57 résultats
Sven-Bertil JanssonNot in perfect condition. unknown
AQ31852London: J. Pitts s.d. c. 1820-44 Single leaf broadside edges uncut. Printed in four columns. With three woodcut vignettes. Old central vertical fold. A trifle creased and marked. A rare survival of a broadside ballad in which the captain of a ship bound for India discovers on board the young servant girl whom he had pledged to wed but then abandoned. He finds that she is carrying his child and though at first angered by her 'betrayal' agrees to marry. However 'fortune to them proves unkind' and a storm descends upon them sweeping the maiden into the sea. When the captain finds her body 'floating on the main' two days later he casts himself overboard to 'share the same fate'. The publishing house of John Pitts 1765-1844 was responsible for a prodigious output of cheap popular printing in the first half of the nineteenth-century. COPAC records copies at just two locations BL and Hull; OCLC adds two further Adelaide and Toronto. . Dimensions 360 x 250 mm. [J. Pitts], [s.d., c. 1820-44] unknown
AQ25363London: Printed by W. & T. Bailey s.d. c.1785-1799 Single leaf broadside edges uncut. Shaving to foot with loss of imprint. A remarkably rare survival of 'three-half-pence' broadside verse satire in which a fight breaks out among a group of Dutchmen in a Chelsea tavern. The title of the bawdy ballad is a corruption of the Dutch expression 'donder en bliksem' meaning 'thunder and lightning'. ESTC records a single copy Oxford. ESTC N71592. Dimensions 200 x 290 mm. [Printed by W. & T. Bailey], [s.d., c.1785-1799] unknown
18285421London: T. Birt 1828. First edition. Single sheet measuring 250 x 185mm and printed in two columns to recto. Some edgewear to margins not affecting text; a bit of foxing and toning largely confined to margins. A scarce and delicate survivor OCLC documents only one example at the National Library of Scotland. The present is the only example on the market.<br /> <br /> The Dandy Wife is narrated by a man who aimed "to choose me out a loving wife" at the age of twenty-one but whose experience becomes a warning to "all young men of high renown": "If you want a tidy wife Beware of a boarding school." What unfolds is a satire of how the marriage economy is affected when women have access to knowledge -- intellectual and physical -- and how by meeting a man's superficial expectations a woman can fulfill her own more pressing needs.<br /> <br /> Thinking that a boarding school girl will have the innocence submissiveness and domestic skill he desires the narrator selects a wife from among their ranks. Thinking only of what he can obtain from such a bargain he is unprepared for what an educated woman brings into his house. The Dandy Wife he describes understands the commodity value of her own beauty and material adornment and that these are her key means for acquiring wealth of her own. "She takes one-half of what I earn In drinking gin and tea; Besides such frills and furbelows My Dandy Wife does wear.Her sleeves upon her dandy gown Oh! Lack they're such a size You'd think they were two balloons that in the air would rise." Aside from staying on par with fashion trends her clothing assists her in avoiding domestic tasks she abhors. She refuses to do laundry more than monthly and through ridiculous cooking failures she rapidly establishes that the kitchen is not a showcase for her skillset. Accustomed to a life of learning she is not trained to conduct domestic business. <br /> <br /> By the ballad's end it becomes clear that the Dandy Wife was savvier in managing a marriage than her husband was. For not only does her superior intellect help her carve out a more satisfying role but she also has physical knowledge that predates him: "The day that I was married I thought I'd got a charming maid But I was much deceived.For scarce five months we'd married been When she had a darling son. T. Birt unknown
1809174972London: printed and sold by Jennings c.1809. A ballad telling a tragic tale of lovers tricked apart by "cruel" and "covetous" parents. Similar ballads often feature an unfaithful and avaricious antiheroine who suffers a cautionary downfall. Here however Susan is a "harmless maid" and it is families who are warned against prioritizing wealth over the happiness of the younger generation. The love triangle between a woman her husband and a sailor was a common trope in 17th- to 19th-century ballads but most had several key differences to this version. The woman was normally the one to prioritize financial gain unlike Susan who declares that "No wealth nor riches shall make me disloyal". The sailor was typically a demonic character sometimes the Devil in disguise whereas "sweet William" is an honest and faithful man. In most ballads only the woman dies while the sailor-demon escapes; both Susan and William perish here. Such entertaining ballads were an outlet for people "to voice tensions to work over the contradictions of human life" Gammon p. 237. The Plymouth Tragedy reflects an exasperation with the requirements on the young especially women to conform with their parents' desires at the expense of their own happiness. Single sheet 255 x 360 mm printed in columns. Woodcut vignette. A little nicked at edges old centre fold reinforced on verso with paper; overall a well-preserved copy of a fragile publication. Vic Gammon "Song Sex and Society in England 1600-1850" Folk Music Journal vol. 4 no. 3 1982. unknown
1810174973London: printed and sold by J. Pitts c.1810. An ephemeral broadside ballad detailing the story of Jane Shore a mistress of Edward IV and a popular cultural reference for many centuries. Shore's heavily fictionalized story featured many elements considered to have mass appeal in the era: a sexually voracious woman a relationship that transcended social hierarchies and an ending that punished transgressive behaviour. In Mrs. Jane Shore the eponymous character is described as a married woman who became King Edward's concubine and "lived in the court/With lords and ladies of great sort". Whilst she had influence over the King she ensured "to help the people that were poor" and "sav'd their lives condemned to die". Regardless her infidelity ultimately led to her social disgrace and she died in a ditch in East London. As detailed in the ballad urban mythology claimed that her unfortunate death gave the Shoreditch district its name. Ballads such as this were sung in a variety of communal spaces including pubs lodging houses and the streets and typically took criminal or socially deviant behaviour as their subject. In their own time broadside ballads were believed "to foster immorality and to glorify crime" O'Brien p. 16. More recent interpretations appreciate their literary and social value and consider that "their job was to voice tensions to work over the contradictions of human life" Gammon p. 237. Landscape single sheet 362 x 252 mm printed in columns. A little chipped at the edges but overall a well-preserved copy of a fragile publication. Vic Gammon "Song Sex and Society in England 1600-1850" Folk Music Journal vol. 4 no. 3 1982; Ellen L. O'Brien "'The Most Beautiful Murder': The Transgressive Aesthetics of Murder in Victorian Street Ballads" Victorian Literature and Culture vol. 28 no. 1 2000. unknown
2014108521Museum. New. 2014. Paperback. 0942949382 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - -- with a bonus offer-- . Museum paperback