Category Archives: History of collecting

A Bach Cantata Turns 300

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Three hundred years ago, at the beginning of September 1724, the German composer Johann Sebastian Bach (1685–1750) was putting the finishing touches on his sacred cantata ‘Allein zu dir Herr Jesu Christ’ (‘To Thee Alone, Lord Jesus Christ’, BWV 33). Individual copies of each of the musicians’ parts, based on this manuscript score, were being written out for its inaugural performance during church services on the thirteenth Sunday after Trinity, that is, September 3, in the Lutheran church of St Thomas in Leipzig. The intended ensemble was comprised of a four-voice chorus with three soloists (alto, tenor, and bass), 2 oboes, 2 violins, a viola, and basso continuo (usually an organ or harpsichord, often combined with cello, etc.). Sung in German, the cantata’s six movements consist of an initial chorus, a recitative for bass, a lovely alto aria, a recitative for tenor, a duet for tenor and bass, and a choral finale. Purchased in 1965 by Willam Hurd ‘Bill’ Scheide (1914–2014), Princeton University Class of 1936, the complete original autograph score of this cantata is one of the most important Bach manuscripts in the United States.

When students and visitors see Bach’s signed score in the Scheide Library (call # WHS 30.21), the first question asked is usually something along the lines of ‘How did this manuscript come down to us?’ This is indeed a wonderful, fundamental question, one that has important implications for the manuscript’s authenticity, the arc of Bach reception and scholarship, and the history of collecting. The short answer is ‘Through the Bach family for the first century, and through private collectors during the next two’, but there is much more to it; this blog intends to answer the question more fully, adding previously unknown information.

After serving musical appointments at Weimar, Arnstadt, Mühlhausen, and Cöthen, J. S. Bach became the musical director (Cantor) of the Thomaskirche in Leipzig in 1723. In Leipzig he was responsible for musical instruction as well as composing and leading the weekly musical liturgy, at the heart of which was the sacred cantata, a multi-movement musical composition for voices with instrumental accompaniment, generally based on older Protestant hymns. During his first year in Leipzig, Bach made use of a combination of older compositions and some 40 new cantatas, but in the church year 1724-25 he undertook the composition of a completely new cycle of 52 weekly cantatas. The present cantata was based on the German text of a hymn composed in 1540 by Konrad Hubert (1507–1577), a Calvinist theologian in Strasbourg. Over his prolific career Bach eventually composed some 300 cantatas (at least 100 of them have been lost to posterity), including several on secular themes.

     

The manuscript in question consists of ten paper leaves of musical score inside a paper wrapper, which Bach himself inscribed and signed ‘Dominica 13 post Trinitatis; | Allein zu dir, Herr Jesu Christ | à | 4 Voci, | 2 Hautbois | 2 Violini | Viola | e | Continuo | di | Joh. Seb. Bach’ [the 13th Sunday after Trinity, To Thee Alone, Lord Jesus Christ, for 4 voices, 2 oboes, 2 violins, viola, and continuo, Johann Sebastian Bach’]. This is not simply a ‘fair copy’ of the finished work, made for performance or safekeeping by posterity, but rather one of Bach’s characteristic composing scores, where the final working out of the original composition of all of the vocal and instrumental parts took place in simultaneous coordination. Thus, it includes several scribbled deletions, corrections, and out-of-place ‘do-overs’. No earlier sketches or drafts are known. In order to be performed, the individual parts had to be copied out by hand from this score, a task normally assigned to the composer’s students (including his sons), working under his supervision and editorial pen. The original performing parts for ‘Allein zu dir, Herr Jesu Christ’ survive at the Bach-Archiv in Leipzig; they were sold by the composer’s widow, Anna Magdalena Bach, to the city of Leipzig shortly after 1750.

