, was to prevent her from giving evidence in favor of the imprisoned Catholic peers.  For this she was sentenced to pay a fine of £1,000 and to stand three times in the pillory. During the reign of James II she planned the foundation of a corporation of skilled midwives and a foundling hospital. It is stated that she is buried in Great Missenden Church, Buckinghamshire. She wrote: (1) “Malice Defeated; or a brief relation of the Accusation and Deliverance of Elizabeth Cellier” (London, 1680); (2) “A scheme for the Foundation of a Royal Hospital and raising a revenue of £5000 or £6000 a year by and for the maintenance of a Corporation of skillful midwives” (London, 1687), printed in the “Harleian Miscellany” (IV, 142) and in the “Somers Tracts” (II, 243); (3) “To Dr. ______, An answer to his Queries concerning the College of Midwives” (London, 1687-88). This book was burnt by the authorities after Cellier was found guilty.

Bound with

“The matchless picaro

Wing C-1661 In this edition, the fourth line of the title ends: and du-

& bound with  C-1662

Cellier1

N.America LinkCalifornia State Library-Sutro 
LinkFolger Shakespeare 
LinkHenry E. Huntington Library and Art Gallery 
LinkNorthwestern University 
LinkUniversity of Kansas, Spencer Research 
LinkUniversity of Pennsylvania Van Pelt-Dietrich 

 

Two copies of An introduction to the Skill of Musick!

628G John Playford 1623-1687

An introduction to the skill of musick : in three books: by John Playford. Containing I. The Grounds and Principles of Musick, according to the Gamut: In the most Easy Method, for Young Practitioners. II. Instructions and Lessons for the Treble Tenor, and Bass-Viols; and also for the Treble-Violin. III. The Art of Descant, or composing Music in Parts: Made very Plain and Easie by the Late Henry Purcell.

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London. Printed By Charles Peregrine, 1687.                                                     $ SOLD

Octavo 6 X 4 inches A-M8 (A1 , frontispiece; M8 , advertisements both present!) Bound in DSC_0262very nice neteenth-century navy morocco. Lightly rubbed. Frontispiece border shaved, just within platemark, with additional small hole. Minute wormholes to gutter margin of quire A, fore-edge margin of final four leaves. Small rust-hole to H1, just touching a single character to verso. William Henry Havergal’s copy, with his ink inscription dated 1840 along with note of purchase ‘Bought for 2/6 at the sale of the effects of Mrs Green of Poole House, Astley, in the County of Worcester’.

Henry Purcell. 1659-1695

“A pastoral elegy on the death of Mr. John Playford. By N. Tate”: verso of 8th prelim. leaf._”The order of performing the divine service in cathedrals, & collegiate chappels”: p. 53-60.Purcell’s legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar.

Playford,as a bookseller, publisher, and member of the Stationers’ Company, published books on music theory, instruction books for several instruments, and psalters with tunes for singing in churches. He is perhaps best known today for his publication of The English Dancing Master in 1651, during the period of the Puritan-dominated Commonwealth (later editions were known as ‘The Dancing Master’). This work contains both the music and instructions for English country dances. This came about after Playford, working as a war correspondent, was captured by Cromwell’s men and told that, if he valued his freedom (as a sympathiser with the King), he might consider a change of career. Although many of the tunes in the book are attributed to him today, he probably did not write any of them. Most were popular melodies that had existed for years. __ !!!In typographical technique Playford’s most original improvement was the invention in 1658 of ‘the new-ty’d note.’ (See the Title of the FOLLOWING BOOK  These were quavers or semiquavers connected in pairs or series by one or two horizontal strokes at the end of their tails, the last note of the group retaining in the early examples the characteristic up-stroke. Hawkins observes that the Dutch printers were the first to follow the lead in this detail. In 1665 he caused every semibreve to be barred in the dance tunes; in 1672 he began engravinDSC_0261g on copper plates. Generally, however, Playford clung to old methods; he recommended the use of lute tablature to ordinary violin players; and he resisted, in an earnest letter of remonstrance (1673), Thomas Salmon’s proposals for a readjustment of clefs. Playford’s printers were: Thomas Harper, 1648 1652; William Godbid, 1658 1678; Ann Godbid and her partner, John Playford the younger, 1679 1683; John Playford alone, 1684-1685 William Henry Havergal (1793-1870), one of the previous owners Anglican clergyman and composer. His compositions ranged from hymns to popular catchDSC_0259es, though Havergal’s academic studies centered on early Church music with a particular bias towards metrical psalmody.

