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Paper 28

The Country Dances of Button & Co.

Contributed by Paul Cooper, Research Editor

The firm of Button & Whitaker (the name changed several times, but was most conspicuous as Button & Whitaker) was the single most prolific publisher of Country Dances in London during the 1810s. Their publications were of an uncommonly high quality, and arguably represented the pinnacle of achievement for the entire industry, prior to the collapse of that industry c.1820. In this paper we'll review their contributions to Country Dance publishing, and especially their alliance with the Dancing Master Thomas Wilson.

Figure 1. c.1814 Trade card for Button, Whitaker & Beadnell. Courtesy of the British Museum.




Samuel James Button, and Partners

Samuel James Button was the eldest son of William Button, a bookseller and Baptist Minister. He is likely to have trained under his Father, but he went on to form a secular musical partnership with Thomas Purday, founding the publishing business of Button and Purday c.1805. The earliest dated reference to the company I've found is from mid 1805 (Morning Post, 25th June 1805), it reported: NEW MUSIC - Just Published by BUTTON and PURDAY (Successors to Mr. Thompson), 75, St Paul's Church-yard, the advert goes on to list music by Augustus Voigt, J Terrail and others as being within their catalogue. Button and Purday had purchased the business (both premises and publishing plates) of the veteran but faded Thompson music publishing dynasty, c.1805 (see Figure 3 for a map of their location, and Figure 4 for a street level view from their shop). They were conveniently located next to St Paul's Cathedral, an image of which would feature on the covers of some of their publications, e.g. the cover of Samuel Hale's c.1806 The Brighton Waltz (see Figure 4). They advertised interchangeably as both Button and Purday and Purday and Button for roughly three years. Some sources claim that Button was the senior partner, apparently on the basis that his name appeared first on their publications; the evidence for this seems inconclusive: Button was listed first in the pages of The Morning Post for 24th January 1806, 18th February 1807 and 10th February 1808; Purday was listed first in Morning Post for 24th April 1806 and 19th November 1807; Figure 8 shows an example advertisement in which both sequences of names are used within a few sentences of each other.

The final reference I've found to this initial incarnation of the firm as Purday and Button dates to February 1808. The Morning Advertiser (18th February 1808) carried an appeal on behalf of the music engraver and seller J. Balls who had suffered a career threatening fire at his premises; donations were being received by Purday & Button, amongst others, to assist Balls in his plight. This must have been close to the date at which Purday left, though a final advertisement on behalf of Button and Purday can be found in The Morning Post, 10th February 1808, in which they advertised the availability of a collection of songs by John Whitaker. Purday's association with the business was relatively brief, but this passing reference to Whitaker may have been of some significance.

Figure 2. Button & Whitaker's The Vocal Works Composed by G.F. Handel

By July 1808 (Morning Post, 7th July 1808) the firm had renamed as Button and Whitaker, Purday having left. John Whitaker was a successful composer, their partnership lasted just over a decade. They were joined in 1814 by George Beadnell, temporarily becoming Button Whitaker & Beadnell; the earliest reference to Beadnell's involvement I know of is from an advert in the Taunton Courier, 11th August 1814. They also advertised as both Button & Co. (e.g. The Times, 1st January 1816) and Button, Whitaker and Co. (e.g. Public Ledger and Daily Advertiser, 27th March 1816) during this period. Beadnell left on the 24th June 1816, the company remaining as Button, Whitaker & Co.. Button and Whitaker in turn dissolved their partnership on the 1st January 1819 (The Globe, 17th May 1819), and the company operated as Whitaker & Co shortly thereafter (The Globe, 12th February 1819). Whitaker continued operating from the old Thompson premises at 75 St. Paul's Church-yard until at least 1824 (Morning Post, 22nd May 1824), and potentially much later.

The Company produced many musical publications throughout this roughly 20 year period, especially Country Dancing tune books. They formed active partnerships with two dancing masters known for their prolific advertising, first c.1811 with John Hopkins, and then most successfully c.1812 with Thomas Wilson. Wilson's involvement saw a dramatic improvement in the quality of their dance publications, arguably resulting in the highest quality examples the industry had ever known.

My interest in Button & Whitaker is with their dance publications, but they are better known to history as a supplier of musical instruments and music (both sacred and popular), and as successors to the Thompsons. The occupation listed on their insurance records varies from music seller (1811) to music sellers, musical instrument makers, and organ builders (1815); their c.1814 Trade Card (see Figure 1) described their business as Music Publishers, Manufacturers of Musical Instruments and Patentees of the Æolian & Double Flageolet Organs. They are known to have sold piano-fortes (a positive acceptance note for a Cabinet Piano written by Leigh Hunt and dated 7th February 1815 is available) and flutes. Button and Purday were also part of the creation myth surrounding Haydn's The Creation, and became known for publishing music by Handel (see Figure 2, reviewed in 1817 here) and by Whitaker himself.




Button & Co's Dance Publications

The business, over its several incarnations, produced dozens of Country Dance collections in less than 20 years, most in collaboration with the dancing master Thomas Wilson; we've indexed many of them below.

Figure 3. 75 St Paul's Church yard, from the Horwood map of 1792-9. © THE BRITISH LIBRARY BOARD, HUS 050.

At least two editions of Purday & Button's Twenty Four Country Dances were produced for the years 1806 and 1807. These budget collections were broadly equivalent to the many other collections produced by London's other music shops, they were unimpressive, but the starting point for all that followed. They sold for a shilling per book, and included 24 tunes with dancing figures in a treble score. Purday left in 1808 but the collection was continued under the name of Button & Whitaker (and successor variants) throughout the 1810s, and under the name Whitaker & Co into the 1820s. At least one edition of a series named Button & Purday's Twelve elegant New Dances was also published for the year 1808 (see Figure 8).

Purday & Button started issuing a premium Selection of Dances, Reels, Waltzes &c. c.1806. This collection was produced in a numbered sequence roughly quarterly; each edition cost a shilling, but only included up to 9 tunes with dance figures. The tunes were accompanied with a bass line, and were often (at least in the first few years) commissioned from notable Country Dance composers. These collections were produced sporadically over roughly a decade, at least 32 editions of which were printed, probably more. Similar loose leaf premium collections were produced by many other music shops in London at the time, including those of Martin Platts, James Platts, Skillern & Challoner, Clementi & Co. and several others. These fragile collections were probably aimed at a different audience to the typical 24 Country Dances for the Year 18?? publications, they were designed to be bound in boards with other music collections.

Button & Whitaker continued publishing the premium Button & Whitaker's Twelve Elegant New Dances series of publications c.1810 through to c.1812; these collections cost 1s6d and included the bass score for each tune. They often featured tunes previously published in the quarterly format, but bound into a small book, possibly influenced by the similar collections sold by the rival Cahusac music publishing shop. This was a short lived format, but it may have paved the way for their subsequent L'Assemblée series of titles.

Purday and Button had taken over the business of Henry Thompson c.1805, Henry being the last member of the Thompson publishing dynasty. Thompson's had been producing annual Country Dance collections since around 1750; Button & Whitaker continued issuing Thompson branded publications from 1806, their Thompson's Twenty Four Country Dances series continued through to at least 1822. At the time of the transfer Henry Thompson had also been producing annual collections in collaboration with a composer called Mr Gray; editions were published for at least the years 1803 and 1805, and subsequently also for 1807 and 1812. Presumably the 1807 and later editions were published through Purday & Button (the cover page of the 1807 edition was only changed to refresh the year, so it indicates it was published through Thompson's).

Figure 4. Above: A view of St Paul's Churchyard, nos 70-69 in the foreground. Courtesy of the Bass Culture blog. Below: St Paul's, from the cover of a c.1806 Purday & Button publication.

Several publications offered by the business for 1811 featured choreographies by the dancing master Mr Hopkins, including both the Thompson and Twelve Elegant New Dances publications for that year. Hopkins also choreographed the 1811 first edition of a new series titled Le Sylphe which would go on to run throughout the 1810s and into the 1820s. The Le Sylphe brand operated alongside the Button & Whitaker and Thompson brands, resulting in the business producing three new collections of 24 Country Dances each year, whereas most other music sellers only produced one such annual collection. The Hopkins association was brief however, most of their publications from 1812 onwards were produced with figures supplied by Mr Wilson.

Perhaps the firm's greatest country dancing achievement involved yet another annual collection called L'Assemblée, each edition of which included 48 Country Dances with a supporting bass score of music. They were produced between at least 1813 and 1820, skipping the year 1818 (the 5th book was dated for 1817 and the 6th for 1819). Copies sold for 3 shillings and the content was shared with the budget publications; the L'Assemblée version of a given tune was richer than the budget version due to the inclusion of the bass score, but the dancing figures were identical. Customers could purchase the three cheaper series, or spend the same amount on a single higher quality publication with two thirds of the content.

Samuel Button left the business at the start of 1819. His reasons for leaving are unknown, but it coincided with a shift in the wider industry that saw a decline to the production of many County Dancing collections; Whitaker & Co. continued to produce collections into the 1820s, but interest in them was fading; the final such publication (that I know of) was dated for 1824.

