An oversize silver gelatin studio publicity <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> of <a href="https://www.sothebys.com/en/search?query=Brigitte%20Bardot&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Brigitte Bardot</a> from the film <a href="https://www.sothebys.com/en/search?query=Les%20Novices&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Novices</a>.<ul><li>Gianni Bozzacchi (Italian, b.1943).</li><li>Conservation framed with UV plexiglass.</li></ul> There is a perspex window on the back of the frame showing photographer's stamp and information together with a news agency stamp.&nbsp;

Brigitte Bardot Les Novices Movie Studio Photograph

Books, Manuscripts & Music, from Medieval to Modern

Maxime du Camp Égypte, Nubie, Palestine et Syrie. Dessins Photographiques recueillis pendant les années 1849, 1850 et 1851. Paris: par J. Claye et Cie. [for] Gide et J. Baudry, 1852 Folio (435 x 295 mm). Half-title, 125 salted prints (each approximately 165 x 220 mm, or the reverse) printed by Blanquart-Evrard, being 112 views of Egypt, 6 of Jerusalem, and 7 of Baalbek, each individually mounted on card with engraved title, number, and imprint, and 3 engraved plans, one of which double-page, and 55 pages of text, near-contemporary red half morocco, mounts spotted (as often), occasional slight spotting to prints, extremities slightly rubbed “Photography absorbs and consumes Max’s days…” (Flaubert). FIRST EDITION OF A PIONEERING PHOTOBOOK ON EGYPT, PALESTINE, AND SYRIA. In November 1849 Maxime Du Camp, the twenty-seven year old son of a successful surgeon, set out for Egypt with his friend, Gustave Flaubert. Each longed to explore the Near East and had secured government commissions to fulfil their ambitions. Du Camp was to photograph and study archaeological sites while Flaubert was to gather information on the local commerce, agriculture, and industries. Du Camp had experience documenting ruins on past journeys, but found their documentation by sketching frustrating—it took too long to be precise and his drawing skills were lacking. So, he turned to the new invention of photography as a more accurate method. He trained in photography with Gustave Le Gray, who taught him the waxed paper negative process; this method proved challenging for the novice and he did not have much success. Fortunately, he met Baron Alexis de La Grange in Cairo who taught him Louis-Désiré Blanquart-Evrard’s improved process, which helped given the arduous circumstances. The task of photographing in the desert was a difficult one, especially for an amateur, requiring distilled water and a dark room to fix the chemicals. The transport of the necessary equipment was by mule, camel or a legion of local porters. “Photography absorbs and consumes Max’s days. He succeeds but gets upset every time he ruins a proof or a plate is badly wiped... I don't know how Max doesn’t kill himself with the photographic mania he has” (Flaubert in a letter to his mother, sent from Cairo). Du Camp persevered and captured 214 negatives of 60 different monuments and sites. Of those, 125 were selected to be published resulting in the present work, which was the first French book to be illustrated entirely with photographs and was Blanquart-Évrard’s biggest commercial success. Its precedents were William Henry Fox Talbot’s The Pencil of Nature in England and a few less significant brochures in France. The photographs that illustrate those publications have not survived as well the examples in Du Camp’s volume, which retain good contrast and detail. Sold by subscription in 25 parts, each containing 5 plates, the total number of complete sets distributed is unknown, but based on a payment made to Du Camp at the time and its present rarity, it likely that no more than 200 copies were printed. The work earned Du Camp the prestigious award of Officer of the Legion of Honour. Despite of the positive reception his photographs received, Du Camp never photographed again. When Du Camp and Flaubert arrived in Beirut at the end of their voyage, the former exchanged all of his photographic equipment for fine wool and silk embroidered with gold so that the two could commission upholstered furniture when they returned home. It remains Du Camp’s first and last foray into photography. The present copy was owned by Honoré d'Albert, duc de Luynes (1802–1867), art collector and archaeologist. Interested in the Phoenicians and Egyptology, the duc's contributions to Egyptological research were numerous. He travelled to Egypt himself, and also helped fund Auguste Mariette's infamous archaeological excavations around the Great Sphinx. REFERENCES: Parr and Badger, The Photobook: A History (2004), I: 23 PROVENANCE: Honoré d'Albert, duc de Luynes (1802–1867), art collector, archaeologist, and scientist; by descent to the present owner. The Duc de Luynes played an important role in the photography, especially in terms of the chemistry involved. As a member of the Société Française de Photographie, he established a prize for the photographer who succeeded in reproducing photographic images using ink mixed with carbon, as well as a secondary award concerning the printing and preservation of positive prints. As an archaeologist, he took an interest in the relationship between the Phoenicians and Egypt—and the traces they left there—a topic revisited by the Viscount de Rougé in light of discoveries made along the banks of the Nile. He travelled to Egypt himself, though he was soon forced to cut short his trip due to ill health. He also contributed to the funding of Mariette’s excavations around the Great Sphinx.