Wing P2483

 

 

 

 

 

 

 

 

 

 

 

__________________________________________            Another Edition and a Very different book!

This edition utilizes the ayford’s most original improvement was the invention in 1658 of ‘the new-ty’d note.’

771G John Playford 1623-1687

An introduction to the skill of musick : in three books: by John Playford. Containing I. The Grounds and Principles of Musick, according to the Gamut: In the most Easy Method, for Young Practitioners. II. Instructions and Lessons for the Treble Tenor, and Bass-Viols; and also for the Treble-Violin. III. The Art of Descant, or composing Music in Parts: Made very Plain and Easie by the Late Henry Purcell.

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London, Printed by William Pearson, for John and Ben. Sprint … 1718             $3,900

Octavo 6 X 4 inches A-M8 (A1 , frontispiece; M8 , advertisements both present!) This copy is bound in full contemporary calf, expertly rebacked. Henry Purcell. 1659-1695

DSC_0264DSC_0267on the left is the 1687edition                                            on the right  the 1718 edition 

 

 

Aristotle’s master-piece…The secrets of generation display’d

904F Aristotle pseudo Possibly by Salmon, William. 1644-1713

DSC_0005 Aristotle’s master-piece: or in all the parts thereof; Containing 1. The Signs of Barrenness. 2. The way of getting a Boy or Girl. 3. Of the likeness of Children to Parents. 4. Of the Infusion of the Soul into the Infant. 5. Of monstrous Births and the Reasons thereof. 6. Of the benefit of Marriage to both Sexes. 7. The Prejudice of unequal Matches. 8. The discovery of Insufficiency. 9. The cause and cure of the Green-Sickness. 10 A Discourse of Virginity. 11. How a Midwise ought to be qualified. 12. Directions and Cantions to Midwives. 13. Of the Organs of Generation in Women. 14. The Fabrick of the Womb. 15 The use and action of the Genitals. 16. Signs of Conception, and whether of a Male or Female, 17. To discover false Conception. 18. Instructions for Women with Child. 19. For preventing Misoarriage 20. For Women in Childbed, 21. Of ordering new-born Infants; and many other very useful Particulars, To which is added, A word of Advice to both Sexes in the Act of Copulation, and the Pictures of several Monstrens Births. Very necessary for all midwives, nurses and young-married-women.

London : printed for W.B. and to be sold by most booksellers in London and Westminster, 1704.                              $ ON HOLD

 

Duodecimo, 134X85 cm.     A1-G12 H9 (lacking final three leaves) This copy has been restored in an appropriate full sheep binding. It is now sturdy and readable.

This is a book which has experienced heavy use.     Originally (first)  published in 1684, this extremely popular work on generation and sexual reproduction was still being printed well into the 19th century. Despite it’s popularity or because of it it turns out that all early editions are rare, and there are very few pre 1741 editions in this country.  English Short Title Catalog, T83424.  Listing only one copy, of the 1704 at the  University of Minnesota with the note “MATCHERS BEWARE! another issue without hyphen between “married “and “women”. Also, end of title reads…sexes in the act of copulation. Very necessary for all…” There is another 1704 edition at Ohio State listing 135 pages (this edn is 183)  .  This  book has often been attributed to the popular medical writer William Salmon because a prefatory poem to the 2nd version (first published 1697) bears the initials “W.S.”. However, there is no evidence that Salmon had any role in the book’s composition 13 years earlier .  The work was in fact assembled from Levinus Lemnius’s The Secret Miracles of Nature (1564) and Jakob Rüff’s midwifery manual De conceptu et generatione hominis (1554). The attribution to Aristotle is totally spurious and was probably a vain attempt to give the work some measure of respectability; but although it was effectively banned until the mid-twentieth century, the prohibition didn’t keep it from circulating: it was reprinted endlessly until the early twentieth century and became one of the most notorious and widely distributed sex books in the English language, right up to the 1960s. Such enduring popularity was partly due to the practical advice on pregnancy and the care of infants, and partly to its rather sensationalised descriptions of the sexual act and forms of monstrosity.

More than a Guide for the Delivery of children, this is a true HOW-TO book on conception, as you can see from the image excerpted below it is quite graphic even by standards three hundred years advanced.