The production of Country Dancing tune books was only a small part of their business. They also published many other varieties of music, including several dance publications for Thomas Wilson. This list includes his 1816 Quadrille Instructor, the 1817 La Batteuse, the 1817 Le Moulinet amongst others. It's possible that some of Wilson's (seemingly lost) minor works were published as a continuation of their Selection of Dances, Reels, Waltzes in later numbered editions... many of these minor works are known only by reference today, do contact us if you have copies!

The British Library has a copy of a mysterious Country Dance collection for 1817 called The Union. Their copy has the appearance of being the first in a new series of works, but the name of the publisher is missing. It's produced in a style that clearly mimics that of Button & Whitaker, but without their name on the cover, or a reference to Mr Wilson. It's not clear if this was produced by a competitor, or was a genuine production; it did survive into a second edition for 1818. The pages are cut (at least in the copy I've studied) in such a way that the missing publisher name could have been an accidental truncation, but that seems suspicious. The British Library suggest that it may have been published by the rival business of Wheatstone, the Bodleian Library attribute it to Christopher Gerock. I suspect this work was designed to pass as a Button & Whitaker publication, but was produced by a rival.




John Hopkins, in-house choreographer c.1811

Button & Whitaker published at least three collections of Country Dances choreographed by Mr Hopkins for the year 1811. John Gattey Hopkins was a prominent dancing master in London at the time, at least if measured by his own advertising coverage. The Hopkins business ran weekly adverts in the London press, the text of which rarely varied from one year to the next (unlike the equivalent advertisements published for his subsequent replacement, Thomas Wilson); the Hopkins name would have been recognisable to London's dancers 200 years ago, but the lack of variety in the surviving material reduces its value for modern historians (see Figure 5).

John Hopkin's father was Richard Thomas Hopkins, he ran a dancing assembly at Coach-Makers-Hall in London in the late 18th Century. He taught the Minuet, Louvre, Cotillons, and English Country Dances, after the newest and most approved method in 1779 (General Advertiser & Morning Advertiser, 20th March 1779). He was still teaching at that same location twenty years later, with a repertoire that included the Minuet, Louvre, Cotillons, Highland Reels, with the Steps peculiarly adapted for those favourite Dances, Devonshire Minuet, Hornpipe, and English Country Dances, after the most approved and fashionable stile (True Briton, 23rd May 1799). In 1802 the business was renamed as Hopkins and Son (Morning Post, 27th December 1802), a few months later Richard Hopkins died, on the 18th July 1803. His Will is available through the National Archives.

Figure 5. Two advertisements for Mr Hopkins. The first from 1803, the second from 1816. Both from the Morning Post (16th August 1803 and 5th January 1816).

John Hopkins continued his father's business, he advertised that continuation from August 1803 (Morning Post, 16th August 1803, see Figure 5). He occupied the same premises at Coach-Maker's Hall until 1819, with almost the same advertisement used continuously throughout (Morning Chronicle, 30th September 1819) though adding references to the Quadrille from mid 1816. He left Coach-Maker's Hall c.1820 and instead advertised his services from his personal address for the following decade, until his eventual insolvency in 1830. In 1831 he advertised tuition of the Mazurka, Gallopade, Quadrilles, Waltzing at a temporary location until his Premises are repaired (London Courier and Evening Gazette, 30th December 1831). I've not found his name in print thereafter, though it appears that his son (Gattey Hopkins, b.1810) had emigrated to Australia by 1843. Perhaps they both left.

The Hopkins association with Button & Whitaker was brief, it's not clear why he only worked with them for a single year. They replaced Hopkins with Thomas Wilson, and continued working with Wilson for roughly a decade. The Hopkins choreographies for 1811 weren't anything special, their most unusual characteristic being the requirement to lead down 4 couples which appears in many of them. This Hopkinsian lead is sufficiently unique to distinguish his choreographies from almost any other published at the time. Wilson had his own preferred leading movement which was quite different. The general issue of leading in Regency era Country Dances is explored further in another of our research papers. Other unusual Hopkinsian figures include the turn short round figure, and the instruction to be still to the top.

Note: The music publishing company of Paine and Hopkins were active in London c1821-1836. This firm was run by a William Hopkins and John Paine; it's unclear whether William was related to John Hopkins.




Thomas Wilson, in-house choreographer c.1812-1824

Button & Whitaker started working with Thomas Wilson from around 1812. We've previously shared a brief biography of Wilson, and a list of his known publications. By 1812 Wilson was a successful dancing master who's influence was growing; he would go on to become the most prolific writer on dance related subjects the country had ever known, and a major influence on the modern understanding of Regency era dancing. He'd published his Analysis of Country Dancing in 1808, a book that documented Country Dancing in greater detail than had ever been seen before; and a major revision of that same book in 1811. Wilson had strong ideas about the correct system of Country Dancing, and a passion to coerce the public into following his conventions. Wilson had applied scientific methods to his analysis of Country Dancing; he believed that the humble Country Dance could, with a little effort, be engineered to perfection.

Wilson published his second major title in 1809, The Treasures of Terpsichore, a book containing suggested choreographies for over two hundred popular tunes. This book was deceptively important; he included two different sets of figures for most of the tunes, often in a dual single and double arrangement, but with no accompanying music. His provision of alternative figures encouraged his readers to suspend the otherwise implied link between the Tune and Figures; there was no single correct set of figures to dance to any given tune (at least in Wilson's system), his publication emphasised this in a way that most others didn't. We've explored this concept further in another research paper. Moreover, Wilson arranged his figures with mathematical precision and consistency; his figures worked in a way that many other published choreographies simply didn't. He also encouraged having fun with the figures, and introducing complex new arrangements if the company were willing. The book was a success. He printed supplements to it for both 1810 and 1811, and the entire work was republished in 1816.

Figure 6. Flyer for a Wilson Ball, 1809. Courtesy of the British Museum.

Perhaps either Button or Whitaker had read the revised Analysis of Country Dancing and were moved to provide a greater platform for Wilson to operate from; maybe they'd discovered the skill by which he arranged his figures; maybe they were disappointed by the bland arrangements that Hopkins provided; or maybe it was just blind luck that brought them together. Wilson wasn't linked to a specific publisher at this time, though he had sourced the music for his 1809 Treasures of Terpsichore primarily from the catalogues of a rival publisher, Skillern & Challoner. Perhaps both parties were looking around for a suitable partnership. The 1810 and 1811 supplements to Treasures of Terpsichore selected tunes from a wide cross-section of publishers, including from Button & Whitaker

Whatever the motivation, an alliance was formed. Wilson provided figures in his own characteristic style, as previously seen in his Treasures of Terpsichore, for almost all Button & Whitaker dance publications for the year 1812 onwards. He choreographed dances for their own imprints, those under the Thompson's brand, the Le Sylphe and L'Assemblée publications, and the numbered loose leaf editions of their Selection of Dances, Reels and Waltzes. In almost every case he provided both single and double arrangements of the figures. He choreographed figures consistently; for example, his lead down figures would always take 4 bars of music if normalised into long measure. Each publication carried his name on the cover, and many advertised his tuition and the availability of his books too. Wilson's name was strongly associated with the most copious and (arguably) highest quality producer of Country Dancing music in London, and both Wilson and Button & Whitaker will have benefited from this arrangement; they were so closely linked that I'm only aware of a single Country Dancing publication issued after 1812 which appears not have been choreographed by Wilson, that being the Thompson collection for 1814.

Wilson went on to publish other books through Button & Whitaker, and probably mentioned them obliquely in his 1816 Companion to the Ball-Room; commenting on the poor state of the Country Dancing industry he wrote: The Author, however, has the pleasure of knowing one or two publishers, men of talent, who have commenced writing their own dances; by which something beyond the usual standards may be expected to rescue these annual collections from the universal contempt with which they are treated, and the public will have a chance of getting something original and pleasing to the ear. This is probably a reference to John Whitaker, and such unusual arrangements as can be found in his 1816 Paddy Carey (with figures by Wilson) in the 30th edition of the Selection of Dances, Reels and Waltzes.

From 1816 the Wilson and Button & Whitaker alliance resulted in some rather more experimental dance publications being produced. An example can be found in their 31st edition of the Selection of Dances, Reels and Waltzes, which features an early example of a Quadrille. Wilson went on to publish his 1816 Quadrille Instructor through the company, along with some 1817 novelty dances such as La Batteuse, Le Mouinet, L'Etoile Cotillion, and the Favourite Spanish Contra Dance. Wilson didn't publish exclusively through Button & Whitaker, but he clearly relied on them heavily during 1816 and 1817. Later Country Dance collections would include examples of Wilson's Waltz Country Dances, Circular Quadrilles and Quadrille Country Dances, minor variants of the typical Country Dance which fused concepts from the new dance forms that were sweeping the nation. Wilsonian Quadrille Country Dance choreographies are quite rare, one can be found in The Wrestlers from Whitaker and Compy's Twenty Four Country Dances for the Year 1824. It's likely that there were further collaborative publications involving Wilson and Button & Whitaker, sadly the archival records are incomplete... do contact us if you know more.

It's difficult to gauge how influential the Button & Whitaker publications were two hundred years ago, even if (from a modern perspective) they were superior to most of the competition. Country Dance choreographies often (one might almost say usually) contain what appear to be errors, whereas Wilson's Button & Whitaker choreographies don't. The music seems to have been produced by competent composers, and the choreographies arranged for competent dancers - as a modern enthusiast I find the difference to be really quite significant.