View 1 of Lot 54: Maxime du Camp | Égypte, Nubie, Palestine et Syrie. Dessins Photographiques..., Paris, 1852, first edition of a pioneering photobook, the duc de Luynes' copy

maxime du camp | égypte, nubie, palestine et syrie. dessins photographiques..., paris, 1852, first edition of a pioneering photobook, the duc de luynes' copy

Modern & Contemporary Discoveries including Works from the former Claude et Georges Pompidou Collection

Bill Brandt 1904 - 1983 Pablo Picasso titré et daté 1956 à l'encre (dans la marge); le cachet du photographe (au dos) tirage gélatino-argentique 25,5 x 20,5 cm; 10 x 8 in. Exécuté en 1956.

pablo picasso

Fine Books and Manuscripts, Including Americana. Part 2

Man Ray and Paul Éluard Facile. Poemes de Paul Éluard, Photographies de Man Ray. Paris: Editions G.L.M., 24 October 1935 4to (200 x 180 mm). Signed "Man Ray" to half title, 12 black and white heliogravure photographs, 5 original photographs signed "Man Ray" and dated "1939" in pencil, 3 photographs of Nusch Eluard marked "E.A" to verso. Publisher's original glossy pictorial wrappers, with plexiglass boards by Mercher dated 1970 in gilt at lower pastedown, smooth spine with vertical title in silver, black rear endpapers; spine lightly scuffed, primarily to head of spine, wear to edges. Black slipcase. [With:] Original four-page prospectus for Editions G.L.M (250 x 185 mm). One of the most influential photography books of the twentieth century—with poems authored by the artist's longtime friend and presented to his new collaborator. The present copy marks two of Man Ray's significant artistic collaborations and friendships. The poetry of Paul Éluard, longtime friend and fellow founding Surrealist, accompanies 12 heliogravure photographs, all signed by Man Ray. It was through Man Ray and Pablo Picasso that Éluard would meet his wife, Nusch, whose nude figure frames the text in various positions. Numbered 388 of 1,225 copies, signed and inscribed to: "à Serge Béguier / bien amicalement - / Man Ray" After a falling out with Pierre Grassman in the late 1960s, Man Ray began his work with Béguier at the PhotoBac Lab—ushering in a stylistic change in Man Ray's oeuvre with Béguier's use of Agfa paper, in contrast to Grassman's Ilford paper, or gelatin silver prints of Man Ray's earlier works. Facile is inscribed to his printer towards the beginning of their artistic association. The photographs were likely printed by Béguier in 1967–70 and backdated to the date of Man Ray's negatives, as per the artist's norm. The present lot with the original four-page prospectus printed in black in 1935 for Editions G.L.M. REFERENCES Andel, Avant-Garde Page Design, 339; BnF, Des livres rares 194; Castelman, A Century of Artists Books, 137; Coron, De Goya à Max Ernst, 48; G.L.M., 73. De L'Ecotais, Man Ray: Photography and Its Double; Getty, In Focus, Man Ray: Photographs from the J. Paul Getty Museum; Hubert, Surrealism and the Book, 73-83; Krauss and Livingston, L'Amour Fou: Photography and Surrealism; Mélusine, 163-77; Naudet, "The Man Ray Affair," American Photo, July-Aug 1998, 48-52, 92-95; Parr and Badger, The Photobook: A History, Vol. 1, 104-05; Peyré, Peinture et Poésie, p.124; Picaud, Des livres rares depuis l'invention de l'imprimerie, 1941; Roth, 101 Books, 86-87; Schwarz, Man Ray: The Rigour of Imagination; Sinibaldi and Courtier, Regards sur un siècle de photographie à travers le livre, 48; Skira, Man Ray. Album Eluard, 173; The Open Book, 118-9; Perpetual Motif: The Art of Man Ray, 22 PROVENANCE Serge Béguier

