Gold Boxes, Ceramics & Silver

A parcel-gilt, patinated silver, rubber and enamel model of a Formula One racing car, probably Italian

A parcel-gilt, patinated silver, rubber and enamel model of a Formula One racing car, probably Italian circa 1976 realistically engineered to replicate the Ferrari 312T2 driven by Niki Lauda at the Monaco Grand Prix of 1976, on inscribed black marble plinth with glass case applied with Ferrari yellow lettering Niki Lauda Ferrari glass cover 49cm., 19 1/4 in. long

View 1 of Lot 193: A parcel-gilt, patinated silver, rubber and enamel model of a Formula One racing car, probably Italian, circa 1976

a parcel-gilt, patinated silver, rubber and enamel model of a formula one racing car, probably italian, circa 1976

Important Watches I

Property of an Important European Collector

Property of an Important European Collector IWC Big Pilot's Watch Perpetual Calendar Edition 'Toto Wolff x Mercedes-AMG Petronas Formula One™ Team' A limited edition ceratanium semi-skeletonised perpetual calendar wristwatch with moon phases, digital year display and power reserve indication, Circa 2022 萬國 大型飛行員萬年曆系列 ‘TOTO WOLFF X MERCEDES-AMG PETRONAS FORMULA ONE™ TEAM’ 限量版瓷化鈦金屬半鏤空萬年曆腕錶，備月相、數位年份及動力儲備顯示，約2022年製 Dial: black and semi-skeletonised Calibre: cal. 52615 automatic, 54 jewels Case: black ceratanium, screw down sapphire crystal display case back Case number: 6'347'338 Closure: textile and black rubber IWC strap and black ceratanium buckle Size: 46.2 mm diameter Signed: case, dial and movement Accessories: IWC Warranty Card, instruction manual, travel pouch and presentation case 附帶證書、説明書、旅行袋子及盒子

View 1 of Lot 2217: Big Pilot's Watch Perpetual Calendar Edition 'Toto Wolff x Mercedes-AMG Petronas Formula One™ Team' | A limited edition ceratanium semi-skeletonised perpetual calendar wristwatch with moon phases, digital year display and power reserve indication, Circa 2022 | 萬國 | 大型飛行員萬年曆系列 ‘TOTO WOLFF X MERCEDES-AMG PETRONAS FORMULA ONE™ TEAM’ | 限量版瓷化鈦金屬半鏤空萬年曆腕錶，備月相、數位年份及動力儲備顯示，約2022年製

big pilot's watch perpetual calendar edition 'toto wolff x mercedes-amg petronas formula one™ team' | a limited edition ceratanium semi-skeletonised perpetual calendar wristwatch with moon phases, digital year display and power reserve indication, circa 2022 | 萬國 | 大型飛行員萬年曆系列 ‘toto wolff x mercedes-amg petronas formula one™ team’ | 限量版瓷化鈦金屬半鏤空萬年曆腕錶，備月相、數位年份及動力儲備顯示，約2022年製

One of the most significant Formula One Cars of all time | The Michael Schumacher 2003 Ferrari F2003-GA | Chassis 229

2003 Ferrari F2003 GA Identification No. 229 Documents : Bill of Sale Only Proof of Swiss taxes paid - Form 13.20A Offered with Ferrari Classiche “Red Book” Certification Overhauled in 2022 by the Ferrari Formula 1 Clienti department and presented in full running order

View 1 of Lot 1: Ferrari F2003-GA, Chassis No: 229

ferrari f2003-ga, chassis no: 229

Important Watches

Dial: white and semi-skeletonisedCalibre: cal. 2326/2840 automatic, 50 jewelsCase: 18k pink gold and ceramic, case back secured by 8 screwsCase number: F73539, limited edition 244/500Closure: black Audemars Piguet alligator strap and 18k pink gold folding claspSize: 42 mm diameterSigned: case, dial and movementAccessories: Audemars Piguet Garantie and presentation box

royal oak offshore chronograph rubens barrichello ii, reference 26078 a limited edition pink gold and ceramic semi-skeletonised chronograph wristwatch with date, made in tribute to the brazilian formula one race car driver rubens barrichello, circa 2005