Dating the Undated Dance Publications

Dating the 30+ editions of Button & Whitaker's loose leaf selections of Dances has been a challenge. None of them were explicitly dated on their covers, many were republished (perhaps several times), and they weren't published at consistent intervals of time. With a little puzzling an acceptable (to within around a year) dating strategy can be constructed.

Figure 7. Examples from the Selection of Dances, Reels and Waltzes series; numbers 18, 11, 9 and 8.

At least 32 editions of this publication were printed; the covers of several works indicate that they were intended to be Printed Quarterly on Sheets & paged onward for the convenience of Binding (e.g. see Twelve Elegant New Dances for the Year 1810, though the same text appears in many other works). A quarterly publishing cycle may have been anticipated, but insufficient editions were published for that to have been consistently achieved.

Two firm dates can be established. The 7th edition of the series was advertised in The Morning Post on the 10th November 1807: Number VII of Purday and Button's Fashionable Quarterly Selection of Dances, Reels and Waltzes, for the piano-forte. This sheet contains the celebrated Fairy Dance, as originally composed by Sanderson. and seven other by the same Composers (see Figure 8). The 30th edition was advertised (albeit by content rather than name) in The Morning Post on the 24th January 1816: PADDY CAREY - The above popular AIR may now be had arranged as a COUNTRY DANCE by the Composer, Mr. Whitaker, with single and double Figures. Price 1s. By Mr. WILSON. Printed by Button and Co, 75 St. Paul's Church-yard. It's probable that the 7th and 30th editions were published shortly before they were advertised, and that the subsequent publications (the 8th and 31st) were printed some time thereafter.

One of the more obvious dating clues is that the editions were published sequentially; so if we can establish dates for two numbered editions, we can estimate dates for the editions between those dates. It's not an ideal system, but it can be very useful. It's a technique we've previously commented upon when investigating the 1820s Quadrilles of Joseph Hart. But as we'll see, the assumption that editions #8 to #29 were distributed evenly over time (between the dates established for #7 and #30) results in inaccuracies.

A more useful clue comes from the covers of Button & Whitaker's other publications, several of which indicated how many editions of the series were available at time of publication. This reveals the following pattern:

Several observations can be made from this pattern. For example, it appears that no editions were published for the potentially one year interval between publication of 12 Country Dances for 1810 and 12 Country Dances for 1811; it also appears that 24 Country Dances for 1810 was published before 12 Country Dances for 1810, and that the 14th edition was published somewhere between the two of them; it's also clear that editions weren't being published exactly quarterly. We might guess that 12 Country Dances for 1810 was published relatively late in 1810 based on Thompson's 24 Country dances for 1811 apparently being published first (though a printing error can't be ruled out). It's usually the case that if a publication claimed to be for a particular year then it was probably published either early that same year, or towards the end of the preceding year; for example, Button and Purday published an advert in 1807 (Morning Post, 10th November 1807, see Figure 8) that mentioned the availability of Button and Purday's Twelve elegant New Dances for the Year 1808, and Thompson's Twenty-four Country Dances, for 1808. It is therefore possible for an edition to have been published later in the preceding year than a Collection that claims to be for the following year (e.g. the 14th edition could have been published in late 1809 despite despite a collection for 1810 indicating that only editions 1 through 13 were available). This pattern is uncertain however, as it appears that Thompson's 24 Country Dances for 1811 was published before 12 Country Dances for 1810, suggesting that either the Thompson publication was printed surprisingly early in 1810, or the other collection quite late in 1810, or that both were published at unusual times in the year.

Some of the tunes published in the editions are named after historical events and can't have been issued much prior to that event. For example, the 6th edition contains a reference to the play Tekeli that was produced at Drury-Lane from November 1806. Several tunes in the 12th edition are named after Drury-Lane plays of late 1808. The 14th edition contains a tune called The Jubilee, presumably named for the 1809 Jubilee of George III. The 19th edition includes a tune called Regent's Reel, the Regency proper began in 1811. The 30th edition refers to the 1815 Battle of Waterloo. Such ties provide additional dating clues.

Yet another clue can be found from investigating publications by Thomas Wilson. His Treasures of Terpsichore for 1811 included three tunes he claimed to have sourced from Button & Whitaker publications; they came from the 14th and 15th editions, the 15th edition must have existed early enough to have been included. He also included some tunes from Button & Whitaker in his Treasures of Terpsichore for 1810, three of which were from the 14th edition; the 14th edition must have been published early enough to have been referenced by Wilson.

Figure 8. Advert for Button & Purday's New Dances, Morning Post, 10th November 1807.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

Some information can be inferred from comparing the tunes and figures to other Button & Whitaker publications. For example, it's noticeable that the 16th, 17th and 18th editions include figures choreographed by Mr Hopkins (though uncredited as such) and derived from their 1811 publications. The 21st edition is clearly identified as having been choreographed by Mr Wilson, but only half of the content appears to genuinely be Wilsonian; this hints that it may have been published shortly after Wilson started working with them, and before he had chance to choreograph all of the figures for the collection.

The first seven editions were originally published when the company was known as Purday & Button. Most of the early editions I've studied were reprinted under the name Button & Whitaker, but footnotes still refer to the earlier business name. The 30th and 31st editions were published by Button, Whitaker & Company, implying a publication date after George Beadnell had become involved (and perhaps after he'd left).

One further date is known, and it's perplexing. A review in the New Monthly Magazine for October 1817 describes the 23rd edition as a New Musical Publication. The problem is that the 23rd edition can't have been published that late, not when the Le Sylphe publication for 1814 indicated that 24 editions already existed at the date it was published. The review names one of the tunes from the collection as The Grand Duke Nicholas's Waltz, a tune that doesn't exist in the 23rd edition (or in any other edition I know about). I suspect the review misprinted the edition number, and it either referred to a 33rd edition as being newly published in 1817, or transposed the digits of the 32nd edition. The Repository of Arts for January 1818 also carried a review of the 32nd edition (I know of no surviving copies) consisting of five waltzes; the review adds: as the staves are uncommonly crowded, and the music is really good in the main, and well calculated for mere practice, the price of one shilling must be deemed extremely moderate.

Combining all of this information together results in a probable publishing pattern. I estimate that three or four editions were issued most years from 1806 to 1814, with just a single edition in 1810, perhaps two editions in 1811, a single edition in 1815, two in 1816, and one more in 1817. Further editions may have been published after 1817, but I lack the evidence to speculate further. These dates aren't established fact, but they're probably accurate to within one year, which is the degree of accuracy I find useful in order to compare catalogues between publishers. The list of publications, with their estimated dates of first publication, can be found below.




Legal Concerns

Button and his partners, like many other music publishers in the 1810s, began to take an active interest in defending their business through law. They advertised in 1807 that they had purchased the copyright for The Fairy Dance for a considerable sum (The Star, 3rd July 1807) from James Sanderson, and warned their competitors that copying it would result in an action against them. Their c.1808 9th edition started to identify specific tunes as being subject to copyright, the c.1809 14th edition was the first to be entirely marked as subject to copyright. In 1812 the composer William Reeve published letters in the press in support of Button and Whitaker in relation to a song of his called Robin Adair. Reeve had sold the copyright to them, and was warning the public against purchasing any of the eight piratical or fraudulent copies he knew of (for example, Morning Chronicle, 7th January 1812).

We've previously investigated John Whitaker's expert testimony in an important 1818 copyright trial between Christopher Gerock and John Charles White. That Paper explores the general issues in greater detail than can be covered here, suffice to say that it wasn't their only brush with the law. Button & Whitaker appear to have been strong proponents for copyright, so it's a little ironic that they too would be accused of misconduct in 1815.

There could have been many such cases, but one encounter with the composer and publisher James Platts was reported upon in the press in 1815. Button and Whitaker had published a tune called Prince Kutusoff in their c.1813 24th edition, they apparently warned Platts against pirating it; he published a different tune called General Kutusoff in the c.1813 34th edition of Platts' Popular and Original Dances. The precise chronology of publication for these tunes isn't obvious, but it seems that Platts decided to retaliate against their legal posturing. Platts requested a July 1815 injunction against Button and Whitaker for pirating of five tunes for which he owned the copyright, including the tunes of Michael Wiggins (from the c.1813 21st edition) and The Tank (from the c.1812 18th edition). The injunction was refused on procedural grounds because Platts had not made an affidavit of title in a timely fashion. A detailed report of the proceedings was printed in the Public Ledger & Daily Advertiser for the 28th July 1815 (see Figure 9):

Figure 9. Button & Whitaker in Court, Public Ledger and Daily Advertiser, 28th July 1815.
Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)
Mr Hart stated this to be a motion on the part of the plaintiff for an injunction to restrain the defendants, who are music sellers in St. Paul's Church-yard, from publishing five dances which the plaintiff (another music-seller) declared to be his property. The plaintiff's affidavit set forth that in 1799 he had composed a dance called Zodiac, or Zoid's new Dash; that in 1801, he composed another dance called Michael Wiggins; that in 1806 he purchased of Mr Nicholson the copyright of a dance composed by that gentleman, called Hemley Castle; in 1814 he purchased the copyright of a dance composed by a Mr. Branmer, called the Saxon dance; and subsequently that of a dance composed by Lady Ashbrook, called Fern-hill, or the Tank. These dances he accused the defendants with pirating, by publishing them, with some variations, in a periodical music work of theirs, entitled Button and Whitaker's Collection of Dances, Reels and Waltzes.