View 1 of Lot 445: Man Ray and Paul Éluard | Presentation copy of Facile, with 5 original photographs 

man ray and paul éluard | presentation copy of facile, with 5 original photographs

Prints & Photographs Part I

Pablo Picasso 1881 - 1973 Les Pipeaux (Bloch 1347; Baer 731) inscribed in red crayon 2e ETAT 2/2 etching on Arches wove paper plate: 10 ⅝ by 13 ⅞ in. 270 by 352 mm. sheet: 15 by 22 in. 380 by 560 mm. Executed in 1946, this impression is one of five proofs of the second state (of six) (there was no published edition).

View 1 of Lot 48: Les Pipeaux (Bloch 1347; Baer 731)

les pipeaux (bloch 1347; baer 731)

Pablo Picasso 1881 - 1973 Les Pipeaux (Bloch 1347; Baer 731) inscribed in red crayon 1st ETAT 2/2 etching on Arches laid paper plate: 10 ⅛ by 13 ⅞ in. 269 by 352 mm. sheet: 12 ¾ by 19 ⅝ in. 324 by 500 mm. Executed in 1946, this impression is one of four proofs of the first state state (of six) (there was no published edition).

View 1 of Lot 47: Les Pipeaux (Bloch 1347; Baer 731)

(Yosemite) — Joseph Le Conte A Journal of Ramblings Through the High Sierras of California by the “University Excursion Party.” San Francisco: Francis & Valentine, 1875 8vo (213 x 132). 9 mounted albumen photographs with borders and captions printed in red; very light even toning, occasional pale staining mostly affecting pages 50 and 51, the expected rippling surrounding the mounted photographs. Publisher’s blue cloth, gilt title to upper board; spine toned, some rubbing and light wear, front board bowed, minor bubbling in the cloth at rear board. First edition of this charming privately printed account of a camping trip in the High Sierras—one of the more scarce and desirable books on Yosemite. A journal describing a monthlong trip in the summer of 1870 through Yosemite. The party consisted mostly of U.C. Berkeley students, accompanied by Professor Joseph Le Conte, a physician, geologist, conservationist, and the book’s author. Le Conte gives a lively and detailed account of the party’s adventures, and the sights that they saw. He also makes regular notes on the area’s geology. John Muir happened across the party and joined them for a nine-day stretch. Muir would remain close friends with Professor Le Conte. They would go on to help found the Sierra Club in 1892. The nine photographs begin with a group portrait showing the members of the “University Excursion Party” posing in front of the Great Yosemite Fall, followed by a series of scenic views (The Grizzly Giant, The Gates of the Valley, Lake Tenaya, etc.). The final photograph is a pre-fire view of of Montgomery Street in San Francisco, with Bradley & Rulofson’s photographic studio visible in the background. REFERENCES Curry & Kruska 230; Farquhar 14a; Howes L175 (“only a few copies printed”) PROVENANCE Charles L. Camp (U.C. Berkeley paleontologist and zoologist; pencil signature on rear pastedown) — Irving W. Robbins Jr. (book collector and an honorary curator of rare books at Stanford University; laid in book label) — Glen Dawson (mountaineer, antiquarian bookseller, publisher, book collector, and Sierra club president; ex libris on front pastedown)

