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(SLAVERY AND ABOLITION—MUSIC.) COLLINS, [JOHN].
The Desponding
Negro, a Favorite New Song Written by Mr. Collins.
Three pages of engraved music
with the title in several different fonts embellished on the front page.
London: Longman & Broderip, 1792
[600/900]
AN EARLY PIECE OF ABOLITIONIST MUSIC
,
no doubt inspired by William Wilberforce’s powerful
presentation of “The Abstract of the Evidence,” before Parliament the year before with the famed
engraving of the hold of the slave ship Brooke.
“On Africa’s wide Plains, where the Lion now roaring,
With Freedom stalks forth, the vast Desert exploring,
I was dragg’d from my Hut, and enchain’d as a Slave,
In a dark floating Dungeon, upon the salt Wave.
Spare a Halfpenny spare a Halfpenny spare a
Halfpenny to a poor Negro.”
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(SLAVERY AND ABOLITION—MUSIC.) HOWARD, W.
The Negro’s
Lamentation, a Fashionable Ballad with Accompaniment for Harp or Piano
Forte.
Folio sheet, folded to form four pages, engraved on two sides; signs of removal from
an album at the fold.
[London:] Fentum, circa 1800
[600/900]
A common subject for abolitionist poetry, music etc. In addition to the harp of pianoforte accompani-
ment, tambourine is suggested, as it seems to be for other publications of this house.
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(SLAVERY AND ABOLITION—MUSIC.) CARNABY, WILLIAM.
Azid, or
the Song of the Captive Negro, from Peter Pindar’s Works. . . the Air Originally
intended for the Song of the Negro Woman, Ulalee in Obi.
Single folio sheet,
folded to form four pages, engraved on two; archivally backed with paper.
London: Printed for the Author, circa [1805]
[800/1,200]
AN UNCOMMON PIECE OF ABOLITIONIST MUSIC
,
SIGNED BY THE AUTHOR
/
COMPOSER AT
THE FOOT OF THE FIRST PAGE
.
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