Watches

Dial: blue and semi-skeletonisedCalibre: cal. 2326/2840 automatic, 50 jewelsMovement number: 633'238Case: platinum and ceramic, case back secured by 8 screwsCase number: F73914 and limited edition 119/150Closure: blue Audemars Piguet alligator strap and platinum folding claspSize: 42 mm diameterSigned: case, dial and movementAccessories: Audemars Piguet Certificat de Garantie & d'Authenticité, instruction manual and presentation box

royal oak offshore chronograph rubens barrichello ii, reference 26078 a limited edition platinum and ceramic semi-skeletonised chronograph wristwatch wtih date, made in tribute to the brazilian formula one race car driver rubens barrichello, circa 2005

Dial: white and semi-skeletonisedCalibre: cal. 2326/2840 automatic, 50 jewelsMovement number: 634'091 Case: 18k pink gold and ceramic, case back secured by 8 screwsCase number: F73615 and limited edition 320/500Closure: black Audemars Piguet alligator strap and 18k yellow gold folding claspSize: 42 mm diameterSigned: case, dial and movementAccessories: Audemars Piguet Certificat de Garantie & d'Authenticité, instruction manual and presentation box

royal oak offshore chronograph rubens barrichello ii, reference 26078 a limited edition pink gold and ceramic semi-skeletonised chronograph wristwatch wtih date, made in tribute to the brazilian formula one race car driver rubens barrichello, circa 2005

97 leaves (14 blank), 8 ¼ x 6 inches; 210 x 154 mm, written in Ashkenazi cursive script, modern foliation in pencil; some dampstaining, chiefly marginal, burn hole in fol. 16, library stamps on first and last pages.  Eighteenth-century quarter mottled calf.

letter writing formulae, manuscript on paper gershom ben kalonymos kohen [17th century]

120 leaves, 7 7/8 x 5 ¾ inches; 202 x 147 mm, written in Byzantine semi-cursive script, catchwords, modern foliation in pencil; some dampstaining, a few leaves loose, scattered foxing, small wormholes in outer margin of last few leaves, library stamp in red on first and last leaves. Leather spine, marbled boards, spine gilt; a few wormholes, rubbed.

a collection of formulae, manuscript on paper [candia, 16th century]

• cal. HUB4100 automatic nickel lever movement, 25 jewels, mono-metallic balance • black dial, red and black baton indexes, semi-skeletonized hands, chronograph hand with red arrow, three subsidiary dials for constant seconds, 30-minute and 12-hour registers • oversized titanium and zirconium case, chronograph buttons to the band, sapphire crystal display back secured by eight screws • case, dial and movement signed • with a black coated titanium Hublot deployant buckle 

a limited edition titanium and zirconium automatic chronograph wristwatch with datecase 355630 no 161/500 king power formula one circa 2011

Important  Watches

• cal. HUB4100 automatic nickel lever movement, 25 jewels, mono-metallic balance • black dial, blue and black baton indexes, semi-skeletonised hands, chronograph hand with white arrow, three subsidiary dials for constant seconds, 30-minute and 12-hour registers • oversized carbon fibre and ceramic case, brake disc bezel, chronograph buttons to the band, sapphire crystal display back secured by 8 screws • case, dial and movement signed • with a black coated titanium Hublot folding clasp 

a limited edition ceramic automatic chronograph wristwatch with dateno 022/250 king power formula one circa 2011

ayrton senna racing overalls, worn by ayrton senna in the 1991 formula one season,...

mika hakkinen's formula one grand prix winning steering wheel, used by mika...

a full size replica west mclaren mercedes formula one car, mp4/13 (chassis ssc 81)....

a 200mph ride in a mclaren formula one road car, for the winning bidder and their...