Mr. Trollope followed on the same side, and in the course of his argument mentioned the word Waltz.

The Lord Chanceller said, Pray, Mr. Trollope, have the goodness to explain to me what a Waltz is?

Mr. Hart said it might be rather difficult to explain in words what a Waltz was, but he had no doubt Mr. Trollope would shew his lordship the motions of the dance.

Sir S. Romilly, for the defendants, contended, that the plaintiff had made no affidavit as to his title in these dances until after the affidavits of the defendants had been put in. The defendants swore, that they copied the dances in question from publications of Mr. Clementi, Mr. Preston, and other respectable music sellers; and besides that, they did not believe them to be so late compositions as the plaintiff had represented them to be. The defendants also swore, that they did not believe this injunction would have been moved for if they had not warned the plaintiff against pirating a dance composed by them, called General Kutusoff.

The Lord Chancellor refused the injunction, and said, that if the plaintiff wished for any remedy, he must bring the action against the defendants. He refused the motion for an injunction because he could not determine whether the compositions claimed by the plaintiff were original or not; and more especially, because he had not made his title to them until he had seen the affidavits of the defendants in answer.

This motion excited the general mirth of the Court.

It's interesting that Button and Whitaker claimed to have copied the tunes from the rival publications of Clementi and of Preston, implying that this was a common activity between publishers. Presumably neither Clementi nor Preston had indicated that the tunes were subject to copyright, such that Button & Whitaker had believed them to be free of any encumbrance.




Button & Co's Selection of Dances, Reels and Waltzes

The table below contains a list of Button & Whitaker's numbered editions of their selections of dances, reels and waltzes. Links are included where available, as are my best estimate of the publication dates. If you have copies of any of the missing collections, do consider scanning or photoing them, and sharing the images with the community of enthusiasts who enjoy recreating these dances. If you'd like assistance in doing that, please Contact Us. It'd be great if enthusiasts could view these publications without having to visit a research library!



Work & DateImageComments

#1 of Button & Whitaker's Selection of Dances, Reels, Waltzes &c.
c.1806

The contents are: Off She Goes, Sir David Hunter Blair's Reel, Molly put the Kettle on, Or Barney Leave the Girls Alone, Merrily dance'd the Quakers Wife, Lady Harriet Lee's Waltz, Murphy Delaney, Paddy O Rafferty, The new Rigg'd Ship, Cory Owen.

Full Title: #1 of Button & Whitaker's Selection of Dances, Reels Waltzes &c. for Piano-forte, Harp, Violin & German Flute with Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#2 of Button & Whitaker's Selection of Dances, Reels and Waltzes &c.
c.1806

The contents are: Mad Moll, Weymouth Waltz, The Honey Moon, Drops of Brandy, Cupid in Ireland (by S. Hale), Caro Dolce, New Belle Latiere (by Voigt), The Royal Waltz (by Voigt), What I Love.

Full Title: #2 of Button & Whitaker's Selection of Dances, Reels, and Waltzes, for Piano Forte, Harp, Violin & German Flute, with Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#3 of Button & Whitaker's Selection of Dances, Reels and Waltzes &c.
c.1806

The contents are: Duchess of Manchester's Fancy (by Terrail), Lady Mary Douglas, Fanny of Timmol (by J.A.H.), Del Caro's Hornpipe, The Go at Brighton (by Terrail), Dermot O Doddipoles Jig (by J.A.H.), Turnpike Gate, Mr Mellish's Rant (by Terrail), Come out to Play (by J.A.H.).

Full Title: #3 of Button & Whitaker's Selection of Dances, Reels, and Waltzes, for Piano Forte, Harp, Violin & German Flute, with Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#4 of Button and Whitaker's Selection of Dances, Reels & Waltzes &c.
c.1807

The contents are: Mr Lambert's Hornpipe, or the Leicester Frolic (by Birch), Mr Skeffington's Hornpipe (by Birch), Cream of the Jest (by Purday), Lord Melville's Reel (by Purday), Burn the Bellows (by Purday), Nobody Coming To Marry Me, New Dash, or Zoiac, Gallop on Gaily.

Full Title: #4 of Button and Whitaker's Selection of Dances, Reels, & Waltzes, For Piano Forte, Harp, Violin & German Flute, with Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#5 of Purday & Button's Selection of Dances, Reels and Waltzes &c.
c.1807

The contents are: The Tars of the Victory (by Mr Bramah), Sir Richard Strachan, The Muses, Lady Caroline Lee's Waltz, Step Sure, The Castillian, The College Hornpipe, Lightly Trip.

Full Title: #5 of Purday & Button's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin & German Flute, with Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#6 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1807

The contents are: The Talisman, Tekeli, New Claret, or Smash the Windows, Paddy O'Carol, Miss Johnston (of Houghton Hall), Lord Moira's Welcome to Scotland, Go to the Devil and shake yourself, Miss Billingcroft's Waltz.

Full Title: #6 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin & German Flute, with Figures. Pr 1s.

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#7 of Button & Whitaker's Selection of Dances, Reels and Waltzes
1807

The contents are: The Fairy Dance (by Mr Sanderson), Mrs Fitzherbert's Fancy (by Mr Sanderson), Five miles off (by Mr Sanderson), Mrs Pincot's Jigg (by Mr Sanderson), Miss Giroux's Waltz (by Mr Sanderson), Fisher Boy's Dance (by Mr Sanderson), Mr Richer's Waltz (by Mr Sanderson), Columbine's Dance in Guy of Warwick (by Mr Sanderson).

Full Title: #7 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Composed by Mr Sanderson. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#8 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1808

The contents are: The Labyrinth, Lady Mary Bentick's Fancy, The Nameless, Shaddie, Largo's Fairy Dance, Pandean Dance in Tekeli, Ap Shenkin, The Triumph.

Full Title: #8 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin & German Flute. With Figures. Pr 1s.

#9 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1808

The contents are: Major (or Miss) Spicer, Time's a tell Tale, Will you say Yes, say Yes (CR), The Jew of Mogadore (CR), Caractacus (CR), Miss Gayton's Fancy (CR), Who Wins (CR), Sir Gilbert Go Softly.

Full Title: #9 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

#10 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1808

The contents are: Knole Park, Kinloch of Kinloch, Twyford Grove, or Non Si Ispi, Lady Montgomery's Reel, Retour Du Zephyr, The Bridge of Lodi, The Ridicule, Madame Catalani's Waltz.

Full Title: #10 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#11 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1809

The contents are: The Exile (CR), Morgiana, The Spanish Patriots, Lord Cathcart's Welcome to Scotland, Caller Herring, Marchioness of Tavistock's Waltz, Miss Bristow's Celebrated Pas Seul, The Fairy Prince.

Full Title: #11 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

#12 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1809

The contents are: The Runaway, The Siege of St Quintin (CR), Venoni (CR), The Collizzi, Prince Dolgorucki, Ella Rosenberg, The Irish Washerwoman, The Kinnegan Slashers.

Full Title: #12 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#13 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1809

The contents are: Flora Macdonald, The Sylph, or Self, The Italian Monfrida, The Prime of Life, Up all Night (CR), The Russian Dance, or Opera Hat, Honest Men and Bonny Lasses, The Gallop.

Full Title: #13 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#14 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1809

The contents are: The Jubilee (CR), This is the House that jack built (CR), Fun and Fiddles (CR), Native Talent (CR), Lady Harriet Clive's Favorite (CR), Covent Garden Row (CR), Mr W. Parker's Fancy (CR), Miss Eddie's Waltz (CR).

Full Title: #14 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#15 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1810

The contents are: Morning Star, Persian Dance, The Tower Hornpipe (CR), Hit or Miss (CR), Bang up (CR), The Burdett (CR), Morgiana in Ireland, Johnny Raw (CR).

Full Title: #15 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#16 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1811

The contents are: La Terza, Winny Wilkins (CR), Michael Wiggins in Ireland, Countess of Pembroke's Fancy (CR), Henley Park, Lady Mary, Countess of Carnarvon's Strathspey (CR).

Full Title: #16 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#17 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1811

The contents are: Lord Wellington, Sprigs of Laurel, Julien's Cottage, Miss Dashwood's Favorite (CR), The Turban (CR), The Spanish Cloak (CR), Juliana, The Fragrant Rose (CR).

Full Title: #17 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#18 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1812

The contents are: Miss Tilney Long's Favorite (CR), The Tank, Guaracha Dance, Voulez Vous Dansez Mademoiselle, or the Portuguese Dance, Haverstock Hill (CR), Morgiana in Spain, Miss Hill's Favorite (CR), Countess of Gosford's Fancy (CR).

Full Title: #18 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

#19 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1812

The contents are: The Recovery, Culver Lodge, The New Opera Hat, Lord Erskine's Whim (CR), General Graham (CR), The Departure, Hampstead Heath (CR), Regent's Reel (CR).

Full Title: #19 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Figures. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#20 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1812

The contents are (source: an index in #30): The Toy, The Raffle, The Basket Hornpipe, The Muses, Lots of Kisses, Hey Day, The Bank Token, Marmont's Retreat.