How did the Scheide Library’s manuscript come down to posterity? At Bach’s death in 1750 he left it to his eldest son, Wilhelm Friedemann Bach (1710–1784), along with many other scores and personal documents. Musically talented but eventually unable to support himself dependably as a more or less freelance musician, W. F. Bach is known to have sold some of his father’s scores in 1774. However, the fact that the next owner of the present manuscript was Carl Philipp Heinrich Pistor (1778–1847), the inventor of optical telegraphy, raises the near certainty that it was sold in the 1827 auction of Wilhelm Friedemann’s remaining property in Berlin, where Pistor was a heavy buyer. Pistor’s daughter Elisabeth ‘Betty’ Pistor was a good friend of the famous composer Felix Mendelssohn (1809–1847), a great enthusiast for the revival of J. S. Bach’s works. It is probable that Mendelssohn saw and studied this manuscript, as he often did with others, at the Pistor residence. It is certain that it was seen by Mendelssohn’s teacher, Karl Friedrich Zelter, who used dark red ink to fill in the German text of the final chorale movement, which, since it was so well known to the original singers, Bach characteristically had indicated in highly abbreviated form.

Around 1835, Herr Pistor gave the score to his friend Julius Schubring (1806–1889), Pastor of St George in Dessau, whom Mendelssohn admired as a friend and a librettist. On 11 February 1836 Schubring wrote about the cantata in a letter he sent to Mendelssohn in Leipzig (in translation): ‘Another question concerns the Bachiana we discussed. […] What my little property consists of was given to me by Pistor, a manuscript of Bach’s own, Allein zu dir, Herr Jesu Christ, 13th Sunday after Trinity. […] If you don’t have a copy, I can have one made for you’.1 For purposes of identification, Schubring’s letter included a little handwritten transcription of the first measure of the Oboe I part:

Schubring eventually made the score available to the musicologist Wilhelm Rust, who was able to include an engraved transcription of the edited score in vol. 7 of the Bach-Gesellschaft edition of Bach’s complete works, Johann Sebastian Bach’s Werke (Leipzig, 1857). In 1889 the original score descended to the owner’s son, and eventually to his grandson, Dr Walther Schubring (1881–1969), who allowed the manuscript to be auctioned at J. A. Stargardt Autographenhandlung (Katalog 572), in Marburg, West Germany, on 14 May 1965.

There naturally was tremendous international interest in lot 452, one of the last complete original Bach manuscripts in private hands. No one was more committed to winning it than Bill Scheide, a noted musicologist, Bach specialist, and book collector. He conducted his bidding through Albi Rosenthal, co-proprietor of Otto Haas, London. The only question was, with bidding starting at DM 60,000, how far would he have to go? He knew that the Stiftung Preussischer Kulturbesitz (Prussian Cultural Heritage Foundation), which already owned 81 of  Bach’s surviving cantatas, would be the principal competition. On 12 May he received some crucial pre-auction intelligence from Rosenthal via a Western Union telegram:

"VERY

         VERY HEAVY ARTILLERY MASSING FOR BACH BATTLE MAY HAVE TO EXCEED                   COMMITMENT BY ABOUT TEN PERCENT STOP WILL PROCEDE UNLESS YOU                   CABLE 125 [DM] IRREVOCABLE LIMIT STOP HOPE MY ASSESSMENT PESSIMISTIC           STOP BEST WISHES ALBI ROSENTHAL HOTEL ORTENBERG MARBURG

Doing some quick computations, Scheide agreed to Rosenthal’s suggested 10% increase beyond DM 125,000. In Marburg on 14 May, the bidding among German, Swiss, French, and British competitors quickly rose to DM 130,000 without Rosenthal having entered a bid. The Prussian Cultural Heritage Foundation dropped out after DM 133,000, but an anonymous Swiss bidder kept going. Although Scheide’s maximum was DM 137,500, Rosenthal decided that he would throw in the entirety of his own commission (DM 10,000), if necessary. And some of it was necessary: the auctioneer’s hammer finally fell after his bid of DM 140,000 – the Bach score would be coming to America! In the end, seeing the beautiful manuscript, Scheide was happy that Rosenthal had exceeded his limit, and was pleased to reinstate his full commission. Scheide always made the score available to scholars, and upon his death in 2014, he bequeathed it along with his entire library of rare books and manuscripts to Princeton University Library.