• cal. HUB4100 automatic nickel lever movement, 25 jewels, mono-metallic balance • black dial, red and black baton indexes, semi-skeletonized hands, chronograph hand with red arrow, three subsidiary dials for constant seconds, 30-minute and 12-hour registers • oversized ceramic case, chronograph buttons to the band, sapphire crystal display back secured by eight screws • case, dial and movement signed • with a black coated titanium Hublot deployant buckle 

a limited edition ceramic automatic chronograph wristwatch with dateno 454/500 king power formula one circa 2012

Original Film Posters

Grand Prix (1966) Poster, US, Special silkscreen

Grand Prix (1966) Poster, US, Special silkscreen Artist: Saul Bass (1920-1996) Unframed: 39 x 25 in. (99 x 64 cm) This is an exceptionally rare Saul Bass poster. It was designed and printed for Saul Bass's own personal use, and not for sale or cinema use. It is thought that only fifty were printed by Art Krebs Studio, Los Angeles, which was just around the corner from Bass's design studio. Bass gave a number of these posters to friends and colleagues, and also used them to enter graphic design competitions. This fictional popular motor racing film is the story of the 1966 Formula One season through the eyes of four Formula One drivers The film includes real-life motor racing footage and cameos by several Formula One World Champions, including Juan Manuel Fangio, Phil and Graham Hill and Jack Brabham. The film was directed by John Frankenheimer, and stars James Garner, Eva Marie Saint and Yves Montand.

grand prix (1966) poster, us, special silkscreen

The Distillers One of One | 2025 

Coachbuilt FW07 50 Year Old 1973 A 50 Year Old blended Scotch whisky distilled in 1973 and aged fully in sherry casks, housed in a jaw-dropping sculpture forged entirely from the reclaimed metal of the legendary Williams Racing FW07 (1979) Formula 1 car. The blend is made up of predominantly Lowland whiskies, fully matured in sherry casks. It has spent the last 4 years resting in Oloroso casks before being bottled in August 2025 at 46.6% abv. Forged from the very metal of the race-winning 1979 Williams FW07 - the machine that conquered Monaco and Silverstone - the accompanying sculpture is a singular expression of heritage, craftsmanship and prestige. Individually sand-cast and sculpted by hand over hundreds of hours, acclaimed artist Mike O’Connor has applied traditional coachbuilding techniques to transform Formula One engineering into fine art. Its sweeping form captures the dramatic profile of the FW07’s high-downforce rear wing, a silhouette that defined a golden era of motorsport innovation. Resting on a solid black granite base, the piece is at once sculpture, artefact and tribute: to Atlassian Williams’ storied legacy, to the artistry of coachbuilding, and to the partnership with Coachbuilt Whisky. Will be accompanied by a leather-bound book that details the build and history of the lot. Tasting Notes: Nose: Leather, tobacco, figs, dates, red fruit, chocolate, caramel, honey, & boxed cigars. Palate: Thick in texture, dark fruits, like blackberries-baked bread, caramel, burnt orange peel & almond butter. Finish: Incredibly long, mocha, dark chocolate and vanilla pods. 1 bottle 70cl Conditions: Lying with the donor. Duty Paid. Please note the purchase price does not include applicable shipping, taxes or import charges which may be charged in addition to the purchase price. For VAT queries, please contact: Chloe.Kong@sothebys.com Should you wish to ship, store or bottle your purchases, arrangements will be made directly with the Donor of this lot. Sotheby's will provide an introduction between the relevant buyer and donor in order for this to be arranged. Please note that for Wine and Spirits Lots, the Buyer’s Premium rate is 24% of the Hammer Price and the Overhead Premium rate is 1% of the Hammer Price. The Buyer’s Premium and Overhead Premium are subject to any applicable VAT/GST and/or sales or use tax. Please refer to the Conditions of Business for further details.