#21 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1813

The contents are: Kitty's Cottage (CR), The Retiro (CR), The Hop Pickers (CR), The Sandal (CR), Michael Wiggins, Cornhill Comfort, Copenhagen or Danish Waltz, Georgiana.

Full Title: #21 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute, With Double & Single Figures to each Dance by Mr Wilson. Pr 1s.

Image © VWML, EFDSS

#22 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1813

The contents are (source: an index in #30): Mice in the Cupboard, The Clown, The Encore, The Barbara, Lady Egremont's Waltz, The Euphrates, Lady Frances Pratt's Fancy, The Larkin.

#23 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1813

The contents are (source: an index in #30): The Regency, Lady Olivia Sparrow's Hornpipe, Here and There, Salamanca Castanets, The Golden Pheasant, The Bubble, Draycot Lodge, I'll gang nae mair to yon Town.

#24 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1813

The contents are (source: an index in #30): Mrs McLeod, Isle of Sky, Le Blanc Chapeau, Prince Kutusoff, Salamanca, St Patrick's Day in the Morning.

#25 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1814

The contents are (source: an index in #30): Lady Caroline Bertie, Don Pedro, Lord Dalhousie's Waltz, The Will, The Prince Regent's Medley.

#26 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1814

The contents are (source: an index in #30): Argyle, My Uncle's Spectacles, Crown Prince of Sweden's Waltz, Cossack Dance, Middling thank you, Hunting the Slipper, Lady Matilda Bruce, The Marchioness of Headfort's Waltz.

#27 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1814

The contents are: Enrico, Miss Gayton's Hornpipe (CR), Odd Stockings (CR), Lord Clinton's Welcome to England (CR), The Old Commodore (CR), The Funny (CR), The Dowdy (CR), Clarissa (CR).

Full Title: #27 of Button & Whitaker's Selection of Dances, Reels and Waltzes, For The Piano Forte, Harp, Violin or German Flute. With Double & Single Figures to each Dance by Mr Wilson. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#28 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1814

The contents are (source: an index in #30): Orange Boven, Bath Waltz, In and Out, My Mother's Coming In, Miss Fiddle Faddle, Thistle Down, Old England's Heroes, The Sequel.

#29 of Button & Whitaker's Selection of Dances, Reels and Waltzes
c.1815

The contents are (source: an index in #30): Emperor of Russia's Waltz, The White Cockade, Lord St Orville, The Sociable, Scillian Dance, The Commisary, The Hamburgh Waltz, The Mystery.

#30 of Button, Whitaker & Compy's Selection of Dances, Reels and Waltzes
c.1816

The contents are: Bavarian, or Tyrolese Waltz, The May Moon, Paddy Carey (CR), Isle of France, or Waterloo, Cambridge Waltz (CR).

Full Title: #30 of Button, Whitaker & Compy's Selection of Dances, Reels and Waltzes, for The Piano Forte, Harp, Violin or German Flute, With Double & Single Figures to each Dance by Mr Wilson. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#31 of Button, Whitaker & Compy's Selection of Dances, Reels and Waltzes
c.1816

The contents are: The Celebrated National Waltz, Quadrille 1 (CR), Quadrille 2 (CR), Quadrille 3 (CR), Quadrille 4 (CR), Quadrille Finale (CR).

Full Title: #31 of Button, Whitaker & Compy's Selection of Dances, Reels and Waltzes, for The Piano Forte, Harp, Violin or German Flute, With Double & Single Figures to each Dance by Mr Wilson. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, g.230.aa ALL RIGHTS RESERVED

#32 of Button, Whitaker & Compy's Selection of Dances, Reels and Waltzes
1817

The contents were reviewed in the early 1818 edition of The Repository of Arts, Literature, Fashions, Manufactures, &c here, and may be referenced in the The New Monthly Magazine and Universal Register for October 1817 here (with the digits transposed into No 23 rather than No 32).




Button & Co's Dated Country Dance Collections

The table below contains a subset of the Purday & Button and Button & Whitaker publications that are explicitly dated for a given year, together with those of their immediate successor companies. It only includes the works that I've been able to study, including those under the Thompson's brand; it omits the separate series printed for Mr Gray by Thompsons from 1803 (they span the period of time both before and after the transfer of Thompson's assets to Button & Purday). There are numerous gaps in the sequence. Links are included where available; if you have copies of any of the missing collections, do consider scanning or photoing them, and sharing the images with the community of enthusiasts who enjoy recreating these dances. If you'd like assistance in doing that, please Contact Us, we'd be happy to help.



Work & DateImageComments

Purday and Button's Twenty Four Country Dances for the Year 1806

The contents are: Disbanded Soldier, Fiddle Away, Sir Robert Calders Hornpipe, Here We Go, The Bishops Jig, Something To Please Us, Keep It Up, The Go At Brighton, Good Morning, Good Night, Duchess of Devonshire's Reel, Baron Stevenson's Delight, The Maid of Cranford Green, Don't Stand Still, Giroux Hornpipe, The Go At Margate, What I Love, Turn Out Your Toes, The Reconciliation, Duchess of Manchester's Fancy, Good Bye Sorrow, The Windsor Castle, Mr Mellish's Rant, Jenny Gray.

Full Title: Purday and Button's Twenty Four Country Dances for the Year 1806, Adapted for the Violin, Flute and Hautboy. Price 1s.

Image © VWML, EFDSS

Purday and Buttons's Twenty Four Country Dances for the Year 1807

The contents are: The Pall Mall Squeak (by Birch), I wont be kissed (by Birch), Five Miles off (by Sanderson), McLambert's Hornpipe (by Birch), The Parson's Frolic (by Birch), Beware of Love (by Birch), Miss Giroux Waltz (by Sanderson), Mrs Pincot's Hornpipe (by Sanderson), Mrs Fitzherbert's Fancy (by Sanderson), Fisher Boy's Dance (by Sanderson), Brisk & Airy (by Purday), Mr Richer's Waltz (by Sanderson), Braham's Allemande (by Purday), Lord Melville's Reel (by Purday), Mr Skeffington's Hornpipe (by Birch), Jefferys's Wriggle (by Birch), Columbine's Dance in Guy of Warwick (by Sanderson), You tread on my toe (by Birch), Cream of the Jest (by Purday), Honble Miss Poyntz's Waltz (by Purday), My Garter's Loose (by Birch), Burn the Bellows (by Purday), Quiz the Cuckold (by Birch), Fairy Dance (by Sanderson).

Full Title: Purday and Button's Twenty Four Country Dances for the Year 1807, Adapted for the Violin, Flute and Hautboy. Price 1s.

Image © VWML, EFDSS

Thompson's Twenty Four Country Dances for the Year 1807

The contents are: Fly by Night, The Prince's Feather, At it Again, Lord Brahams Allemand, Carlton House Hornpipe, Happy Moments, Mrs Fitzherbert's Waltz, Sir Sydney Smith's Hornpipe, Diamond Cut Diamond, Dancing Days, My Uncle, Jupiter Jolly, Now or Never, Catch Her Who Can, New and Natty, News of the Day, Nearly and Dearly, Princess Elizabeth's Waltz, Music and Mirth, Whim of the Minute, Bond Street Bucks, Peace & Plenty, Lord Henry Petty's Hornpipe.

Full Title: Thompson's Twenty Four Country Dances for the Year 1807, With Figures to each as they are Performed at Court, Bath & all Publick Assemblies. Price 1s.

Purday & Button's Twelve Elegant New Dances for the Year 1808

The contents are: The Fair Slave (by Sanderson), Miss Maria Buckley's Delight, Dutchess of Marlborough's Reel, The False Friend (by M.P. Corri), Marchioness of Abercorn's Waltz (by Voigt), Miss Harriot Maher's Reel, Errors Excepted, The Talisman (by Sanderson), The Mysterious Freebooter (by M.P. Corri), Sir Francis Burdett's Waltz, Lady Emily Percy's Waltz, or La Contrariante (by von Esch), Giroux's African Dance in the Fair Slave (by Sanderson).

Full Title: Purday & Button's Twelve Elegant New Dances for the Year 1808, arranged for the Harp or Piano Forte, With correct Figures as Danced at Court, Bath, Brighton & all Polite Assemblies. Price 1/6.

Image © THE BRITISH LIBRARY BOARD, b.55.h.(3.) ALL RIGHTS RESERVED

Thompson's Twenty Four Country Dances for the Year 1808

The contents are: The Brave Cossack, The Ocean Fiend, Peter the Great, Mrs. Bland's Fancy, Miss Harriot Maher's Reel, Miss Maria Buckley's Delight, Errors Excepted, The Dutchess of Marlborough's Reel, Lewes Races, Drops of Hollands, Drops of Rum, The Golden Egg, The Fortress, Marchioness of Abercorn's Waltz (by Voigt), Dutchess of Brunswick's Return, Rouge et Noir, Brighton Races, The Fair Slave (by Sanderson), The False Friend (by M.P. Corri), The Talisman (by Sanderson).

Full Title: Thompson's Twenty Four Country Dances for the Year 1808, Adapted for the Violin, Flute and Hautboy. Price 1s.