The full digitization of Bach’s score of BWV 33 is available at: https://catalog.princeton.edu/catalog/9935097423506421

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1 Briefwechsel zwischen Felix Mendelssohn Bartholdy und Julius Schubring, edited by Dr Julius Schubring II (Leipzig: Duncker & Humblot, 1892), pp. 105-06: ‘Eine andere Frage betrifft die besprochene Bachiana. […] Was mein kleines Eigenthum betrifft, so ists mir von Pistor geschenkt worden, ein eigenes Manuscript Bachs. Allein zu dir, Herr Jesu Christ, Dom. XIII p. trin. […] Wenn Dus nicht hast, kann ich Dirs abschreiben lassen’.

 

 

A Statement of Invoice from Roger Payne (1739-1797), English bookbinder

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Statement of invoice prepared by Roger Payne for binding The Holy Bible containing the Old Testament and the New. Edinburgh: James Watson, 1715. (Ex) 5179.1715. Ms. stored apart from the book in Manuscript Collection C140, Box 37, folder “Payne.’

In rare book libraries, fine bindings made with great skill are often encountered simply on their own, with little sense of their maker other than a name.  Extraordinarily, on a rare occasion, one finds a description of the binder’s work in his own words.  Such is the case with the undated statement of billing from Roger Payne illustrated here.

Scheide Librarian, Eric White, has said of Payne: ‘Roger Payne (1738–1797), perhaps the most famous of all English bookbinders, was well known both for his exquisite gold tooling and his squalid lifestyle. He worked at Eton beginning in the late 1750s, then at London with the support of the bookseller Thomas Payne (no relation). There he served many illustrious patrons,’ including Dr. Benjamin Moseley, Michael Woodhull, C.M. Cracherode, and the second Earl Spencer.

A near contemporary of Payne, the Rev. Thomas Frognall Dibdin (1776-1847) described Payne’s invoices as ‘original and diverting,’ ‘replete with the garrulous chit-chat of an old stager of four score; in parts resembles a Coach-maker’s account,’ and ‘loquacious and … original specimens of arithmetical compositions.’

Our reaction today is to treat the invoices more fair-mindedly as rare contemporary documentation showing what was regarded as valuable at that time.  In this and other statements (at least, another 13 are known and transcribed; see list below) Payne draws our attention to factors crucial to making the binding.  In this instance, he covers these factors starting from the outside of the book to the inside.  But for purposes of getting a sense of his process, the following comments cover from the inside of the book to the outside.

The first of these factors includes the time and effort taken to clean, unwrinkle, mend and otherwise prepare the pages of the text block: ‘Some few places had a little writing ink I took it out safe.’  Then, he draws our attention to the materials of the binding  ‘back lined with Russia Leather under the Blue Morocco cover very strong’  or ‘sew’d with silk on strong & neat bands.’  He’s stating these terms about materials because he knows that binders can choose cheaper components such as linen thread or lining the spine with paper. Lastly he sets forth details about the finishing of the binding ‘all the gold impressions  … worked first plain afterwards work’d in Gold & Double Gold used thro ye whole Work.’  He sums up the work, and in this case his summary occurs initially, with the words ‘Bound in the best manner’ or, in the example illustrated here, ‘finished in the Richest & most elegant Taste  Richer & more exact than any Book that I have ever Bound.’

At the left upper corner of the statement of billing is a diagram of the lettering on the spine. It appears in just this format on the book itself, an edition of the Authorized Bible printed at Edinburgh in 1715 (ESTC T91151). The binding has the initials ‘T P’ on the front cover.  These are those of publisher and antiquarian bookseller Thomas Payne, who served at Roger Payne’s guardian (supplying ‘regular pecuniary assistance’) during the physical decline of his later years.  The total cost for the binding is £ 2.1.6.