View 1 of Lot 38: Coachbuilt FW07 50 Year Old 1973 (1 Bottle 70cl)

coachbuilt fw07 50 year old 1973 (1 bottle 70cl)

Ancient Sculpture and Works of Art

An East Greek Marble Funerary Stele circa 1st Century B.C. of rectangular shape, carved in relief within an arched recess with a seated woman facing right, wearing a chiton and holding her mantle draped as a veil over her head, and with three diminutive figures standing frontally each clothed in a himation, three lines of Greek inscription engraved below the scene (names on lines 2 and 3 followed by the farewell formula ΑΛΥΠΟΙ ΧΑΙΡΕΤΕ on line 3). 56 by 29 cm.

View 1 of Lot 240: An East Greek Marble Funerary Stele, circa 1st Century B.C.

an east greek marble funerary stele, circa 1st century b.c.

Sotheby’s & Goldin Auctions Present: A Century of Champions

Ayrton Senna and Alain Prost Dual Signed Limited Edition (#119/135) "...and Everyone Else" Serigraph - Formula 1 Teammates with an Invitation to a Senna Foundation Event (Beckett)

Ayrton Senna and Alain Prost Dual Signed Limited Edition (#119/135) "...and Everyone Else" Serigraph - Formula 1 Teammates with an Invitation to a Senna Foundation Event (Beckett) From 1988 to 1989, the Formula One McLaren team won 25 of the 32 races held in those two seasons. The leading force behind McLaren’s string of victories were their two lead drivers, Ayrton Senna and Alain Prost. Before they were teammates, each had distinguished careers; Senna making a name for himself in his native Brazil and the French-born Prost already the winner of two Formula One World Championships. While both men were winners on the track, their style and approach could not have been more different. The Frenchman was careful and calculating while the Brazilian was thought to be impetuous and unpredictable. As McLaren drivers, the two were often at odds, though an uneasy truce occasionally prevailed as they worked together to help McLaren improve their cars. This explosive combination and dueling desires to be the best propelled each man to achieve tremendous results. Senna would claim 14 victories and 26 pole positions while Prost posted 11 victories and 4 pole positions. Most importantly, each would win a World Championship while on the McLaren team. Prost would join Ferrari in 1990, but the rivalry between the two continued until the Frenchman’s retirement in 1993. Senna continued racing, only to be tragically killed in an accident while driving the leading car in the 1994 San Marino Grand Prix. Renowned artist Randy Owens captured the excitement and movement of F1 racing in this limited-edition serigraph. Titled "...and Everyone Else,” the print captures the two McLaren teammates at the height of their fame. Most noteworthy is that both Ayrton Senna and Alain Prost have signed the serigraph – quite an accomplishment as the pair famously did not get along, and Senna’s tragic death in 1994 left the hobby with a distinct lack of dual-signed items featuring the pair. The artist Randy Owens has also signed his piece which has been hand numbered 119/135. The serigraph shows just light edge wear and the colors remain bold and bright. A visually stunning piece that brings together the two halves of one of racing’s most legendary rivalries. This piece comes with a LOA from Beckett Authentication for the signatures.

ayrton senna and alain prost dual signed limited edition (#119/135) "...and everyone else" serigraph - formula 1 teammates with an invitation to a senna foundation event (beckett)