Image © THE BRITISH LIBRARY BOARD, a.9.bb.(8.) ALL RIGHTS RESERVED

Button and Whitaker's Twenty Four Country Dances For the Year 1809

The contents are: Phesim Dumbuggin, The Young Quaker, The Irish Recruit, Lady Roslyn's Rout, Col: Greville's Waltz, Sir William Curtis's Reel, Tommy Tick, The Strasburgh Waltz, Major O'Flarty, Miss Gayton's Hornpipe, The Lads of Wicklow, Tandem, The Africans, The Vienna Waltz, Molly Brown's Whim, Merrily Trip It, Whistle for it, William & Jonathan's Waltz, Queen Pulkawalkas Waltz, Poor Jenny, John Bull's Dream, The Waterman's Hornpipe, The Meclenburgh Waltz, Tipperary Waltz.

Full Title: Button and Whitaker's Twenty Four Country Dances with Figures For the Year 1809, Adapted for the Violin, German Flute or Oboe.

Button and Whitaker's Twelve Elegant New Dances for the Year 1810

The contents are: The Hopeless, Kitty Kickaway, Countess of Hardwicke's Favorite, Fitz Ugly, The Jubilee, Covent Garden Row, The Way to be Happy, Dancing Hearts, Fun and Fiddles, Felicity, Mrs Whitbread's Waltz, Lady Harriet Clive's Favorite.

Full Title: Button and Whitaker's Twelve Elegant New Dances for the Year 1810, arranged for the Harp or Piano Forte, With correct Figures as Danced at Court, Bath, Brighton & all Polite Assemblies. Price 1/6.

Button and Whitaker's Twenty Four Country Dances For the Year 1810

The contents are: Lady Harriet Clive's Favorite, Sir William Curtis's Jigg, Countess of Powis's Fancy, Pease Pudding and Oyster Sauce, Willy Wimble's Favorite, Jet Teeth, Mrs Whitbread's Waltz, Sir T.H. Liddell's Favorite, Lady Frances Pratt's Fancy, Open the Windows, Lilly Lips, Walcheren Waltz, Lady Mark Kerr's Reel, Mrs Ridley Colborne's Waltz, Red Breeches and Black Stockings, Sweet Susan of the Garret, The Hopeless, Green Sandals, Gout for Ever, Boil'd Goose with Snuff Sauce, Kitty Kick-away, Baked Leg of Pork and Potatoes, Countess of Hardwicke's Favorite, Fitz Ugly.

Full Title: Button and Whitaker's Twenty Four Country Dances, with Figures: For the Year 1810, Adapted for the Violin, German Flute or Oboe.

Thompson's Twenty Four Country Dances for the Year 1810

The contents are: Henry Hase's Fancy, Barrister's Brass, Brick Broth, Native Talent, John Bull at Bow Street, Catalani's Wriggle, Mr. Memden's Waddl, A Coach a Coach, Twelve O Clock, Nosie, Keep it up, Miss Roberts's Waltz, Mr. Blewitts Frolic, Rump Wriggle at Vauxhall, Dirty Boots, British Wool, Miss Davis's Waltz, O' Blarney, Miss Bristow's Hornpipe, Flannel for Ever.

Full Title: Thompson's Twenty Four Country Dances for the Year 1810, Adapted for the Violin, Flute and Hautboy. Price 1s.

Image © THE BRITISH LIBRARY BOARD, a.9.bb.(9.) ALL RIGHTS RESERVED

Button and Whitaker's Twelve Elegant New Dances for the Year 1811

The contents are: Winny Wilkins, Miss Dashwood's Favorite, Countess of Pembroke's Fancy, The Spanish Cloak, The Turban, Countess of Carnarvon's Strathspey, Worthing Waltz, The Fragrant Rose, Be A Good Boy and Take Care of Yourself, Wooden Shoes, The Random, Lord Wellington's Reel.

Full Title: Button and Whitaker's Twelve Elegant New Dances for the Year 1811, arranged for the Harp or Piano Forte, With correct Figures by Mr Hopkins, as Danced at Court, Bath, Brighton & all Polite Assemblies. Price 1/6.

Image © THE BRITISH LIBRARY BOARD, b.49.c.(1.) ALL RIGHTS RESERVED

Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1811

The contents are: Lubin & Mary, The Wedding Bells, Henry, Beware of the Cuckoo, Fragrant Rose, Damask Rose, I will not have you Harry, O come to the Dale, Be a good Boy & take care of yourself, Blanch of Devan, Lady of the Lake, Fair Ella, Pit Pat, The Queen's Waltz, Marmion, Be a good Girl & take care of yourself, The Mail Coach, The Random, Margate Waltz, Hey Betsy Bungay, Lord Hawke's Favorite, Ramsgate Pier, Richmond Park, Windsor Castle.

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Hopkins, for the Year 1811, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

Thompson's Twenty Four Country Dances for the Year 1811

The contents are: Lady Buller's Reel, The Old Woman's Dance, Lord Heathfield's Hornpipe, Morval House, Jemmy Jingle's Hornpipe, The Turkish Dance, Greenwich Waltz, Limerick Jig, The Triple Courtship, Lord Bradford's Hornpipe, Hurly Burly, Lord Bradfords Hornpipe, The Bride's Waltz, Tippety Witchet, Cupid's Arrow, Mrs Grundy's Hornpipe, The Minstrel's Waltz, The Green Spencer, Paddy O Dockerty, Bombastes Furioso, Paddy O Carey, Lady Belmont's Reel, The Blue Mantle, Twenty Years Ago.

Full Title: Thompson's Twenty Four Country Dances, The Figures by Mr Hopkins, For the Year 1811, Adapted for the Violin, German Flute or Oboe.

Image © VWML, EFDSS

Button and Whitaker's Twelve Elegant New Dances for the Year 1812

The contents are: Miss Tilney Long's Favorite, Lord Gosford's Triumph, Mr Wellesley Pole's Favorite, Caen Wood, Miss Hoare's Waltz, Haverstock Hill, Lord Erskine's Whim, Countess of Gosford's Fancy, Hampstead Heath, Miss Hill's Favorite, Harrow on the Hill, Highgate Tunnel.

Full Title: Button and Whitaker's Twelve Elegant New Dances for the Year 1812, arranged for the Harp or Piano Forte, With correct Figures by Mr Wilson, as Danced at Court, Bath, Brighton & all Polite Assemblies. Price 1/6.

Image © Bangor University

Button and Whitaker's Twenty Four Country Dances for the Year 1812

The contents are: Lord Erskine's Whim, Miss Hill's Favorite, Countess of Gosford's Fancy, Hampstead Heath, Windsor Castle, Highgate Tunnel, The Regency Waltz, Harrow on the Hill, The Hone George Villier's Waltz, Mr Perceval's Favorite, Miss Tilney Long's Favorite, Hounslow Heath, Haverstock Hill, Miss Hoare's Waltz, Lord Gosford's Triumph, Mr Wellesley Pole's Favorite, Little Rosa, Duke of Richmond's Fancy, Colonel ? Fancy, One O'Clock, Tambourina, Lots of Kisses, Caen Wood, Mr Buxton's Whim.

Full Title: Button and Whitaker's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1812, Adapted for the Violin, German Flute or Oboe. Pr 1s.

Button and Whitaker's Twenty Four Country Dances for the Year 1813

The contents are: The Toy, The Raffle, Lady Frances Pratt's Fancy, Lady Egremont's Waltz, Lady Olivia Sparrow's Hornpipe, Here and There, My Mother's coming in, Tar and Feathers, Hunting the Slipper, Bits and Scraps, Middling thank you, The Funny, The Salamanca Castanets, Mad Cap, Old England's Heroes, The Bubble, Marmont's Retreat, The Dowdy, In and Out, Clarissa, The Marchioness of Headfort's waltz, The Sequel, The Basket Hornpipe, Thistle Down.

Full Title: Button and Whitaker's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1813, Adapted for the Violin, German Flute or Oboe. Pr 1s.

Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1813

The contents are: Hey Day, Miss Fiddle Faddle, At it again, The Bank Token, Smut's Hornpipe, Kitty's Cottage, The Retiro, Mrs Glover's Hornpipe, Supper is Ready, I'm quite tired, The Clown, My Purse is empty, Now for it, The Sandal, The Hop Pickers, The Golden Pheasant, The Encore, Mice in the Cupboard, Marmont's Mistake, The Stirrup, Lord Clinton's welcome to England, My Uncle's Spectacles, Odd Stockings, The Old Commodore.

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1813, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, a.9.u.(2.) ALL RIGHTS RESERVED

Thompson's Twenty Four Country Dances for the Year 1813

The contents are: The Domino, The Mecklenburgh Waltz, Aspley House, Duchess of Richmond's Waltz, Time and Truth, Delight, Poundisford Lodge, Miss Bedford's Waltz, Black Stockings with Yellow Clocks, Olivia, Flora's Whim, Lochlomond Reel, The Lord Mayor's Whim, Miss Brown's Waltz, Davy Jones, Duke of Cumberland's Waltz, Mr Pulltusk, Pantaloon, The Fisherman's Hornpipe, The Cobler's Hornpipe, The Flam, The Tar for all Weathers, Cleveland House, Goose Wing.

Full Title: Thompson's Twenty Four Country Dances, The Figures by Mr Wilson, For the Year 1813. Adapted for the Violin, German Flute or Oboe.