View 1 of Lot 396: (Yosemite) — Joseph Le Conte | Glen Dawson's copy of this early, privately printed travel journal, illustrated with photographs

(yosemite) — joseph le conte | glen dawson's copy of this early, privately printed travel journal, illustrated with photographs

A press <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a> from the movie <a href="https://www.sothebys.com/en/search?query=Les%20Quatre%20Cents%20Coups&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Quatre Cents Coups</a>.<ul><li>Silver gelatin promotional press photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> This promotional photograph of Francois Truffaut and Jean-Pierre Léaud was taken in Cannes to promote the film Les Quatre Cents Coups.

French Les Quatre Cents Coups Movie Press Photograph

Musique & Vin au Clos Vougeot | Symphony of Domaine Donations

Corton, Château Corton Grancey 2016 Louis Latour Côte de Beaune, Grand Cru Case domaine banded until photography, packed in presentation owc within plain outer; Caisse cerclée par le doimaine jusqu'à la prise de photographie, dans un coffret de présentation emballé dans un carton extérieur neutre 1 jero - 3 litres (owc) LYING AT HILLEBRAND BEAUNE, Offered Duty Paid STOCKÉ À HILLEBRAND BEAUNE, Offert en droits acquittés en UE ﻿MORE ABOUT MUSIQUE & VIN AU CLOS VOUGEOT The Festival Musique & Vin au Clos Vougeot, founded by Aubert de Villaine, Bernard Hervet, the Confrérie des Chevaliers du Tastevin and Domaine Faiveley, aims to create moments of emotion between internationally renowned musicians and Burgundy winemakers. In parallel, an incredible auction will be held, composed of rare and coveted bottles in various formats coming directly from the cellars of prestigious and generous domains from Burgundy and Champagne, combined with a selection of exclusive experiences. Please note that, for each lot, a reduced buyer’s premium of 8% (instead of 25%) will be applied to the hammer price. ______________________________________ Le Festival Musique & Vin au Clos Vougeot, fondé par Aubert de Villaine, Bernard Hervet, la Confrérie des Chevaliers du Tastevin et le Domaine Faiveley, a pour objectif de créer des moments d'émotion entre des musiciens de renommée internationale, de jeunes talents et des vignerons bourguignons. En parallèle de ce festival se tient une incroyable vente aux enchères composée de bouteilles rares dans différents formats provenant directement des caves de généreux domaines de Bourgogne et de Champagne, associée à une sélection d'expériences exclusives. Pour chaque lot, une commission acheteur réduite de 8 % (au lieu de 25 %) sera appliquée sur le prix d'adjudication.

View 1 of Lot 28: Maison Louis Latour, Château Corton Grancey 2016 (1 JM30)

maison louis latour, château corton grancey 2016 (1 jm30)