PROPERTY OF AN IMPORTANT ASIAN COLLECTOR Rolex Cosmograph Daytona 'Paul Newman John Player Special Cherry', Reference 6264 A yellow gold chronograph wristwatch with bracelet, Circa 1971 Dial: black, exotic Calibre: cal. 727 mechanical, 17 jewels Case: 14k yellow gold, screw down case back Case number: 2’802’702 Closure: 14k yellow gold Rolex Oyster bracelet and folding clasp Size: 37 mm diameter, bracelet circumference approximately 190 mm Signed: case, dial and movement Accessories: none In the Rolex collecting world, several key terms will instantly get any connoisseurs’ attention. Daytona. Paul Newman. John Player Special. All of these terms are no stranger to the community, nor to the gavel. Indeed, Paul Newman Daytonas have made up the bulk of high-flying Rolex auction lots in recent years, with John Player Special versions flying higher still. However, this was not the case half a century ago when the Daytona was first introduced. As the well known story goes, the original Daytonas were so unpopular that they would sit in retailer shop windows for years without attracting any interested buyers. This was one of the reasons why, a few years after the release of the reference 6239, Rolex began producing a new dial type in order to add variety and hopefully increase appeal in its struggling chronograph model. Their plan failed, but only for the time being. No one knew it at the time, but Rolex had just created their most desirable dial design, ever. Few manually wound Daytonas were ever made due to their unpopularity at the time, even fewer with exotic dials, and fewer still were cased in gold. Some experts go so far as to estimate that for every Daytona that was cased in gold, ten were cased in stainless steel, with the total amount of gold Daytonas fitted with exotic dials of any colour never exceeding 100 units. It wasn’t until Paul Newman, star of both race track and silver screen was seen wearing an exotic dial 6239 that people began to take notice. The rest, as they say, is history. Yellow gold Paul Newman dials come in three categories: Champagne, Lemon, and the present John Player Special, which signified a black dial with gold accents, aptly named after the iconic Lotus Formula One team which shared the same colour scheme. Champagne examples are the most common, while JPS and Lemon variants are considerably scarcer. Indeed, no more than 20 JPS examples have appeared at auction in the past decade. However, an even scarcer sub-genre of the John Player Special that may be less familiar to the collecting zeitgeist, and indeed has never yet appeared at auction, is the John Player Special ‘Cherry’. Every single John Player Special dial that has appeared at auction features a gold coloured ‘Daytona’ logo above the 6 o’clock register, with the majority of these belonging to the reference 6241 and serial numbers scattered roughly around the year 1970. However, another small batch of John Player Special dials have surfaced in 6264 cases with serials clustered in 1971. These dials feature a slightly different gold colour tone, deeper and richer compared to standard John Player Specials, prompting some experts to refer to them as ‘Reverse Lemon’ dials. Most importantly, these dials all feature ‘Daytona’ Logo in bright red, earning them the moniker ‘Cherry’. Believed to have been produced as a final batch of gold Paul Newman dials, the handful of known examples are found within a narrow grouping of case numbers. Rarely seen publicly, the JPS cherry has only occasionally featured in reference books and online archives. Further research shows that some 20+ years ago a small group of early vintage Rolex collectors were afforded a tour of the Singer factory, and images from that trip included an example of the JPS cherry within Singers own archives.

View 1 of Lot 2400: Cosmograph Daytona 'Paul Newman John Player Special Cherry', Reference 6264 | A yellow gold chronograph wristwatch with bracelet, Circa 1971

cosmograph daytona 'paul newman john player special cherry', reference 6264 | a yellow gold chronograph wristwatch with bracelet, circa 1971

The Halpern Judaica Collection: Tradition and Treasure | Part I

Liturgy for the Counting of the Omer and the Blessing of the New Moon, Written on Behalf of Rabbi Joseph Oppenheim, [Holešov, Moravia?]: 1717