“Aristotle’s Masterpiece was the most popular book about women’s bodies, sex, pregnancy, and childbirth in Britain and America from its first appearance in 1684 up to at least the 1870s. More than 250 editions are known, but all are very rare… It was sold furtively by country peddlers and in general stores and taverns; regular booksellers seldom advertised it, though they usually had it under the counter” (The Library Company of Philadeplphia, ‘Treasures’, online catalogue).

” Aristotle’s Masterpiece, a manual of sex and pregnancy, first saw the light of day about 1680. It is not, of course, the work of the ancient Greek philosopher, but its true authorship is unclear. Other works by the same or other hands were accreted to the original “Masterpiece” until by about 1735 the four parts here published made up the canon. Banned in Britain until the 1960’s, it nonetheless has had a long but mostly clandestine career as a quasi-pornographic book. Grubby copies were produced in back-street printers, sold in rubber-goods shops or Holywell Street, and passed from hand to hand until they disintegrated. Many young boys got their first inklings of sex from it. It was also sometimes given by their mothers to women about to get married; the effect it had on the mind of a virgin bride can only be conjectured. It has been read (or at any rate mentioned) by James Joyce, William Carleton, Evelyn Waugh, Anthony Burgess and many others, and probably has had more influence than is realized.”

 

There is a wonderful article by Fissell, Mary E. (2007). “Hairy Women and Naked Truths: Gender and the Politics of Knowledge in Aristotle’s Masterpiece”. The William and Mary Quarterly 60 (1): 43–74. JSTOR 3491495., available on Jstore follow the link.

“Although little-known today, Aristotle’s Masterpiece was the go-to book for generations of British and American readers, male and female, who wanted to know about sex and making babies. Long after medical theories about reproduction and childbirth had changed, the book continued to promise readers access to hidden secrets and titillating details, a promise whose luster seems to have remained bright until almost yesterday.”

Mary Fissell teaches the history of medicine at Johns Hopkins and edits the Bulletin of the History of Medicine. She writes about the ways that ordinary people in the past understood the natural world and their bodies. Vernacular Bodies (Oxford, 2004) explored how everyday ideas about making babies mediated large scale social changes. She is currently writing a cultural history of Aristotle’s Masterpiece.”

 

904f 1

While naturally popular and cheap this is one of those books which were read into scarcity, there are very few copies listed in the holdings in libraries worldwide (see the Estc info above) and most surviving copies are just that, worn and in bad shape, the last nice copy I saw was at auction and made a considerable price.

Lot 47•
ARISTOTLE’S MASTER-PIECE
Aristoteles Master-piece, or, The Secrets of Generation diplayed in all the parts thereof…, J. How, and are to be sold next door to the Anchor Tavern in Sweethings-rents in Cornhil, 1684, THE ONLY KNOWN COMPLETE COPY OF ONE OF THE TWO EARLIEST SURVIVING EDITIONS
Sold for £22,500 (US$ 32,375) inc. premium
AUCTION 21764:
FINE BOOKS, ATLASES, MANUSCRIPTS, AND PHOTOGRAPHS
12 Nov 2014 13:00 GMT.

The copy I offer is not complete YET it is close, also it is not $32,000. It is strange indeed that this copy has not sold already.

904f 2.jpg

The publication history of the work is discussed in some detail in Roy Porter and Lesley Hall’s The Facts of Life (pp. 54-64) and Mary Fissell’s “Hairy Women and Naked Truths” (p. 47).

The Facts of Life
The Creation of Sexual Knowledge in Britain, 1650-1950
Roy Porter and Lesley Hall
03/20/95, Cloth
$65.00
ISBN: 9780300062212
Vernacular Bodies: The Politics of Reproduction in Early Modern England
 Mary E. Fissell (2007-01-18) Paperback

 

 

62 portraits of Roman empresses

783G Conti, Natale,; 1520-1582. Duval, Jean-Baptiste,; -1632. Vico, Enea, 1523-1567.

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Augustarum imagines aereis formis expressae : vitae quoque earundem breuiter enarratae, signorum etiam quae in posteriori parte numismatum efficta sunt, ratio explicata .

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Lutetiae Parisiorum : Apud Macaeum Ruette 1619. The colophon reads: “Acheué d’imprimer au mois de Ianuier M. DC. XIX. Par Fleury Bourriquant                                                                       $1,800

 

Quarto 8 preliminary leaves, 192, [4] pages :  A-Z4,Aa-Cc4 Dd2 Illustrations: with [62] full page engraved illustrations within text and numerous small woodcut illustrations.

