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ref. AQ25079vs.: vs. c. 1820s-1930s 12mo 8vo and quarto. The majority preserved within original publisher's wrappers. An extensive archive of theatrical publications and ephemera emanating from the recently dispersed library of Howth Castle County Dublin seat of the Gaisford-St. Lawrence family comprised of theatre programmes and libretti representing productions spanning from the late 1820s up to the 1930s both domestic and Continental in origin. The 94 individual publications comprehend: Eight playscripts and libretti printed in Paris between including an 1828 edition of Théaulon and Choquart's comic vaudeville Monsieur Jovial ou l'huissier-chansonnier 1827 and an 1882 issue of Charles Gounod's five-act opera Faust set to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite. 15 Italian productions variously printed at Rome Milan Florence and Naples in the latter half of the nineteenth century including an 1848 Neapolitan edition of Verdi's four-act opera Nabucodonosor composed to an Italian libretto by Temistocle Solera first performed at La Scala in Milan 9th March 1842; and a programme to accompany the first performance of Verdi's Attila at La Fenice in Venice 17th March 1846. An Italian language edition printed at Barcelona in 1845 of Jacopo Ferretti's libretto Eran due or son tre 1834. 70 theatre programmes operas and Italian-language libretti printed in London spanning the century between the 1830s and 1930s including: 15 issued in the 1870s as a part of 'Davidson's Musical Opera-Books' series published in conjunction with performances at 'London's Italian Opera Houses' of productions of inter alia Rossini's The Barber of Seville Bizet's Carmen and Mozart's Don Giovanni and The Magic Flute each with a parallel English translation and 'the music of the principal airs'. The first appearance in print of the libretti for five Gilbert and Sullivan productions: Patience 1881 Princess Ida 1884 The Mikado 1885 The Yeomen of the Guard 1888 and Utopia 1893. A magazine-programme for a run of performances at the Shaftesbury Theatre in 1926 of J. M. Barrie's Peter Pan; or the Boy Who Wouldn't Grow Up 1904 - a production with which Barrie was directly involved - with Dorothy Dickson in the lead role. A run of 12 programmes for the 1925/26 1926/27 seasons at the The Old Vic including 11 productions of Shakespeare's plays all notably featuring leading Shakespearean actor Baliol Holloway d. 1967. Notable members of the Gaisford-St. Lawrence family included Thomas Gaisford 1789-1855 English classical scholar sometime curator of the Bodliean Library Regius Professor of Greek at Oxford and Dean of Christ Church. Gaisford’s eldest son Thomas Gaisford of Offington Sussex 1816-1898 British Army officer married in 1859 as his second of three wives Lady Emily St Lawrence d. 1868 eldest daughter of the third Earl of Howth. Their eldest surviving son Royal Navy officer Julian Charles Gaisford-St Lawrence 1862-1932 succeeded in 1909 his uncle the fourth and last Earl of Howth and came to reside at Howth Castle in Co. Dublin. A rare opportunity to acquire an ephemeral archive which not only exemplifies the theatrical passions of a single family across least three generations but documents the evolution of nineteenth century stage production charts the popular progress of Italian-language libretti in both Britain and on the Continent and exhibits the situation of English theatre prior to the post-war dominance of television and film. . [vs.], [c. 1820s-1930s] unknown
1491ref. 915Terviso or Venice: Michael Manzolus 1491. First Edition with the commentary of Acron and Pomponius Porphyrio. Bound in modern marbled gilt calf. A very large and clean copy with marginal indexing on a few signatures in red others in brown ink. A very Large copy of a very very rare edition of Horace https://data.cerl.org/istc/ih00451000 GW 13457; Goff H451; BMC V 315 IB. 21815; Bod-inc H-203; CIBN H-275. Located copies:The Walters Art Museum Bancroft Library Yale Free Library of Philadelphia Princeton Univ. Brown University Pauline Fore Moffitt Library University of California General Library. The unique charm of Horace's lyric poetry arises from his combination of the metre and style of the distant past—the world of the Archaic Greek lyric poets—with descriptions of his personal experience and the important moments of Roman life. He creates an intermediate space between the real world and the world of his imagination populated with fauns nymphs and other divinities. He denounces corrupt morals praises the integrity of the people of Italy and shows a ruler who carries on his shoulders the burden of power. Other Augustan themes that appear in Horace's lyric verse include the idea of the universal character and eternity of Roman political dominion and the affirmation of the continuity of the republican tradition with the Augustan principate. At some stage Augustus offered Horace the post of his private secretary but the poet declined on the plea of ill health. Not withstanding Augustus did not resent his refusal and indeed their relationship became closer. "Horace's success as a poet can be measured partly by how difficult he is to imitate and translate and by how many admirers have sought to do both. Readers in the Middle Ages looked to Horace as a moralist and as a literary critic and appreciated the Satires and Epistles more than the more difficult Odes. The enthusiasm of the Italian Renaissance poets Petrarch 14th century Landinio and Politian late 15th century for the Odes encouraged the popularity of Horace's lyric. Horace was one of Montaigne's 16th century favorite poets. The themes and poetics of both the lyrics and the satires greatly influenced Ben Jonson late 16th early 17th century Robert Herrick Andrew Marvell Milton and Dryden 17th century. The Odescontinued to be springboards for much of both public and private 17th-century English lyrics. Pope was the leading Horatian poet writing in English during the 18th century the Age of Augustanism especially imitating Horace's hexameter poetry while Alfred Lord Tennyson Matthew Arnold Byron and Rudyard Kipling were among Horace's enthusiasts in the 19th century. Horace continued to inspire modern poets among them Ezra Pound. While the different genres of his work have specific qualities they all share in being Horatian a quality that many have tried to define. In Nietzsche's view Horace's peerless artistry separates him from all other poets. Compared to Horace's Odes "All the rest of poetry becomes in contrast something too popular—a mere garrulity of feelings" "What I owe to the ancients" Twilight of the Idols 1 https://www.poetryfoundation.org/poets/horace . Folio 30 x 20cm Signatures: A8B10C8D4E8F-G6a–q8r6. 184 leaves First Edition of Horace with both of his ancient commentators Acron and Porphyrio. Bound in modern marbled gilt calf. A very large and clean copy with marginal indexing on a few signatures in red others in brown ink. The history of the printing of editions of Horace and his commentators. First printed in Venice about 1471-2 then in Milan about 1475 14761477 Venice again 1478 &1479. The next edition was Leipzig 1492 All of these editions are without commentary. Acron's commentary was Published with out the Opera in Milan in 1479. At Florence in 1482 there is an edition of the Opera with the Landinus commentary then again in Venice 1483-86. The Edition offered here is the FIRST to have the commentary of Helenius Acron and Pomponius Porphyrion who are both said to have flourished in the third century these commentaries are revised by Raphael Rgius ƒl. 1480-1500 and Ludovicus de Strazarolis which make up the first 50 pages of this book. Michael Manzolus