The Holy Bible containing the Old Testament and the New. Edinburgh: James Watson, 1715. Ex 5179.1715 Spine height: 19 cm. Larger image

 

 

 

 

 

 

 

 

 

 

 

 

 

Ownership history

1877 – Ellis & White, booksellers, London,  item 61* in catalogue 41: Catalogue of Valuable Books comprising Many Volumes of great Rarity and Curiosity, including Early Printed Books n English, Latin, German, Italian, & Flemish: Rare Old English Poetry; Some very Remarkable  Volumes Illustrated with Wood Engravings of an Early Date, &c. &c.’ Priced at £42

 

 

 

 

1890  – Sale of the books of Sir Edward Sullivan, at Sotheby’s, London, 19 & 27 May 1890, lot 770.  Sold to James Bain Ltd. for £62

1892  – William Lorings Andrews, Roger Payne and his art. A short account of his life and work as a binder.  (New York, 1892), p. 31 states that the book is the possession of a New York collector

1895 – Illustrated in Robert Hoe’s One hundred and seventy-six historic and artistic bookbindings dating from the fifteenth century to the present time pictured by etchings, artotypes, and lithographs after the originals selected from the library of Robert Hoe (New York, 1895)

1911 – Sale catalogue of the Library of Robert Hoe, April 24 and ff., lot 297.   Cyrus Hall McCormick (Princeton class of 1879) purchased the book at the sale for $900

1936 – C. H. McCormick dies in 1936 and the books pass to his widow, Alice Marie Holt McCormick.  She later remarries and becomes Alice H. Brown (Mrs. Marshall Ludington Brown.)

1948 – Alice H. Brown gifts the books of her first husband C. H. McCormick to the Princeton University Library.

List of other statements of invoice by Roger Payne
Dibdin records and transcribed the following bills in The Bibliographical Decameron, London, 1817, vol. II, p. 511 ff.:

  1. Glasguae. MDCCXCV. (ESTC T86592): Dibdin, BD, II, p.512 (also transcribed in C. Davenport, Roger Payne [Chicago, 1929], p. 70, illustrated plate 31), undated original in the John Rylands Library. Invoice total £ 16.7.0
  2. Petrarch, described in Spenceriana, vol. 4, p. 141-143: Dibdin, BD, II, p.512-513 (also transcribed in C. Davenport, Roger Payne [Chicago, 1929], p. 71). Undated. Invoice total £ 4.7.0
  3. C[l]avis Astro[logiæ] Elimata, bound for Dr. Benjamin Moseley (ESTC R39993): Dibdin, BD, II, p.513. Undated. Invoice total £ 0.4.0
  4. Harmony of the World by Heydon London 1662, bound for Dr. Benjamin  Moseley (ESTC R16451): Dibdin, BD, II, p.514. Dated ‘1796, 11th’ Invoice total £ 0.10.6.  This book is held by the Scheide Library at Princeton and will be the subject of a future blog posting.
  5. Soul of Astrology, by Salmon, London 1679, bound for Dr. Benjamin Moseley (ESTC R6301): Dibdin, BD, II, p.514. Undated. Invoice total £ 0.9.6
  6. Vesalli Humani Corporis Fabrica, bill in possession of Edward V. Utterson: Dibdin, BD, II, p.514 (also transcribed in C. Davenport, Roger Payne [Chicago, 1929], p. 72). Undated. Invoice total £ 0.15.0
  7. Sandys Travels MDC.X. Wheeler and Spons Travels M.DC.LXXV, bill in possession of Edward V. Utterson (ESTC S121765 [1615 ed. and many later ed.] and ESTC R9388 [1682 ed.]): Dibdin, BD, II, p.515. Dated ‘Dec. 1st’ Invoice total £ 1.13.0