This copy is bound in later quarter calf, it is probably a British Museum duplicate/de-acession.

This is a beautiful collection of portraits of Roman empresses, while not Vico’s best work it is still striking, The portraits are reproduced from coins, and are engraved inside fabulous architectural frames, decorated with angels, centaurs and other fabulous animals.This new edition is the first by Jean-Baptiste Duval, who reworked the plates and made substitutions and additions Progresses from Martia, grandmother of C. Julius Caesar, to Domitia, wife of Domitian. There are two plates with Hieroglyphic inscriptions on p. 120 DSC_0119and 140; DSC_0120The OCLC catalogue entry suggests that these might be the first appearance of Hieroglyphics in print, I find this unlikely even for the 1558 edition.

 

 

DSC_0117Enea Vico was, according to Vasari ” the outstanding printmaker of his generation” an Italian draughtsman and engraver and nusmaticist. He was trained in Parma and by 1541 was in Rome, where he became a pupil of Tommaso Barlacchi ( fl 1527-42). In 1541-2, in collaboration with Barlacchi, he produced his first work, a series of 24 engravings with grotesque decorations in imitation of antique paintings (B. 467-90). In Rome, Vico was also influenced by the printmakers Agostino dei Musi, Antonio Salamanca and, above all, Marcantonio Raimondi. Vasari recorded that in 1546, following a short period in Florence, where he made engravings for Grand Duke Cosimo I de’ Medici after works by Michelangelo, Vico applied to live in Venice. He remained there until 1563, when he was summoned to the court of Alfonso II d’Este, Duke of Ferrara, where he lived until his death. Vico saw engraving and drawing as intellectual pursuits and not merely craftsmanly eterprise.  This is best expressed in his print ‘The Academy of Baccio Bandinelli, 1550’ “Vico conceived the artist’s workshop not as it must have looked but rather as a gentlemanly room peopled with industrious assistants in fashionable dress. Bandinelli himself appears at the extreme right in a garment adornedhb_17.50.16-35 with a badge of knighthood, a sign of the rank he had recently received from Charles V.
By equipping the studio with books and antiquities, Vico presents the making of art as an intellectual enterprise, and by naming the studio an “academy,” he associates it with Plato’s famous school. The foreground is strewn with classical statuary and human bones appropriate for anatomical study. Brilliant lamplight and flickering firelight cast evocative shadows and illuminate the figures bent over their work”  (http://www.metmuseum.org/toah/works-of-art/17.50.16-35)

 

 

This text is available online but the copy I offer has much more generous margins.https://books.google.nl/books?id=YToGo30oJPkC&printsec=frontcover&hl=nl&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

 

See also : Enea Vico’s Proposed Triumphs of Charles V, Rosemarie Mulcahy
Print Quarterly  Vol. 19, No. 4 (DECEMBER 2002), pp. 331-340
Stable URL: http://www.jstor.org/stable/41826318

Katherin Philips! more still!

Today, I have seven books by  Katherine Philips, A first pirated edition of the Poems, A first Authorized edition of the Poems, a fourth edition of the Poems and three copies of the first edition of the Letters!  One of her first publications, a commendatory poem to the 1651 edition of Cartwright’s Poems.
 DSC_0077 (1)

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DSC_0409The Unauthorized First Edition

DSC_0077717 G Philips, Katherine (1631-1664)

Poems. By the incomparable, Mrs. K.P.

London: Printed by J[ohn]. G[rismond]. for Rich. Marriott, at his shop under S. Dunstans Church in Fleet-street, 1664                                                                   $SOLD 

Octavo: 17 x 11 cm. [14] (of 16), 236, [4], 237-238 (of 242) pp. A-P8, Q8, R4. This copy lacks leaf A1 (imprimatur,) leaf Q7, blank leaf Q8, and the final three leaves (R2-4) which comprise the final leaf of poems, the errata leaf, and the final blank.

THE RARE UNAUTHORIZED FIRST EDITION. This was the only edition published in Philips’ lifetime. Philips’ died of smallpox in June 1664, five months after the appearance of this publication. The first authorized edition did not appear until 1667. Bound in contemporary sheepskin, re-cased. Fine internally.

