1740, ISBN: 77d45e457bfa9a5a59559686d305e636

[SC: 45.41], [PU: Printed by John Watts for the Author, London], 198 x 120 mm. (7 3/4 x 4 3/4"). [12] p.l., 488 pp. Contemporary smooth calf, spine with raised bands and gilt-ruled compar… More...

[SC: 45.41], [PU: Printed by John Watts for the Author, London], 198 x 120 mm. (7 3/4 x 4 3/4"). [12] p.l., 488 pp. Contemporary smooth calf, spine with raised bands and gilt-ruled compartments, crimson morocco label with gilt title, the covers double-ruled in gilt, rebacked retaining much of original backstrip, corners restored. Decorative head- and tailpieces, woodcut initials, bound without the inserted frontispiece portrait (as usual with copies in boards). Arnott & Robinson 2556. âThe binding somewhat worn, beginning to separate at the front hinge (but the board still firmly attached), half-inch internal tear to the title page, the final five leaves with light discoloration from turn-in glue, other minor defects, but still an attractive copy, quite clean and fresh internally, in a solidly restored binding. First published in 1740, this autobiography was the first work of its kind about the London stage, and it has become a classic of theatre history (the words "apology for" are roughly equivalent here to "account of"). A man of considerable versatility and achievement, Colley Cibber (1671-1757) was a prominent actor, theatre manager, playwright, and ultimately poet laureate of England. One of his many plays, "Love's Last Shift; or, The Fool in Fashion" (1696) is generally considered to be the first sentimental comedy, a form of drama that prevailed on the (albeit un-invigorated) English stage for most of the 18th century. Because Cibber found success on the stage playing foolish fops, and since his laureateship was tainted by political partisanship, he was an easy target for satirists of the day. Nevertheless, he was a skillful (if not witty) playwright, and this autobiography, for which he is chiefly remembered, is an invaluable source of information on the contemporary life of the theatre. It contains, in particular, admirable theatrical portraits of Nokes, Mrs. Bracegirdle, and Betterton. This is the second edition, published a little more than a month after the first; the text was revised, and it cost five shillings instead of a guinea, making it accessible to a wider audience.<

1740, ISBN: 77d45e457bfa9a5a59559686d305e636

[SC: 46.1], [PU: Printed by John Watts for the Author, London], 198 x 120 mm. (7 3/4 x 4 3/4"). [12] p.l., 488 pp. Contemporary smooth calf, spine with raised bands and gilt-ruled compart… More...

[SC: 46.1], [PU: Printed by John Watts for the Author, London], 198 x 120 mm. (7 3/4 x 4 3/4"). [12] p.l., 488 pp. Contemporary smooth calf, spine with raised bands and gilt-ruled compartments, crimson morocco label with gilt title, the covers double-ruled in gilt, rebacked retaining much of original backstrip, corners restored. Decorative head- and tailpieces, woodcut initials, bound without the inserted frontispiece portrait (as usual with copies in boards). Arnott & Robinson 2556. âThe binding somewhat worn, beginning to separate at the front hinge (but the board still firmly attached), half-inch internal tear to the title page, the final five leaves with light discoloration from turn-in glue, other minor defects, but still an attractive copy, quite clean and fresh internally, in a solidly restored binding. First published in 1740, this autobiography was the first work of its kind about the London stage, and it has become a classic of theatre history (the words "apology for" are roughly equivalent here to "account of"). A man of considerable versatility and achievement, Colley Cibber (1671-1757) was a prominent actor, theatre manager, playwright, and ultimately poet laureate of England. One of his many plays, "Love's Last Shift; or, The Fool in Fashion" (1696) is generally considered to be the first sentimental comedy, a form of drama that prevailed on the (albeit un-invigorated) English stage for most of the 18th century. Because Cibber found success on the stage playing foolish fops, and since his laureateship was tainted by political partisanship, he was an easy target for satirists of the day. Nevertheless, he was a skillful (if not witty) playwright, and this autobiography, for which he is chiefly remembered, is an invaluable source of information on the contemporary life of the theatre. It contains, in particular, admirable theatrical portraits of Nokes, Mrs. Bracegirdle, and Betterton. This is the second edition, published a little more than a month after the first; the text was revised, and it cost five shillings instead of a guinea, making it accessible to a wider audience.<

1740, ISBN: 77d45e457bfa9a5a59559686d305e636

[SC: 6.69], [PU: John Watts c. 1740., London], BOOK PERFORMING ARTS; BIOGRAPHY, Contemporary full calf with double-lined gilt border, rebacked expertly, spine in six compartments of raise… More...

[SC: 6.69], [PU: John Watts c. 1740., London], BOOK PERFORMING ARTS; BIOGRAPHY, Contemporary full calf with double-lined gilt border, rebacked expertly, spine in six compartments of raised bands, red morocco label on two, all edges tinted red, endpapers marbled. , Colley Cibber was a British actor-manager, playwright, and poet laureate. His colourful memoir, Apology for the Life of Colley Cibber (1740), started a British tradition of personal, anecdotal, and even rambling autobiographies. He wrote some plays for performance by his own company at Drury Lane, and adapted many more from various sources, receiving frequent criticism for his "miserable mutilation" (Robert Lowe) of "hapless Shakespeare, and crucify'd Molière" (Alexander Pope)., Size : 4to, Ex-libris on paste-down endpaper. With portrait plate, and elaborate initials, head and tail pieces., P. frontis, title, blank, (9), blank, (4), 1-346, An excellent, clean copy with wide margins<