Aymard de Banville Album photographique de la mission remplie en Égypte par le vte Emmanuel de Rougé, accompagné de M. le vte de Banville et de M. Jacques de Rougé, attachés à la mission, 1863-1864. Paris: Samson, 1865 Folio (502 x 395 mm). Title-page, nine text leaves including the Avertissement, 155 albumen prints (various sizes and orientations, approximately 41 x 178 mm to 195 x 251 mm), mounted on card (some out of order), printed captions mounted below images, tissue guards; some prints with toning to sky or foxing, heaviest to final prints, but generally very clean, some mounts foxed, a few tears to tissue guards, one or two detached, rippling to final few mounts. Brown three-quarter pebble-grained morocco and brown cloth covered boards, spine with raised bands in six compartments, second and fourth gilt-lettered; light rubbing to extremities. AN EXCEPTIONALLY RARE WORK FROM THE EARLIEST DAYS OF TRAVEL PHOTOGRAPHY. Emmanuel Rougé (1811-1864), Honorary Curator of Egyptian Antiquities at the Louvre and Professor of Egyptian Archaeology at the Collège de France, was officially commissioned to decipher hieroglyphic texts in Egypt between October 1863 and June 1864. He was accompanied by his son Jacques, as well as the amateur photographer (and gentleman farmer) Viscount Amyard de Banville (1837-1917). By pioneering the use of wet collodion glass plate negatives, the expedition captured Egyptian monuments with a hitherto unprecedented degree of sharpness. de Banville's work received strong recognition in its day. The photographer was duly awarded the Légion d'Honneur and examples of the photographs were included in the Société Française de Photographie exhibition of 1865. LITERATURE: Nissan Perez, Focus East (Jerusalem, 1988), p. 128 PROVENANCE: Honoré d'Albert, duc de Luynes (1802–1867), art collector, archaeologist, and scientist; by descent to the present owner. The Duc de Luynes played an important role in the photography, especially in terms of the chemistry involved. As a member of the Société Française de Photographie, he established a prize for the photographer who succeeded in reproducing photographic images using ink mixed with carbon, as well as a secondary award concerning the printing and preservation of positive prints. As an archaeologist, he took an interest in the relationship between the Phoenicians and Egypt—and the traces they left there—a topic revisited by the Viscount de Rougé in light of discoveries made along the banks of the Nile. He travelled to Egypt himself, though he was soon forced to cut short his trip due to ill health. He also contributed to the funding of Mariette’s excavations around the Great Sphinx.

View 1 of Lot 50: Aymard de Banville | Album photographique de la mission remplie en Égypte..., Paris, 1865, an exceptionally rare work from the earliest days of travel photography

aymard de banville | album photographique de la mission remplie en égypte..., paris, 1865, an exceptionally rare work from the earliest days of travel photography

Timm Rautert n. 1941 Blinky Palermo, Krefeld (2 photographs) signées, intitulées et datées, et l'image d'installation portant le numéro 1/5 (au verso de chacune) 2 tirages argentiques à la gélatine image: 40 x 29.9 cm.; 15¾ x 11¾ in. (chacune) Exécuté en 1973.

View 1 of Lot 223: Blinky Palermo, Krefeld (2 photographs)

blinky palermo, krefeld (2 photographs)

Pieter Hugo n. 1976 Portrait #7, Rwanda, 2014 (de 1994) signé à l'encre (sur un certificat d'authenticité au dos du cadre) impression chromogène, montage arrière 90 x 120 cm; 35 ½ x 47 ¼ in. Exécutée en 2014, ce tirage est le numéro 9 d'une édition en 9 exemplaires. Cette oeuvre est accompagnée d'un certificat d'authenticité signé par l'artiste.

View 1 of Lot 216: Portrait #7, Rwanda, 2014 (from 1994)

portrait #7, rwanda, 2014 (from 1994)

Pieter Hugo n. 1976 Portrait #22, Rwanda, 2014 (de 1994) signé à l'encre (sur un certificat d'authenticité au dos du cadre) impression chromogène, montage arrière 90 x 120 cm; 35 ½ x 47 ¼ in Exécuté en 2014, ce tirage est le numéro 9 d'une édition en 9 exemplaires. Cette oeuvre est accompagnée d'un certificat d'authenticité signé par l'artiste.

View 1 of Lot 215: Portrait #22, Rwanda, 2014 (de 1994)

portrait #22, rwanda, 2014 (de 1994)

Wolfgang Tillmans n. 1968 Faltenwurf (dry) tirage chromogène, dans un cadre de l'artiste 50,5 x 61 cm; 20 x 24 in. Exécuté en 2009, ce tirage est le numéro 2 d'une édition de 3, plus 1 épreuve d'artiste.

faltenwurf (dry)

Wolfgang Tillmans n. 1957 Munuwata Sky tirage chromogène, dans un cadre de l'artiste 40,5 x 30 cm; 16 x 12 in. Exécuté en 2011, ce tirage est le numéro 1 d'une édition de 10, plus 1 épreuve d'artiste.