“In 1664 an unauthorized edition of Philips’s Poems was published; the bookseller Richard Marriott had entered the volume in the Stationers’ register in November 1663 and advertised it for sale in January. Philips, claiming she ‘never writ any line in my life with an intention to have it printed’, expressed her indignation in a number of letters, defending herself against any ‘malicious’ suggestion that she ‘conniv’d at this ugly accident’: ‘I am so Innocent of this pitifull design of a Knave to get a Groat, yt I was never more vex’d at any thing, & yt I utterly disclaim whatever he hath so unhandsomly expos’d’ (Letters, 128, 142). Some twentieth-century critics are sceptical of these conventional disclaimers: the 1664 edition is based on manuscripts that Philips herself circulated among friends (not at all ‘abominably transcrib’d’ and inauthentic, as she claims), and the text of the seventy-five poems it contains differs only slightly from that in the later, authorized edition of 1667. Yet her distress at seeing poems she considered private, circulated within a literary community of intimate friends, exposed to public gaze, goes beyond the conventional:‘Tis only I … that cannot so much as think in private, that must have my imaginations rifled and exposed to play the Mountebanks, and dance upon the Ropes to entertain all the rabble’ (Ibid. 129–30).”(Warren Chernaik, ODNB)717G Philips

This is perhaps the most famous English collection of poems by a woman prior to 1700. P.W. Souers, in his critical biography of Katherine Philips, asserts for her the right to be historically the first English poetess—“In her, for the first time in the history of English letters, a woman was received into the select company of poets.” Jeremy Taylor dedicated to her his “Discourse on the Nature, Offices, and Measures of Friendship;” Abraham Cowley, Henry Vaughan the Silurist, Thomas Flatman, the Earl of Roscommon, and the Earl of Cork and Orrery all celebrated her talent, and Dryden could pay no higher compliment to Anne Killigrew than to compare her to Orinda.

Wing (CD-Rom, 1996), P2032

 The First Authorized EditionDSC_0078

718G Katherine Philips

Poems By the most deservedly Admired Mrs. Katherine Philips The Matchless Orinda. To which is added Monsieur Corneille’s Pompey & Horace,} Tragedies. With several other Translations out of French.

London: Printed by J. M. for H. Herringman, 1667                                       SOLD

Folio 7 X 11 1/4 inches π2, A2, a-f2, B-Z2, Aa-Zz2, Aaa-Zzz2, Aaaa-Mmmm2. (Final leaf blank and original).

First sanctioned edition, enlarged, preceded by a pirated and suppressed edition of 1664 ( see Above). This copy is bound in contemporary boards, which have been recently rebacked with a gilt spine . On the center of both boards are the arms of Sir Robert Vyner (1631-1688)Lord mayor of London.    In 1674 Viner was elected lord mayor; the pageant on that occasion, which was witnessed by the king and queen, appears to have been more than usually magnificent. Elkanah Settle, the city poet, composed the verses, and the whole was produced at the cost of the Goldsmiths’ Company DSC_0080 It is Interesting that he owned this book before he was Lord Mayor.

Philips was “the daughter of a London merchant, Katherine Fowler [her maiden name] was probably the first English woman poet to have her work published. She married a gentleman of substance from Cardigan, James Philips, and seems to have moved effortlessly into the literary circle adorned by Vaughan, Cowley, and Jeremy Taylor. She was best known by her pseudonym ‘Orinda’ and the name appears on the collection of her Letters, which give a useful picture of the early seventeenth-century literary world. Her translation of Corneille’s ‘Pompee’ was performed in Dublin in 1663 and a collection of her verses was published posthumously in 1664.” (Stapleton)Mrs. Philips’ poems were circulated in manuscript, and secured for her a DSC_0078 (1)considerable reputation. The surreptitious quarto edition produced in 1664 caused her much annoyance, and …Some trouble was taken, it would appear, to destroy the copies, which would account for its rarity.

In the preface of this 1667 edition, reference is made to the ‘false edition,’ and a long letter from the author in relation to it is quoted..

Wing P-2033; Hayward 116; Grolier 669; CBEL II, 480; Sweeney 3460.

A large copy of the Fourth Edition

719G
719G

719G Katherine Philips 1631-1664

Poems By the most deservedly Admired Mrs. Katherine Philips, The Matchless Orinda. To which is added Monsieur Corneilles Pompey & Horace,} Tragedies. With several other Translations out of French.

London: Printed by T.N. for Henry Herringman , 1678                                        SOLD

Folio 6 3/4  11 inches  Fourth edition. [ ]2, A4, a-Z4, Aa-Tt4, Uu2.