Liturgy for the Counting of the Omer and the Blessing of the New Moon, Written on Behalf of Rabbi Joseph Oppenheim, [Holešov, Moravia?]: 1717 A charmingly decorated miniature liturgical text, with distinguished rabbinic provenance. David Oppenheim (1664-1736), who served as Chief Rabbi first of Moravia and then of Prague and Bohemia, was a learned halakhist, gifted yeshiva dean, and munificent philanthropist. He was also one of the first great private Jewish collectors of antique Hebrew books and, as a supporter of Jewish scholarship, made his enormous library in Hannover available to fellow rabbis and researchers. Following his passing, his collection was put up for sale and was eventually purchased by the Bodleian Library in Oxford, where it constitutes the bulk of that institution’s rare Hebraica and Judaica holdings. Oppenheim’s only son, Joseph (ca. 1690-1739), shared his father’s passion for Jewish scholarship and book collecting and, indeed, served as one of the library’s caretakers following his father’s death. In 1710 or 1712, after his Elul [5]467 (1707) marriage to Tolze, daughter of the wealthy Viennese court Jew Rabbi Samson Wertheimer, he became head of the rabbinic court and yeshiva dean in Holešov (Holleschau), an important Jewish community in Moravia, where he developed a reputation as a great Talmudist, preacher, and supporter of charitable causes. He served in these capacities until 1714, and by August 1719 (and possibly as early as 1714) he had relocated to Hannover, where he worked as an imperial court factor, financier, and banker until his premature passing twenty years later. The present lot is a miniature manuscript apparently created for Rabbi Joseph Oppenheim in 1717. Interestingly, Oppenheim is referred to here as “the head of the rabbinic court and yeshiva dean” (f. [1v]), perhaps indicating that he in fact remained in Holešov beyond 1714. The liturgy contained within is that of the counting of the omer. For seven weeks, beginning with the second day of Passover and concluding just before Shavuot, Jews mark each new day by reciting a special blessing and counting how many days and weeks have passed. This manuscript includes the text of the blessing (f. 2v), the formulas to be said on each of the forty-nine days (ff. 3r-14r), and assorted related prayers and kabbalistic intentions meant to enhance the ritual (ff. 14r-15v). These are followed by the text of birkat ha-levanah, the blessing recited over the appearance of the New Moon each month, along with its associated psalms and supplications (ff. 16r-21v). Given its elegant decoration and distinguished provenance, the present volume should be seen as part of the revival of luxury Hebrew manuscript production that took place in the eighteenth century, primarily in German lands and on behalf of affluent court Jews and their families. Provenance J/I.G. (gilt on upper board and monogrammed on silver clasp) Moses & Jacob (front flyleaves) Ester & Mate (front flyleaves) Sae & Dine (front flyleaves) M.J. Cohen (front flyleaves) J.J. Cohen (front flyleaves) Rabbi Joseph Oppenheim (f. [1v]) Moses Kauber Katz (f. 21v) David Fisher (rear flyleaves) Das Omerel[?] ist mir lieb / Wer es st[i]ehlt ist ein Dieb / Es mag sein Herr oder Knecht / Hängen ist sein Recht [This little omer book is dear to me / He who steals it is a thief / Whether master or slave / He deserves to be hanged] (inscription in Hebrew characters on rear flyleaves) Physical Description 22 folios (3 3/8 x 2 1/2 in.; 85 x 62 mm) on parchment (final folio blank); modern foliation in pencil in Arabic numerals in upper-outer corner of rectos; written in elegant Ashkenazic square (text body) and semi-cursive (some rubrics) scripts in black ink; varying number of lines per page; ruled in blind; justification of lines via dilation or contraction of letters, use of anticipatory letters, and insertion of space fillers; no catchwords or headers; selected texts vocalized. Title within finely executed ornamental archway including images of Moses holding the Tablets of the Law on the right and Aaron holding a censer on the left, with red highlights throughout and Hebrew date below; ownership inscription within decorated cartouche surmounted by a crown on f. [1v]; almost all pages framed in red, sometimes bisected with one or more horizontal green lines; enlarged incipits; initial word panel featuring delicately drawn flower motifs on f. 3r; rubricated incipit on f. 16r; incipit applied with gold leaf (largely abraded) on f. 17r. Slight scattered staining and dampstaining; margins closely cropped at times; ff. [1], 13 loose; some paint transferred to facing pages; some text smudged on ff. 9v, 15r. Eighteenth-century (“1796” gilt on lower board) gilt-tooled light brown leather over wooden board, scuffed and worn, especially on upper board, around the edges, and on spine; monogrammed silver clasp catching on the fore-edge; spine in three compartments with raised bands; all edges gilt; eighteenth-century marbled paper flyleaves and pastedowns. Literature Max Grunwald, “Handschriftliches aus der Hamburger Stadtbibliothek,” Monatsschrift für Geschichte und Wissenschaft des Judentums 40,9 (June 1896): 422-429, at pp. 426-428. David Kaufmann, Urkundliches aus dem Leben Samson Wertheimers (Vienna: Carl Konegen, 1892), 123-124 (no. IV). Eugen Mayer, “A German-Jewish Miscellany,” The Leo Baeck Institute Year Book 3,1 (January 1958): 202-223, at p. 222. Joshua Teplitsky, Prince of the Press: How One Collector Built History’s Most Enduring and Remarkable Jewish Library (New Haven: Yale University Press, 2019). M. Wiener, “Die Geschichte der Familie Oppenheim,” Magazin für jüdische Geschichte und Literatur 1,19 (September 18, 1874): 81-84, at p. 83. Albert Wolf, “Etwas über jüdische Kunst und ältere jüdische Künstler,” Mitteilungen zur jüdischen Volkskunde 1,1 (n.s.) (1905): 1-58, at p. 36. http://www.steinheim-institut.de/cgi-bin/epidat?id=hld-1002&lang=