C. Davenport records the following bills in Roger Payne [Chicago, 1929], in addition to those noted above:

  1. Cambridge 1694 (ESTC R24132): Davenport, RP, p. 69, illustrated plate 29, undated original in the British Library. Invoice total £ 4.9.0
  2. Lilly’s Christian Astrology. London, 1695. Bound for Dr. Benjamin Moseley (ESTC R233955 [1647 ed. and several later ed.]): Davenport, RP, p. 73, (also transcribed in Sydney Glover, ‘A Famous Bookbinder …’, The Collector’s Magazine (London, 1905), p. 42) undated original in 1908 Sotheby’s auct. of the books of Lord Amherst of Hackney. Invoice total £ 1.3.6
  3. The Faerie Queene … MDXCVI (ESTC S117748): Davenport, RP, p. 74, illustrated plate 30, undated original in the British Library. Invoice total £ 2.10.0
  4. Mosaical Philosophy by Fludd. London, MDCLIX (ESTC R6980): Davenport, RP, p. 75, undated original in the British Library. Invoice total £ 1.13.6
  5. Heydon, Elhavarevna. London, 1665. (ESTC R8694): Davenport, RP, p. 76, undated original in the British Library, shelf mark C.66.b.1. Invoice total £ 1.18.0
  6. Plot (Robert). The Natural History of Staffordshire. Oxford, 1686. (ESTC R21986) Davenport, RP, plate 32, undated, original owned by booksellers John Tregaskis and Son, ca. 1929. Invoice total £ 4.14.6

 

Transcription of Payne’s statement of invoice

"" Letter’d in ye most exact Manner, exceeding rich small Tool Gilt Back of a new pattern studded in Compartments. The outsides finished in the Richest & most elegant Taste Richer, & more exact than any Book that I ever Bound.
The insides finished in a new Design exceeding elegant. Bound in the very best manner sew’d with silk on Strong & Neat Bands. The Back lined with Russia Leather under the Blue morrocco cover very strong & neat Boards.

The Finest Blue Morocco All The Gold Impressions except studds worked first Plain afterwards work’d in Gold & Double Gold used thro ^ye whole Work

 

Frontispiece was pasted very clumsy on another leaf I took it off & cleaned the paste off & mended 3 places. Title 1 piece

Psalms X. XXII. LXXXVI. CXXII. CXXXVIII. CXLII
Jeremiah III. Proverbs XIX. Saint Matthew VIII ) Mended and several placed ruled where the pieces was put on.
A hole in ye printing have endeavour’d to make perfect by another Holy Bible. I cleaned all the printing part from ye other side required great care & time & several Back margins mended which cannot now be seen. ___ Some few places had a little writing ink I took out quite safe.

 

Roger Payne in his workshop. 

 

 

 

 

 

 

 

 

 

 

 

 

 

By S. Harding. Frontispiece to C. Davenport, Roger Payne (Chicago, 1929).

Sir Thomas Phillipps – Illustrations of his distinguishing marks of ownership in books and manuscripts from the Phillipps Library

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Supplementing examples posted by Peter Kidd on his website ‘Manuscripts/Provenance,’ in the entry for Sir Thomas Phillipps http://www.manuscripts.org.uk/manuscripts/provenance/collectors/phillipps.htm

A. N. L. Munby writes in Phillipps Studies No. 4 (Cambridge, 1956), p. 165

In the 1820s Phillipps commissioned an armorial bookplate, which was however inserted very sparingly in books and manuscripts (fig. 1). Many of the early acquisitions bear a stencilled stamp of his crest, a lion rampant, applied rather crudely to the front paste-down or to the first leaf (fig. 2), and, on the paste-down, in the case of manuscripts, was inscribed the number allotted to the book in the Catalogus Librorum Manuscriptorum (fig. 3); in most instances this number was repeated on a tiny printed slip glued to the spine (fig. 4). Many thousands of manuscripts are identifiable at sight by their drab buff boards, Phillipps’s usual binding style. (fig. 5) A very large number of the printed books have no identification of ownership by Phillipps other than the small pencilled initials ‘MHC’ at the top of the front paste-down, denoting that the item in question had been entered, but not necessarily printed, in the Middle Hill Catalogue (fig. 6). Many books in the great residue of the library purchased in 1946 by Messrs Robinson have been provided with a discreet armorial label which identifies their provenance (fig. 7)

Figure 1 – Armorial bookplate

Figure 2 – Stencil

Figure 3 – Stencil with number

Figure 4 – Slip on spine

Figure 5 – Middle Hill Boards

Figure 6 – MHC (Middle Hill Catalogue)

Figure 7 – Bibliotheca Phillippica – W. H. Robinson Ltd.