munuwata sky

Thomas Struth n. 1954 Huanghe Lu Shanghai signé à l'encre (sur étiquette au dos) tirage chromogène contrecollé sur acrylique 93.3 x 116.2 cm.; 36 ¾ by 45 ¾ in. cadre: 131 x 153 cm; 51 ½ by 60 ¼ in. Executé en 1997, ce tirage et le numéro 6 d'une édition de 10.

huanghe lu shanghai

Andres Serrano n. 1950 McKinley (from Nomads) signé à l'encre (sur l'étiquette au dos du cadre) tirage chromogène et plexiglass 50 x 41 cm; 19 ¾ x 16 ⅛ in. Exécutée circa 1990 - 2006, cette oeuvre est le numéro 25 d'une édition de 50.

View 1 of Lot 214: McKinley (from Nomads)

mckinley (from nomads)

Wim Delvoy n. 1965 Marble Floor #35 signé à l'encre (sur une étiquette au verso) tirage chromogène, monté à fleur sur aluminium 125 x 166,5 cm; 49 ¼ x 65 ½ in. Exécutée en 1999, cette estampe porte le numéro 1 d'une édition unique.

marble floor #35

Bernd et Hilla Becher 1931 - 2007 et 1934 - 2015 Kohlesilos [Coal Silos] signé au crayon (au dos, à gauche de l'image); signé, titré et daté 1973 au crayon (sur le montage) diptyque de tirages gélatino-argentiques gauche: 40,5 x 31 cm; 16 x 12 ¼ in. droite: 40,5 x 31 cm; 16 x 12 ¼ in. ensemble: 86 x 64,5 cm; 33 ⅞ x 25 ⅜ in. Exécuté en 1973, cette oeuvre est unique.

View 1 of Lot 210: Kohlesilos [Coal Silos]

kohlesilos [coal silos]

An oversize silver gelatin <a href="https://www.sothebys.com/en/search?query=studio%20publicity%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">studio publicity photograph</a> from the <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">film</a> <a href="https://www.sothebys.com/en/search?query=Les%20Demoiselles%20de%20Rochefort&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Demoiselles de Rochefort</a> (Young Girls of Rochefort).<ul><li>Conservation framed with UV plexiglass.</li></ul> There is a perspex window on the back of the frame showing various news agency stamps and basic film information.

Les Demoiselles de Rochefort  / Young Girls of Rochefort Movie Studio Photograph 

From Meissen to Paris : The Röbbig Collection| Part II

Gaspar Peeter Verbruggen le Jeune Anvers 1664 - 1730 Nature morte aux fleurs Huile sur toile Signé en bas à droite Gas. p. Verbruggen 83 x 69 cm ; 32⅝ by 27⅛ in. Nous remercions Dr. Fred G. Meijer d'avoir confirmé l'authenticité de cette œuvre, d'après photographies. Elle lui semble probablement dater des années 1690.

