Language: English
Published by T Cadell, London, 1788
Seller: Flora Books, Mears Ashby, United Kingdom
Full-Leather. Condition: Very Good. 2nd edition, xxvii [1] 120pp, engraved frontispiece and 4 plates (foxed), contemporary mottled calf gilt (lettering-piece missing, rubbed), cover with gilt lines, contemporary marbled endpapers, a few light spots, ornate armorial bookplate (Thomas Philip Earl de Grey, Wrest Park) and small modern label (Roger Senhouse) on front pastedown, 8vo (167x100mm).ESTC T119607. The concluding Odes are entitled "The Vision of Stonehenge" and "Mary Queen of Scots.".
Published by T Cadell, London, 1788
Seller: Recycled, Corte Madera, CA, U.S.A.
Full-Leather. Condition: VG+. Illustrated (illustrator). 2nd Edition. Spine darkened, upper edge of spine cracked, abrasions and darkening to covers, which are slightly bowed, foxing to the frontispiece and four illustrations, but overall a decent copy in attractive contemporary gilt decorated leather. First Edition with Stothard's engravings.
Published by London: printed for T. Cadell in the Strand, 1788
Seller: Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, United Kingdom
Small 8vo, frontispiece and pp. xvii, [i], 120; with four plates (all rather foxed); contemporary mottled calf gilt, a bit rubbed, later label on spine. Second edition, but first edition with the added plates and also with the two additional poems at the end. In this edition, the prose notes are printed at the end of the poem rather than as footnotes. John Sargent (1750-1831) was better known in his day as a politician, and also as director of the Bank of England, but as he was a friend of William Hayley it was almost inevitable that he should have tried his hand at poetry. This well-informed dramatic poem, set in Hungary and featuring three prisoners immured there, as well as Goblins and other 'subterranean spirits', was reprinted twice, again in 1796. It seems to have been based on Sargent's own travels in Germany, Hungary and Italy in the early 1770s. Provenance. Early inscription on endpaper of Elizabeth Palmer, 1820.