Charles Lamb’s books at Princeton

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Bartlett & Welford’s sale catalogue of 60 lots consisting of volumes from Charles Lamb’s library (February, 1848) [ExL 0513.557.55] The Princeton copy includes a hand written table giving the buyers for each lot and the amount paid.  The catalogue and the mss. table have been digitized.

The story begins in 1848, an annus mirabilis in the tale of Charles Lamb’s library.  This was the year in which 60 lots of Lamb’s books came up for sale in New York. (The 60 lots comprised more than 136 titles in total.)  The lots appeared in a  private sale on the premises of the Astor House booksellers Bartlett & Welford in the first part of the year. The booksellers claimed that the books were selected from the mass of Lamb’s books and ‘the remainder destroyed … so that no other such opportunity can offer to the admirers of C. Lamb, for securing a memento of their favorite author.’  Then, in October, 1848, 17 lots bought by John T. Annan of Cincinnati in the Bartlett & Welford sale were auctioned by the New York firm of Cooley, Keese, & Hill. Unlike collectors across the Atlantic, American book collectors had a special affection for Lamb, his writings, and his books, and were willing to pay strong prices.

The distinct character of this American passion for Lamb is brilliantly recounted in Book Madness: A Story of Book Collectors in America by Denise Gigante (Stanford; Princeton PhD. 2000), recently published by Yale University Press.

The head note in Catalogue of Charles Lamb’s library, for sale by Bartlett & Welford, booksellers and importers, 7 Astor House, New York states
>> During the long illness of Miss Lamb, the collection of books that had formed the solace and delight of her brother’s life, met with neglect and partial dispersion among his friends; at her death the following volumes were selected from the mass as worthy of preservation, containing notes, &c., by the late possessor, and the remainder destroyed—so that no other such opportunity can offer to the admirers of C. Lamb, for securing a memento of their favorite author. The notes, remarks, &c., referred to and quoted in inverted commas, in the following list, are warranted to be all in the autograph of Lamb (except when otherwise mentioned), and it will be seen that many of his most favorite works are there; no attempt has been made to re-clothe his “shivering folios;” they are precisely in the state in which he possessed and left them. <<

Bartlett & Welford didn’t disclose who made the selection of the 60 items. From Book Madness,(p. 42) we learn that it was Charles Moxon, Lamb’s publisher and husband of Lamb’s adopted daughter, Emma, who had inherited the books.  Moxon was quite familiar with the enthusiasm in America for Lamb, and in the autumn of 1847 he worked out a deal with Charles Welford to market the books in America (p. 52).  The  February 5, 1848 issue of Literary World announced ‘These books, which Lamb so loved that they seemed a part of himself, have been plucked from the smoke of London, deracinated from the pavements of Cockneydom, and now they are in the Astor House, all written over in the margin by Coleridge and Southey and Lamb himself. What will their fate be now?’

Evidently during February and perhaps in some following months Bartlett & Welford sold all the lots and a record of the buyers and prices is recorded in the Princeton copy of the catalogue, a gift from Charles Scribner, Class of 1913, as part of his Lamb collection.