This copy is in good condition internally. It is bound in full seventeenth century English calfskin, It has a blind stamped panel with stylized tulip ornaments in the corners , this too was signed ( the initials “IoW” are incorporated in the design)DSC_0077 (2)
This copy also has ownership declarations and a book plate from the Prujean family. It was a gift from Mrs.Francis Prujean (Her book plate is here) to Ann Prujean 1682.

DSC_0078 (2)

DSC_0079 Wing P-2035.

Two Copies of Katherine Philips Letters.

767G & 103G
767G & 103G

103G Katherine Philips

Letters from Orinda to Poliarchus

London: printed by W.B. for Bernard Lintott, 1705                                $5500

Octavo  6 3/4 X 3 3/4 inches    A-R8    First edition.   This copy is bound in original full calf stored in a custom morocco case.

This is a collection of 48 ( XLVIII) actual letters written by Philips to her patron Sir Charles Cotterell published several decades after her death, there is quit a bit of discussion of the

103G
103G

literary culture of the seventh century in Britain. Including incite to Philips writing and reading habits. she often mentions books she is reading and plays which she is working on.Philips was interested in the epistolary form, she founded the Society of Friendship in 1651 until 1661 was a semi-literary correspondence circle made up of mostly women, though men were also involved. The membership of this group, however, is somewhat questionable, because the authors took on pseudonyms from Classical literature (for example Katherine took on the name Orinda, in which the other members added on the accolade “Matchless.”) It is interesting to see the relations between the female members of the circle, especially Anne Owen, who is known in Philips’s poems as Lucasia. Half of Katherine’s poetry is dedicated to this woman. Anne and Katherine seem to have been lovers in an emotional, if not in a physical, sense for about ten years. Also significant as correspondents and lovers were Mary Awbrey (Rosania) and Elizabeth Boyle (Celimena). Elizabeth’s relationship with Katherine, however, was cut short by Philips’ death in 1664.In “The Sapphic-Platonics of Katherine Philips, 1632-1664” Harriette AndreadisSource:Signs: Journal of Women in Culture and Society 15, no. 1 (autumn 1989): 34-60.Ms Andreadis, in this essay nicely gives a view of Orinda’s life (and Loves) in relation to her writing by using excerpts from her poems and These letters;

Another copy of the above, with a rebacked binding, same collation.

767G  Katherine Philips

767G
767G

Letters from Orinda to Poliarchus

London: printed by W.B. for Bernard Lintott, 1705                          $3,500

One of Philips’ early  publications, a commendatory poem to the 1651 edition of Cartwright’s Poems.
117F
117F

117F William Cartwright 1611-1643

Comedies, Tragi-Comedies, With other Poems by Mr. William Cartwright late Student of Christ–Church in Oxford and Proctor of the University. The Ayres and Songs set by Mr. Henry Lawes Servant to His late Majesty in His Publick and Private Musick. —nec Ignes, Nec potuit Ferrum,—

London: Printed for Humphrey Moseley, and are to be sold at his Shop, at the sign of the Prince’s Arms in St Pauls Church–yard, 1651                                                                  $3,750

Octavo 4 1/4 X 6.1/2  inches. [Portrait]1, [a]-b8, *14 , *8, ¶4, **8, ***14, *10, a-e8, f4, g-k8, A-T8, U3, U8, X2, with leaf *11 in cancelled state as usual and showing the original stub. Leaves **7 and U1-3 appear to be in uncancelled state with no evidence of stubs, otherwise this collation matches that described by Evans. First edition.