View 1 of Lot 338: Nature morte aux fleurs

nature morte aux fleurs

The Jay T. Snider Collection of Benjamin Franklin

Pierre-André Gargas Union souveraine et conciliatrice, De toutes les Nations d'Europe, & de celles qui sont connues. Ou Projet de Paix générale et perpétuelle. La Haye [Avignon?], 1785 12mo (160 x 92 mm). Half title, woodcut headpieces, tailpieces, and other ornaments in text, contemporary ink dedicatory inscription on leaf C7v, to "son excelence Monseigneur le Ministre Plenipotentiaire de l'infant duc de Parme"; a pale stain and a paper repair to the half title; tiny loss at corner of leaf A5, small hole (paper flaw?) in leaf C4 affecting one word on the verso of the leaf, the inscription on leaf C7 shaved, a small yellow stain at lower corners of final two leaves, otherwise a bright copy. Modern dark brown morocco spine, vellum corners, marbled paper boards, smooth spine with gilt decorations, black morocco spine-label, edges stained yellow; a tiny white stain on front board, very mild rubbing along bottom edge. The only known copy of Pierre-André Gargas's revised plan to establish a union of nations to ensure perpetual peace in Europe, dedicated to Benjamin Franklin. This treatise uses the term United Nations, anticipating the U.N. by over a century and a half. Pierre-André Gargas (1728–1801), a Provençale landowner, was accused of murder, dispossessed of his land, and condemned to twenty years as a galley slave on charges that he always denied. While serving his sentence in a hulk moored off the coast of Toulon, he was somehow able to write a book on phonetic spelling, Alfabet qonciliateur de l’ortografe. . . (Marseille: Jean Mossy, 1773), and draft a manuscript for a short work on establishing perpetual peace in Europe. After sending the manuscript to a number of luminaries, including Voltaire, he sent a copy to Benjamin Franklin. It was accompanied by a note where he begged the famous American diplomat for "the kindness, Monsieur, of having them printed, announced, and distributed to the public as far as it would be possible for you to do so" (Gargas to Benjamin Franklin, 14 February 1779, as translated by Ellen R. Cohn). After his release, Gargas made his way on foot to Paris to visit Franklin at his home in Passy on the outskirts of Paris, at the Hôtel de Valentinois. Despite the ex-prisoner's ragged appearance, Franklin welcomed him, discussed the project, likely gave his own input, and printed the pamphlet, which is titled Concilateur de toutes les nations d’Europe, ou Projet de paix perpetuelle entre tous les souverains de l’Europe et leurs voisins (Passy: Benjamin Franklin, 1782). The major points of the plan were to freeze Europe's borders and settle international disputes through a Perpetual Congress (which in this later version of the text is called the United Nations). The congress would be made up of one delegate from each nation. The president of the delegates would be chosen through a system of hierarchy determined by each sovereign's age, with hereditary sovereigns given precedence over elected ones. He also suggests turning Europe's standing armies into a massive public works force, tasked with building infrastructure and engaging in community services. Gargas's intention was to distribute his work freely to Europe's rulers and diplomats, though he evidently did not get much traction for his improbable ideas. For Franklin, however, embroiled in negotiations with England, the idea of universal peace must have been particularly enticing. In a letter to the British politician David Hartley, 10 July 1782, he wrote: "There is methinks a point that has been too little considered in treaties, the means of making them durable. An honest peasant from the mountains of Provence, brought me the other day a manuscript he had written on the subject, and which he could not procure permission to print. It appeared to me to have much good sense in it, and therefore I got some copies to be struck off for him to distribute where he may think fit. I send you one enclosed. This man aims at no profit from his pamphlet or his project, asks for nothing, expects nothing, and does not even desire to be known... such was his zeal for peace and the hope of forwarding and securing it by communicating his ideas to great men here. His rustic and poor appearance has prevented his access to them or his obtaining their attention; but he does not seem yet to be discouraged. I honour much of the character of this veritable philosophe" (Papers 37:607–608). Having received little notice in Paris outside of Franklin and his circle, Gargas returned south to his home in Theze where, a year later, he decided to print a revised and enlarged version his plan. He wrote to Franklin on 2 May 1783 to ask permission to dedicate the work to him. At that time, dedications functioned as endorsements, and Franklin would often decline them. However, this time he accepted. In August 1785, the present work, Union souveraine, was published, probably in Avignon, under a false imprint without a privilege du roi. The previous pamphlet had been printed on Franklin's diplomatically immune press, but that was not the case here. As it turned out, Franklin never received his copy of the book. According to Cohn, the 300 copies that Gargas intended for him were seized in transit by the censors, and, in any event, Franklin was halfway across the Atlantic when the package was sent. Gargas set off himself for Paris to hand-deliver his Union Souveraine to the king, the royal family, his nine state ministers, and twenty-nine foreign ambassadors. This example, personally addressed to the minister plenipotentiary of the Duchy of Parma, was one of the copies intended for a foreign diplomat. The only other copy of this text that has been traced is a set of page proofs, held at the Archives Nationales in Paris. A few years later, in 1787, Franklin sent Gargas a copy of his own proposal for a national union, The Constitution. Franklin personally inscribed it to "M. Gargas, who propos'd the Union of the States of Europe." However, just as the Union Souveraine never reached Franklin, The Constitution never made it to Gargas—Franklin sent it to his close friend and banker, Ferdinand Grand, who never forwarded it. REFERENCES Ellen R. Cohn, "'he Printer and the 'Peasant': Benjamin Franklin and Pierre-André Gargaz, Two Philosophers in Search of Peace," in Early American Studies: An Interdisciplinary Journal, Vol. 8, No. 1 (Winter 2010), pp. 146-172 PROVENANCE Giquello, 1 June, 2017 lot 61 (undesignated consignor)