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Button and Whitaker's Twenty Four Country Dances for the Year 1814

The contents are: Captain Brooke's Hornpipe, The London Waltz, Angelina, The Cistern, The Letter, Come let us all be merry, The Hamburgh Waltz, The Hackney Coach, The Lord Mayor's Waltz, The Carpenter, Lord Aberdeen's Hornpipe, The Vittoria Waltz, Le Blanc Chapeau, The Summer Retreat, You are too civil by half, Skip Jack, Don Felix, Waltz without a name, Fidget, The Elopement, The Alarm, The Saucy Shannon, The Commisary, The Mystery.

Full Title: Button and Whitaker's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1814, Adapted for the Violin, German Flute or Oboe. Pr 1s.

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Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1814

The contents are: Miss Margaret Hill's Waltz, The Sea Gull, Frog in the middle, The Cricket, The Fool's Cap and Bells, Mother Bunch, St Patrick's Day in the Morning, Adieu mon Amis, Admiral Warren's Waltz, The Sulky, Gaffer Goosecap, Lady Cowslip, Miss Maria Hill's Waltz, The Daisied Mead, Princess of Wales's Fancy, The Daffodil, The Canterbury Waltz, The Vauxhall Fete, The Express, The Strand Bridge, Morgiana at Richmond, The Haycock, The Trunk, The Worthing Hornpipe.

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1814, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

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Thompson's Twenty Four Country Dances for the Year 1814

The contents are: Marquis of Wellington's Quick Step, Miss Cunningham's Fancy, Maria McLeod's Reel, The Surry Hornpipe, The Plymouth Hornpipe, The Devonshire Rout, Trip to Wales, The Prince Regent, The Lady of the Lake, The Pandeans, Knights of Snowdoun, Blandford House, The Tea Pot, The Bunch of Keys, The Surtuout, The Dollar, The Spanish General, Miss Jordan's Fancy, The Negro Dance, The Cavendish Waltz, The Portsmouth Hornpipe, Lord Clinton's Welcome to England, The Foil, The Pigeon.

Full Title: Thompson's Twenty Four Country Dances, with Figures, For the Year 1814. Adapted for the Violin, German Flute or Oboe.

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L'Assemblée, or Forty Eight Elegant New Dances for the Year 1814 (Book 2)

The contents are: Le Blanc Chapeau, The Summer Retreat, The Pigeon, The London Waltz, Angelina, The Letter, The Hamburgh Waltz, The Cistern, Come Let Us All Be Merry, You Are Too Civil By Half, Don Felix, The Hackney Coach, The Lord Mayor's Waltz, The Carpenter, The Salutation, The Glide, Skip Jack, Waltz, without a Name, Fidget, The Elopement, The Alarm, The Saucy Shannon, The Commisary, The Mystery, Miss Margaret Hill's Waltz, The Sea Gull, Frog in the Middle, The Cricket, The Fool's Cap and Bells, Mother Bunch, The Pursuit, Adieu Mon Amis, Admiral Warren's Waltz, The Noddy, Gaffer Goosecap, Je Ne Veux Pas, The Vittoria Waltz, The Daisied Mead, Princess of Wales's Fancy, The Daffodil, The Canterbury Waltz, The Vauxhall Fete, The Express, The Haunted House, The Guinea Pig, Comment Vous Portez Vous Mademoiselle, The Gordon Rant, The Round Table.

Full Title: L'Assemblée, or Forty Eight Elegant New Dances for the Year 1814, arranged for the Piano Forte or Harp, With Single and Double Figures to each Dance by Mr Wilson. Price 3s.

Button, Whitaker and Beadnell's Twenty Four Country Dances for the Year 1815

The contents are: Llanthony Abbey, The Sopha, The Princess Charlotte's Waltz, The Oldenburgh Bonnet, The Princess of Wales's Waltz, St James's Park, The Chaplet, The Post Office, The Gondola, The Harp, The Turret, Cranbourn Lodge, The Diadem, Warwick House, Miss Knight's Favorite, Prince Schwartzenberg's Favorite, Balsam of Two-lips, Duke of Sussex's Waltz, Duke Angouleme's Fancy, The Bourbon Hornpipe, Lord Stanhope's Whim, The Shannon, The Hyde Park Waltz, The Balloon.

Full Title: Button, Whitaker and Beadnell's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1815, Adapted for the Violin, German Flute or Oboe. Pr 1s.

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L'Assemblée, or Forty Eight Elegant New Dances for the Year 1815 (Book 3)

The copy at the VWML is missing two pages, and its cover.

The contents are: The Princess Charlotte's Waltz, The Turret, Llanthony Abbey, The Sopha, The Oldenburgh Bonnet, The Chaplet, The Post Office, The Gondola, The Harp, Cranbourn Lodge, The Princess of Wales's Waltz, The Shannon, St James's Park, Warwick House, The Diadem, Prince Schwartzenberg's Favorite, Miss Knight's Favorite, Balsam of Two-Lips, Duke of Sussex's Waltz, The Bourbon Hornpipe, Duke Angouleme's Fancy, Lord Stanhope's Whim, The Hyde Park Waltz, The Balloon, The Tilt, The Knight Errant, The Lyre, The Serpentine Fleet, The Canopy, The Cuckoo Dance, The Trumpet Waltz, The Temple of Concord, The Parade, The Warsaw Dance, The Park Gate, A Glass of Lemonade, The Decanter, The Dun, Broken Windows, Wish Wash.

Full Title: L'Assemblée, or Forty Eight Elegant New Dances for the Year 1815, arranged for the Piano Forte or Harp, With Single and Double Figures to each Dance by Mr Wilson. Price 3s.

Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1816

The contents are: The Bellerophon, The ?? ???, ???, The Maid and the Magpie, A Chip of the Old Block, The Proxy, The Dial, The Steam Packet, Gas Lights, The Wafer, Dusty Roads, Old Square Toes, The Spark, ?, Rucher? Ruby Lips, The Poacher, Jerry go Nimble, The Mansion House, You're a Deceiver, Go not yet, I'm your's for ever, Old Stingo, The Seal, It's all over.

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1816, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

Thompson's Twenty Four Country Dances for the Year 1816

The contents are: Jessy of Dumblaine, The Grasshopper, The Duke of Sussex's Favorite, Diamond cut Diamond, The Woodman's Cot, Tyrolese Dance, Little Jesica, Claret, The Cambridge Waltz, The Woodpecker, Turkish Dance, The Gadder, The Duke of York's Waltz, Miss Quick, The Loggerhead, Past 10 O'Clock, Drops of Whiskey, Fair Helen, A Trip to Flanders, The Duke of Wellington's Waltz, Matilda's Favorite, The Postman, Lady Manners's Waltz, The Umbrella.

Full Title: Thompson's Twenty Four Country Dances, with Figures by Mr Wilson, For the Year 1816. Adapted for the Violin, German Flute or Oboe.

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Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1817

The contents are: The Bazaar, The Teaser, The Wedding Waltz, Buckingham House, Alderman Wood's Favourite, The Charter, The Guildhall Waltz, Waterloo Bridge, The American Waltz, The Philter, The Physiognomist, The Scotch Cake, The York Waltz, The Merry Party, Moon-beams, Scarborough Waltz, Hurry Scurry, My Landlady, The Windsor Hornpipe, The Old Maid's Waltz, The Old Bachelor's Hobble, Billy Risk, The Urchin, The Metronome.

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1817, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

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Thompson's Twenty Four Country Dances for the Year 1817

The contents are: The Favourite, The Village Trick, The Algerine Waltz, The Lobby, Mrs Modish, The Starer, The Brompton Waltz, The Bounce, The Hackney Waltz, The Fop, Fanny Lisp, Frolicsome Kitty, Meg Merrilies, The Prodigious Waltz, Guy Mannering, The Tiresome, The Ditto, The Bore, The Upset, Slandering Bessy, Never mind it, The Beau's Waltz, The Whisker, The Dupe.

Full Title: Thompson's Twenty Four Country Dances, with Figures by Mr Wilson, For the Year 1817. Adapted for the Violin, German Flute or Oboe.

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Button, Whitaker and Compy's Twenty Four Country Dances for the Year 1818

The contents are: Lalla Rookh, The Terrible Peak, Fudge, The Prince Coburg Waltz, Goody Gadabout, The Favorite Tripole Waltz, The Nightingale Club, Dame Naggles, Leipsic Waltz, The Actor of all work, A Trip to Calais, Dover Castle, Waterloo Fair, Berlin Waltz, Frankfort Waltz, Zozo, Counsellor Cauliflower, Vienna Waltz, Shuffle and Cut, Toby, Odds and Ends, The Flowers of May, Exit by Mistake, Fire and Water.

Full Title: Button, Whitaker and Compy's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1818, Adapted for the Violin, German Flute or Oboe. Pr 1s.

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Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1818

The contents are: Teazing made Easy, Hot Cockles, The New Tyrolese Waltz, Twoli, The Swiss Waltz, Non joli garcon, The Steam Packet, The Old Guinea, The Brussels Waltz, Belcéle, The Defiance, Cupid in Armour, The Equestrian, The Broken Fiddle, Pope Joan, Don Giovanni, Lord Amherst's Return, Monsr Talma's Favorite, The Iron Bridge, Madam Saqui's Waltz, The Follies of a Day, The Mad Dog, Now pray don't be Stingy, Poor Dickey.