Of the 60 lots, the following are now at Princeton

Ben Jonson, Works (London, 1692).
“The blank leaves, margins &c., are filled with extracts from the old Dramatists and early English Writers, with additional poems, corrections of the Text & co. &c., in Charles Lamb’s early hand-writing, forming a most curious and valuable memento of his favorite studies.” (Bartlett & Welford, 1848).  Provenance:
• Lot 20 at  Bartlett & Welford’s private sale of Lamb’s books (February, 1848) purchased by George Templeton Strong for 25 dollars.
• Lot 904 at Bang’s sale of George T. Stong’s books (New York, 1878)
• Lot 964 at Bangs’s sale of the library of Charles W. Frederickson (New York, 1897). Sold to Charles Scribner’s Sons for $375.
• Christie’s NY, Dec. 14, 2000, lot 104 (“Property of a Gentleman”) via James Cummins to Pirie.
• Collection of Robert S. Pirie, Sotheby’s NY, 2 Dec. 2015, lot 987, to Princeton. (Call number: RHT 17th-739a RHT / Digitized )

John Suckling, Fragmenta Aurea (London, 1646) “Charles Lamb’s copy, with mss notes from Aubrey’s Lives, Notes, & co.” (Bartlett & Welford, 1848). Provenance:
• Lot 48 at  Bartlett & Welford’s private sale of Lamb’s books (February, 1848) purchased by Horatio Woodman for 5 dollars.
• Lot 960 at Bangs’s sale of the library of Charles W. Frederickson (New York, 1897), sold to Frank Howard Dodd and Edward S. Mead for $270.
• Henry Bache Smith (collector), A Sentimental Library ([New York], Privately Printed, 1914) p. 148
• Halsted B. Vander Poel (Christie’s London, 3 March 2004, lot 106). via Quaritch to Pirie.
• Collection of Robert S. Pirie, Sotheby’s NY, 2 Dec. 2015, lot 988 to Princeton. (Call number RHT-551A / Digitized )

The history of Philip de Commines, knight, Lord of Argenton.  
“With interesting MS notes by Charles Lamb at the commencement and ‘Memorabilia’ by Coleridge at the end on the free towns and republics of the Middle Ages & c.” (Bartlett & Welford, 1848). Provenance:
• Lot 59 at  Bartlett & Welford’s private sale of Lamb’s books (February, 1848) purchased by George Templeton Strong for 10 dollars.
• Lot 374 at Bang’s sale of George T. Stong’s books (New York, 1878)
• Lot 960 at Bangs’s sale of the library of Charles W. Frederickson (New York, 1897), sold for $135.
• Charles Scribner’s Sons subsequently purchased it for $180.
• Henry Bache Smith (collector), A Sentimental Library ([New York], Privately Printed, 1914) p. 146
• A.S.W. Rosenbach (bookseller) then sold to Princeton, June 1947. (Call number: Ex 1509.146.26.11q  / Digitized )  N. B. See article about this book by Prof. Jeremiah Finch published in the Princeton University Library Chronicle at https://www.jstor.org/stable/26401659

Old Plays & c. spine title on a sammelband  consisting of 12 items   Lamb lists the contents on the front pastedown.   Provenance:

• Lot 54 in the Bartlett & Welford sale catalogue, but there described as ‘Tracts, Miscellaneous, 1 thick volume, 12mo. Descriptive Catalogue of Pictures, and Poetical and Historical Inventions, by William Blake, 1809. Lord Rochester’s Poems, Lady Winchelsea’s Poems, C. Lamb’s Confessions of a Drunkard, with Corrections, &c., Southey’s Wat Tyler, &c. 12 tracts, with MS list of contents.’  Sold to John T. Annan for $6.
• Lot 376 in Cooley, Keese, & HIll, Catalogue of a private library, embracing a large collection of rare and valuable works in early English literature; … and eighteen volumes from the library of Charles Lamb.  New York, 1848.  Sale consisted of books from the Library of John T. Annan of Cincinnati.  Sold to Campbell for $4.25 (per priced copy of the catalogue at the American Antiquarian Society; thanks to Elizabeth Pope who supplied images of the pages for lots 359 to 376, headed in black letter ‘Charles Lamb’s Books.’)
• Seven Gables Bookshop (NY) to Robert H. Taylor, February 1972.  Taylor legacy to Princeton in 1985. (Call number: RHT 19th-305)

 

Lamb has annotated the poem ‘A Noctural Reverie’ ‘the best poem in the collection’