This copy is bound in modern butterscotch calf with a gilt spine, in period style.It is quite a nice copy.  “Cartwright enjoyed a considerable success among his contemporaries but posterity has been less kind and his work is only known to students of seventeenth century literature. He was educated at Westminster School and went up to Christ Church, Oxford, in 1628; he spent the rest of his short life there. He wrote four plays, intended for academic performance: The Ordinary or The City Cozener (1634) shows clearly the influence of Ben Jonson; The Lady Errant, The Royall Slave, and The Siege or Love’s Convert were published in 1651. The Royall Slave, with designs by Inigo Jones and music by Henry Lawes, was acted for King Charles I and Henrietta Maria at Oxford in 1636 and proved a great success. Cartwright took holy orders in 1638 and wrote no more plays but he became a celebrated preacher; in 1642 he became reader in metaphysics to the university. A Royalist, Cartwright preached at Oxford before the king after the Battle of Edgehill. The edition of his works published in 1651 contained 51 commendatory verses by writers of the day, including Izaak Walton and Henry Vaughan. The Plays and Poems of William Cartwright were collected and edited by G. Blakemore Evans and published in 1951. (Stapleton) This work also includes the first poem by Katherine Phillips to be printed (DNB). Cartwright was well liked, and many of his wide circle of friends contributed to the verses occupying the first 100 pages or so; Dr. John Fell, Jasper Mayne, Henry Vaughan the Silurist, Alexander Brome, Izaak Walton, Francis Vaughan, Thomas Vaughan, Henry Lawes, Sir John Birkenhead, James Howell and many others. Wing C-709; see also The Plays and Poems of William Cartwright by G. Blakemore Evans, pages 62-72; Hayward English Poetry Catalogue, 104; Greg page 1027.

117F
117F

Philological Quarterly
“That Private Shade, Wherein My Muse Was Bred”: Katherine Philips and the Poetic Spaces of Welsh Retirement
By Prescott, Sarah

Article excerpt

Katherine Philips’s literary career provides the scholar with the most extensive surviving example of women’s manuscript circulation and coterie poetic practice in the seventeenth century. (1) Both in her own lifetime and posthumously, Philips was lauded in terms of her virtuous image as “the matchless Orinda” and then increasingly noted in terms of her pivotal role in the poetic “Society of Friendship,” a Royalist coterie she created in the 1650s. Modern critical attention likewise focused on her poetry of female friendship and her place as a role model for later women writers. (2) More recently, however, Philips has been seen as a political poet whose work should be read in the context of her Royalist sympathies. As a result, what was previously considered to be Philips’s gendered retreat into a “private” poetic world of like-minded literary friends is instead recognized as a characteristic articulation of encoded Royalist allegiance. (3) As Hero Chalmers phrases it, in Philips’s work “depictions of feminine withdrawal reflect the Interregnum royalist need to represent the space of retirement or interiority as the actual centre of power” (4) What is rarely taken into account is not only that Katherine Philips wrote most of her poetry in Wales, but that she is the only known Anglophone woman poet writing from Wales in the entire seventeenth century. In addition, a fair proportion of her work is not addressed to the members of her “Society of Friendship” but to an audience of readers and acquaintances within Wales itself. (5) This body of occasional and elegiac poetry is rarely mentioned in studies of Philips’s writing.(6) In contrast, this essay makes Katherine Philips’s relation to Wales the center of its investigation. To reframe Chalmers’s insight above, I will ask in what ways an attention to the geographical spaces of retirement Philips inhabited as a writer shift our understanding of her work and her significance in literary history, specifically Welsh literary history. On a more detailed textual level, I will ask how these “material” spaces inform the “discursive” spaces of her poetry. Although Philips’s experience of Wales was expressed in a number of different ways in her poetry and letters, here I focus on a selection of her poems which explore the theme of retirement in relation to her Welsh context: “That private shade, wherein my Muse was bred.” (7)

My approach builds on recent developments in the study of women’s writing which look beyond England and consider women’s writing in Britain across the early modern archipelago. (8) Despite the rise of “archipelagic” literary studies of Britain more generally, the perceived need to be inclusively British in our approach to literary history has taken longer to establish itself as a key component in the history of women’s writing. (9) One way forward is to put more emphasis on the different places from which women produced literary texts and to pay more attention to the way in which different locations and sites of literary production shaped the content of these texts. Kate Chedgzoy has argued that “when we study early modern English women’s writing, we need to pay more attention to texts in the English language produced in Wales, Scotland, Ireland, British North America and the Caribbean as well as England. And we need to do so in the context of new geographies of that changing world that enable us to grasp the full complexity of the locations the writing comes from, and how and why that locatedness matters.” (10) Furthermore, as Chedgzoy suggests, we also need to make “an effort to learn more about the ways in which women perceived themselves as Irish, Scots, Welsh, English and/or British.” (11)

From this perspective, Philips, a writer whose career was based in Wales and latterly Ireland, can be read not as the archetypal English coterie writer but rather as representatively archipelagic. As Chedgzoy has noted further, “a properly internationalist, Atlantic and comparative approach to early modern British women’s writing” might include, for example, “Katherine Philips’s translations of French plays, made in Wales and performed in Ireland. …

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