View 1 of Lot 133: Pierre-André Gargas | Union souveraine et conciliatrice.

pierre-andré gargas | union souveraine et conciliatrice.

François Morellet 1926 - 2016 Répartition aléatoire de 40 000 carrés suivant les chiffres pairs et impairs d’un annuaire de téléphone, 50% bleu, 50% rouge signé et daté 61-62 (sur le châssis au dos) peinture sérigraphique sur toile 140 x 140 cm; 55 ⅛ x 55 ⅛ in. Exécuté en 1961-1962. Cette oeuvre est enregistrée dans les archives François Morellet sous le no.61006.

red and blue

Shelf Life: Books, Manuscripts and Works on Paper from the Library of Stanley J. Seeger and Christopher Cone

Mark Twain [Samuel Langhorne Clemens] Two volumes: (i) The Adventures of Tom Sawyer. Hartford: The American Publishing Company, 1876 FIRST EDITION, 8vo (213 x 164 mm), second printing, issue A, frontispiece and 159 wood-engraved text illustrations by True Williams and others, half-title, 4 pages of publisher's advertisements at end, publisher's decorative blue cloth stamped in gilt and black, light peach endpapers, front free endpaper cut out, extremities bumped First American edition, second printing, issue B of text with points: printed on laid paper, versos of half-title and preface not blank, p. XII mispaginated XVI. (ii) The Adventures of Huckleberry Finn (Tom Sawyer's Comrade). New York: Charles L. Webster and Company, 1885 FIRST EDITION, 8vo (215 x 167 mm), frontispiece and 173 text illustrations by E.W. Kemble, half title, photogravure plate of a portrait bust of Clemens by Karl Gerhardt (BAL state 2), publisher's pictorial green cloth, stamped in gilt and black, light peach endpapers, plain edges, housed in green cloth slipcase, very occasional spotting, hinges starting, binding slightly worn, boards marked First edition, early issue of one of the Great American Novels. First editions of Adventures of Huckleberry Finn present a welter of issue points, and copies are usually described as being "early" or "later" issues, as an absolute priority of issue has been impossible to establish. The points of this copy are as follows: frontispiece is "Heliotype," tipped in, cloth not visible on table; title-page is tipped in, dated 1885, with 1884 copyright on verso; p. 13, has "Him and another Man" listed at p. 88; p. 57 reads "with the was"; p. 59, has "le" for "let"; p. 143., has "Co" for "Col."; p. 155 set with larger font of second 5; p. 283, the leaf is a cancel and the engraving has been corrected. "All modern American literature comes from one book by Mark Twain called Huckleberry Finn." Ernest Hemingway, The Green Hills of Africa, 1935. The UK first edition of Huckleberry Finn was issued six months before this first American edition, in red cloth. The American edition was issued in green and blue cloth, with a small number bound in leather, in February 1885. Green cloth is most frequently seen. LITERATURE: (i) BAL 3369; Grolier, American 79; Johnson, p. 27; (ii) BAL 3415; Grolier, American 87; Johnson 43–50

View 1 of Lot 141: Mark Twain | The Adventures of Tom Sawyer, Hartford, 1876, and The Adventures of Huckleberry Finn, New York, 1885, first editions

Results for "Le Pho"