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1818, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

Button, Whitaker and Compy's Twenty Four Country Dances for the Year 1819

The contents are: The Prince's Favorite, The Duchess of Gloucester, Bonny Highland Laddie, St Helena, (or L'Alina), The Robbers, The Young May Moon, Jean De Paris, La Calypso, New Jean De Paris, The Waterloo (or Caractacus), The Pavillion, Rob Roy, Elfrida, Lady Mary, The Bateuse, Captain White, Miss Chipendale, Chatsworth House, Le Garçon Volage, The Gavottina, The Forest of Bondy, The Corsair, Rendezvous, La Chasse.

Full Title: Button, Whitaker and Compy's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1819, Adapted for the Violin, German Flute or Oboe. Pr 1s.

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Thompson's Twenty Four Country Dances for the Year 1819

The contents are: Lady of the Lake, At Home, Arabella, New Russian Sauteuse, Lady Ross, The Dandy, Brutus, Claremont House, Jealous on all Sides, Castle Down, The Spirit of the Dance, The Bohemian Dance, Amateurs and Actors, La Poule, Sophia, Spanish Dance, The Battle of Waterloo, The Graces, La Belle Alliance, The Americans, Wellington's Triumph, Le Tamerlane, Marshall Blucher, The New Forest of Bondy.

Full Title: Thompson's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1819, Adapted for the Violin, German Flute or Oboe. Pr 1s.

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L'Assemblée, or Forty Eight Elegant New Dances for the Year 1819 (Book 6)

The contents are: The Prince's Favorite, Jealous on All Sides, Claremont House, At Home, Lady of the Lake, Sophia, Arabella, Brutus, New Russian Sauteuse, Bonny Highland Laddie, Wellington's Triumph, Le Tamerlane, The Waterloo (or Caractacus), The Pavillion, The Battle of Waterloo, The Graces, Marshall Blucher, The Spirit of the Dance, Castle Down, Amateurs and Actors, The Dandy, The New Forest of Bondy, La Belle Alliance, The Americans, The Bohemian Dance, Lady Ross, La Poule, Spanish Dance, St Helena or L'Alina, The Duchess of Gloucester, The Robbers, Elfrida, The Young May Moon, Jean de Paris, Rob Roy, Lady Mary, New Jean de Paris, La Calypso, The Bateuse, Miss Chipendale, Captain White, Chatsworth House, Le Garçon Volage, The Forest of Bondy, The Gavottina, Rendezvous, La Chasse, The Corsair.

Full Title: L'Assemblée, or Forty Eight Elegant New Dances for the Year 1819, arranged for the Piano Forte or Harp, With Single and Double Figures to each Dance by Mr Wilson. Price 3s.

Whitaker and Compy's Twenty Four Country Dances for the Year 1820

The contents are: The Scuffle, The Pigeon House, Venice Waltz, Begin again, Puzzle Figure, The Carrier, Fox and Goose, Restless Ruth, What shall we do?, The last word, Verona Waltz, Griddy Greengown, The Churchwarden, The lost Glove, The Tinker and the Taylor, Hammer, Nail and Block, Running Water, Come and See, Turvey, Sam Snuff, Is it possible?, Do if you dare, Pudding boil'd in a Bason, Tiresom Tim.

Full Title: Whitaker and Compy's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1820, Adapted for the Violin, German Flute or Oboe. Pr 1s.

Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1820

The contents are: The Pocket Book, The Cobler's Whistle, Tivolian Waltz, More and More, Rough Roads, The Old Guinea, Seeing is Believing, The Pearl Ring, Miss Vapid, Mungo Parke, The Launch, The Shower, The Meteor, Doleful Dan, Mazeppa, Peter Bell, Weimar Waltz, Poor Fan, Toulouse Waltz, The Flight, The Diving Bell, Plymouth Hornpipe, Dizzy Dickey, Punch & Parsnips

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1820, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

L'Assemblée, or Forty Eight Elegant New Dances for the Year 1820 (Book 7)

The contents are: The Pocket Book, The Cobler's Whistle, Seeing is Believing, The Pearl Ring, The Old Guinea, Miss Vapid, Mungo Park, More and Nore, The Launch, Wiemar Waltz, Peter Bell, Mazeppa, Poor Fan, The Meteor, Toulouse Waltz, The Flight, Punch and Parsnips, Dizzy Dicky, Plymouth Hornpipe, Lowther Castle, Leyden Waltz, The Dwina Skaiters, The Cat and the Kettle, Tom Thumb, Dresden Waltz, Dicky Dandy, Kipple Tringham, Bulls and Bears, The Beadle and the Beggar, Miss Boham's Hornpipe, Moping Muggins, Cologne Waltz, The Czar, Quid Nunc, Goose Wing, Love and luck, Buda Waltz, Charley Chuff, The Scuffle, The Pidgeon House, Restless Ruth, What shall We Do, The Last Word, Verona Waltz, Griddy Greengown, The Churchwarden, Turvey, Do If You Dare.

Full Title: L'Assemblée, or Forty Eight Elegant New Dances for the Year 1820, arranged for the Piano Forte or Harp, With Single and Double Figures to each Dance by Mr Wilson. Price 3s.

Thompson's Twenty Four Country Dances for the Year 1821

The contents are: Flora's Cottage, Isle of Wight, The Grand Duke of Baden's Waltz, Mrs Scorem, Kate Hamilton, Milani's Hornpipe, General Pino's Waltz, The Yew Tree, The Vampire, Miss Harvey's Waltz, The Old Oak, The Old Gentleman, Non mi Ricordo, Fancy's Mirror, The Diamond Ring, Miss Mortimers Hornpipe, The Rendezvous, The Priory, Queen Caroline, The Five Pound Note on Jonas's Fancy, The Bond Street Lounger, The Joyous Day, The Good Intent, The New Broom.

Full Title: Thompson's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1821, Adapted for the Violin, German Flute or Oboe. Pr 1s.

Whitaker and Compy's Twenty Four Country Dances for the Year 1822

The contents are: L'Alouette, The Packet, Miss Johnson's Waltz, Come along, All Alive, Le cerf volant, Go it again, La Fillette, The Champion, The Coronation, The Balloon, La Fleche, The Lion, La pomme d'or, Le Rossignol, The Magic Fountains, Up and down, The Sailor's hop, My Namesake, Take a Nap, Harlequin at Home, Mathematics, C'est tout, The Herald.

Full Title: Whitaker and Compy's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1822, Adapted for the Violin, German Flute or Oboe. Pr 1s.

Le Sylphe, An Elegant Collection of Twenty four Country Dances, for the Year 1822

The contents are: The Dublin Go, The Citizen, The Boulogne Waltz, How Pretty!, The Exciseman's Stick, Fuss Boss, Flora's Cot, Pas de trois, The Spanish Waltz, Jessy's Fancy, Le Beau tems, Eau de Cologne, Visit to Hanover, Cash Up, La Salut, Travelling Post, A Night at Canterbury, I'm sure to go, My Friend's Admiration, Pas a present, Tour a quatre, The Pleasant Retreat, Bonaparte's Dirge, The Steam Packet

Full Title: Le Sylphe, An Elegant Collection of Twenty four Country Dances, The Figures by Mr Wilson, for the Year 1822, Adapted for the German Flute, Violin, Flageolet or Oboe. Pr 1s.

Thompson's Twenty Four Country Dances for the Year 1822

The contents are: Le Chateau, Impossibilities, My Landlord, The Flower Pot, The Banquet, Feu d'artifice, No hope, Le Boquet, The Witches, Le Pot Pourri, The Prince, The Postman, Cat and Fiddle, La Jardiniere, What next?, Rise and fall, Music Mad, Les Espagnols, L'Esperance, Le Cor de Chasse, Les Anglois, The Dandy hat, The Opera Kick, The Indian Chief.

Full Title: Thompson's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1822, Adapted for the Violin, German Flute or Oboe. Pr 1s.

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Whitaker and Compy's Twenty Four Country Dances for the Year 1824

The contents are: Dusty Dick, Peter the Hermit, The Imperial Waltz, Colonel Cauliflower, Jeffery Gambado, Battle Abbey, Dolly Cowslip, None so Pretty, The Bustlers, Poor Vulcan, The Wrestlers, F.R.S., Figaro, Fun and Physick, The Achilles, Its all wrong, Isn't it odd, The Devil on two Sticks, Robinette, Pitch and Potatoes, Cupar's Bridge, Coombe Wood, The Parting Look, Four Flats and many Naturals.

Full Title: Whitaker and Compy's Twenty Four Country Dances, With Figures by Mr Wilson, For the Year 1824, Adapted for the Violin, German Flute or Oboe. Pr 1s.

Image © THE BRITISH LIBRARY BOARD, a.9.k.(9.) ALL RIGHTS RESERVED



I'm a fan of the Button & Whitaker Country Dances, especially in the format published in their L'Assemblée series of publications. The music is interesting, the figures fit the music (and they are described in detail in Wilson's various books), the strain separators in the dance notation are accurate and useful, the range of figures employed are interesting, multiple arrangements are provided for most of the tunes... there's a lot to like about them. But fashion moved on, and Button & Whitaker faded away. They weren't the only publisher of social dances in the 1810s, many others were also in business, some of whom better responded to the changing tastes of the London public.

We'll end this investigation here. Do please Contact Us if you have further information to share, we're always keen to learn more.



 

 

 

 

 

 

 

 

 

 

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