FIELDING, Henry. A group of six plays, comprising: The Lottery. A Farce . London: J. Watts, 1732. 8° (184 x 108 mm). Second edition, adding three songs to those in the first edition. This popular ballad opera was written in collaboration with the composer Mr. Seedo, also a refugee from the Haymarket fiasco that followed the suppression of The Grub-Street Opera . Cross III, p.294.
FIELDING, Henry. A group of six plays, comprising: The Lottery. A Farce . London: J. Watts, 1732. 8° (184 x 108 mm). Second edition, adding three songs to those in the first edition. This popular ballad opera was written in collaboration with the composer Mr. Seedo, also a refugee from the Haymarket fiasco that followed the suppression of The Grub-Street Opera . Cross III, p.294. FIELDING, Henry. The Modern Husband. A Comedy . London: J. Watts, 1732. 8° (188 x 117 mm). Five-page publisher’s advertisements at end. Modern quarter morocco. FIRST EDITION . Cross III, p.294. FIELDING, Henry. The Universal Gallant: or, the Different Husbands. A Comedy . London: John Watts 1735. 8° (194 x 123 mm). Disbound. FIRST EDITION , first performed 10 February 1735 at the Theatre-Royal in Drury Lane. This was another of Fielding’s five-act mainpieces in the vein of serious social satire. In the “Advertisement” in this printed version, he complains bitterly that the play had been deliberately damned. Cross III, p.299. FIELDING, Henry. Pasquin. A Dramatick Satire on the Times: Being the Rehearsal of Two Plays, viz. A Comedy call’d, The Election; And a Tragedy call’d The Life and Death of Common-Sense . London: J. Watts, 1736. 8° (201 x 120 mm). Title printed in red and black. (Lacks terminal advertisement leaf, some spotting and occasional soiling.) Early 20th-century red quarter morocco, marbled boards. FIRST EDITION , first performed 5 March 1736 at the Theatre in the Hay-Market. A “rehearsal” play in the tradition of the Duke of Buckingham’s popular burlesque of Dryden’s heroic tragedies. It was praised by critic Aaron Hill for its radical experimentation with the forms of dramatic satire. The public agreed with Hill, making it the greatest hit of the decade. Cross III, p.299; Rothschild 840. FIELDING, Henry. The Wedding Day. A Comedy . London: A. Millar, 1743. 8° (203 x 126 mm). 19th-century green straight-grained morocco (joints rubbed). Provenance : James Cox Brady (bookplate). FIRST EDITION , first performed 17 February 1743 at the Theatre Royal in Drury Lane. A five-act comedy of intrigue, this was a very early effort by Fielding ca. 1730, but was not performed until after he had given up writing plays. It was the last play Fielding would stage. It was only the third “Dramatic Performance” he ever attempted. “Only David Garrick’s performance as the good-natured rake Millamour enabled this ‘bad new play,’ as one viewer called it, to run six nights” (Battestin, Fielding Companion , p. 187). Cross III, p.308. FIELDING, Henry. The Fathers: or, The Good-Natur’d Man. A Comedy . London: T. Cadell, 1778. 8° (204 x 128 mm). Modern calf gilt (a few small scuffs). Provenance : William Marchbank (bookplate). FIRST EDITION , first performed 30 November 1778. This is the last five-act comedy Fielding wrote. The manuscript was lost after his death but found among the papers of his friend Sir Charles Hanbury Williams. David Garrick wrote a prologue and epilogue and performed it at Drury Lane under Sheridan’s management, with the proceeds going to Fielding’s widow. Cross III, pp.329; Rothschild 859.
FIELDING, Henry. A group of six plays, comprising: The Lottery. A Farce . London: J. Watts, 1732. 8° (184 x 108 mm). Second edition, adding three songs to those in the first edition. This popular ballad opera was written in collaboration with the composer Mr. Seedo, also a refugee from the Haymarket fiasco that followed the suppression of The Grub-Street Opera . Cross III, p.294.
FIELDING, Henry. A group of six plays, comprising: The Lottery. A Farce . London: J. Watts, 1732. 8° (184 x 108 mm). Second edition, adding three songs to those in the first edition. This popular ballad opera was written in collaboration with the composer Mr. Seedo, also a refugee from the Haymarket fiasco that followed the suppression of The Grub-Street Opera . Cross III, p.294. FIELDING, Henry. The Modern Husband. A Comedy . London: J. Watts, 1732. 8° (188 x 117 mm). Five-page publisher’s advertisements at end. Modern quarter morocco. FIRST EDITION . Cross III, p.294. FIELDING, Henry. The Universal Gallant: or, the Different Husbands. A Comedy . London: John Watts 1735. 8° (194 x 123 mm). Disbound. FIRST EDITION , first performed 10 February 1735 at the Theatre-Royal in Drury Lane. This was another of Fielding’s five-act mainpieces in the vein of serious social satire. In the “Advertisement” in this printed version, he complains bitterly that the play had been deliberately damned. Cross III, p.299. FIELDING, Henry. Pasquin. A Dramatick Satire on the Times: Being the Rehearsal of Two Plays, viz. A Comedy call’d, The Election; And a Tragedy call’d The Life and Death of Common-Sense . London: J. Watts, 1736. 8° (201 x 120 mm). Title printed in red and black. (Lacks terminal advertisement leaf, some spotting and occasional soiling.) Early 20th-century red quarter morocco, marbled boards. FIRST EDITION , first performed 5 March 1736 at the Theatre in the Hay-Market. A “rehearsal” play in the tradition of the Duke of Buckingham’s popular burlesque of Dryden’s heroic tragedies. It was praised by critic Aaron Hill for its radical experimentation with the forms of dramatic satire. The public agreed with Hill, making it the greatest hit of the decade. Cross III, p.299; Rothschild 840. FIELDING, Henry. The Wedding Day. A Comedy . London: A. Millar, 1743. 8° (203 x 126 mm). 19th-century green straight-grained morocco (joints rubbed). Provenance : James Cox Brady (bookplate). FIRST EDITION , first performed 17 February 1743 at the Theatre Royal in Drury Lane. A five-act comedy of intrigue, this was a very early effort by Fielding ca. 1730, but was not performed until after he had given up writing plays. It was the last play Fielding would stage. It was only the third “Dramatic Performance” he ever attempted. “Only David Garrick’s performance as the good-natured rake Millamour enabled this ‘bad new play,’ as one viewer called it, to run six nights” (Battestin, Fielding Companion , p. 187). Cross III, p.308. FIELDING, Henry. The Fathers: or, The Good-Natur’d Man. A Comedy . London: T. Cadell, 1778. 8° (204 x 128 mm). Modern calf gilt (a few small scuffs). Provenance : William Marchbank (bookplate). FIRST EDITION , first performed 30 November 1778. This is the last five-act comedy Fielding wrote. The manuscript was lost after his death but found among the papers of his friend Sir Charles Hanbury Williams. David Garrick wrote a prologue and epilogue and performed it at Drury Lane under Sheridan’s management, with the proceeds going to Fielding’s widow. Cross III, pp.329; Rothschild 859.
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