View 1 of Lot 131: Liturgy for the Counting of the Omer and the Blessing of the New Moon, Written on Behalf of Rabbi Joseph Oppenheim, [Holešov, Moravia?]: 1717

liturgy for the counting of the omer and the blessing of the new moon, written on behalf of rabbi joseph oppenheim, [holešov, moravia?]: 1717

Bibliotheca Brookeriana: A Renaissance Library. Magnificent Books and Bindings

Henricus Glareanus (Heinrich Loriti). Henrici Glareani In Titum Livium annotationes cum chronologia eiusdem; Cui Badii accessit Elenchus, ad haec Laur. Valle de quibusdam apud Liuium locis iudicium. Lyon: Sébastien Gryphe, 1542. Bound with:

Henricus Glareanus (Heinrich Loriti). Henrici Glareani In Titum Livium annotationes cum chronologia eiusdem; Cui Badii accessit Elenchus, ad haec Laur. Valle de quibusdam apud Liuium locis iudicium. Lyon: Sébastien Gryphe, 1542. Bound with: Beatus Rhenanus (Beat Bild), In Titum Livium Annotationes per Beatum Rhenanum, & Sigismundam Gelenium. Lyon: Sébastien Gryphe, 1542. Bound with: Titus Livius, Titi Livii Patavini Decadum XIIII. Epitome. Lyon: Sébastien Gryphe, 1542 This volume is from a set of Titus Livius’s works acquired by Thomas Wotton (1521–1586/1587) in France, most probably on a journey he made there in December 1547. The set was given to a Parisian binder, who bound it uniformly in four volumes, in brown calf, tooled in gold to a geometrical design, with Wotton’s name and the “et amicorum” formula centered on each cover. It descended within his family, then collaterally, until 1919, when it was consigned for sale to Sotheby’s by the Earl of Carnarvon and dispersed in separate lots (two were bought by Quaritch, and two by Maggs). One volume has since entered the Houghton Library, Harvard University; two volumes have not been seen since the 1960s. Wotton’s taste for elaborate gold-tooled bindings and his adoption of the “et amicorum” formula have earned him the posthumous sobriquet “the English Grolier.” About 140 volumes from Wotton’s library are known. The fine bindings seem to have been acquired on four visits to Paris, in 1547, ca 1549, 1551, and ca. 1552. This set of Livius probably was purchased and bound on his first trip, when Wotton attended a binding atelier busy with commissions received from François I, Jean Grolier, Charles de Lorraine, and Cardinal Granvelle, among other noted bibliophiles. Here Wotton presumably was introduced to the tooled Grolieresque “et amicorum” ownership inscription and to Grolier’s preferences for plain gilt edges and no ties. Wotton may have ordered as many as thirty bindings from this anonymous shop, designated by Mirjam Foot “Wotton’s Binder A.” The shop closed about 1550. On his next trip to Paris Wotton visited another atelier and chose to decorate his bindings with armorial stamps. Wotton's presumed set The set is described by William Kemp as comprising six volumes, but by Baudrier (VIII, p.173) as five volumes, with Decadum XIIII Epitome designated “Decas quintus,” the Glareanus entered separately (pp. 163–164), and the Beatus Rhenanus and Gelenius, also entered separately (pp. 164–165). (1) T. Livii Patavini Latinae historiae principis decas prima (Lyon, apud Sébastien Gryphe, 1542) [FB 77966; USTC 122670]. Thomas Wotton (supralibros). — Stanhope, Earls of Chesterfield, family library (Bretby); George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon (1866-1923); Sotheby Wilkinson & Hodge, Catalogue of valuable printed books, illuminated manuscripts and autograph letters, London, 8-11 April 1919, lot 20 — Bernard Quaritch, London - bought in sale (£125); their A Catalogue of English and foreign bookbindings (London 1921), item 11 and Pl. 5 (£160); Catalogue 386: A catalogue of books printed in Europe during the fifteenth & sixteenth centuries. Part II. Books printed in the sixteenth century (London 1929), item 833 (£160) — Jean Fürstenberg (1890–1982). Current location not traced. Moss, op. cit., no. 21; Exposition de reliures de la Renaissance: collection Jean Furstenberg: 30 September 1961 (Paris, 1961), no. 108. (2) T. Livii Patavini Latinae historiae decas tertia (Lyon, apud Sébastien Gryphe, 1542) [FB 77968; USTC 156883]. Thomas Wotton (supralibros). Stanhope, Earls of Chesterfield, family library (Bretby); George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon (1866-1923); Sotheby Wilkinson & Hodge, Catalogue of valuable printed books, illuminated manuscripts and autograph letters, London, 8-11 April 1919, lot 21 — Bernard Quaritch, London - bought in sale (£108); their Catalogue of English and foreign bookbindings (London 1921), item 12 (£160) — Templeton Crocker (1884-1948) — Warren Howell, San Francisco; their Catalogue 11: Rare Books and manuscripts: English literature: voyages, travels & early chronicles: Californiana & Western Americana: history of science (San Francisco, 1961), item 10; Catalogue 11: English Literature (San Francisco 1963), item 57 ($1250). Current location not traced. Moss, op. cit., no. 22. (3) Titi Livii Patavini Latinae historiae principis decas quarta (Lyon, apud Sébastien Gryphe, 1542) [FB 77967; USTC 156884]. Thomas Wotton (supralibros). — Philip Dormer Stanhope, 4th Earl of Chesterfield (1694-1773), exlibris; Stanhope, Earls of Chesterfield, family library (Bretby); George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon (1866-1923); Sotheby Wilkinson & Hodge, Catalogue of valuable printed books, illuminated manuscripts and autograph letters, London, 8-11 April 1919, lot 22 — Maggs Bros, London - bought in sale (£41) — William King Richardson, his bequest 1951, to — Cambridge, MA, Harvard University, Houghton Library, shelfmark WKR 18.2.13. Moss, op. cit., no. 23; Foot, op. cit., p.137 (note 50). (4-5-6) Titi Livii Patavini Latinae historiae principis decadis quintae libri V (Lyon, apud Sébastien Gryphe, 1542), bound with: Titi Livii Patavini decadum XIIII epitome (Lyon, Sébastien Gryphe, 1542), bound with: Henricus Glareanus and Lorenzo Valla, Titi In Titum Livium annotationes, cum chronologia (Lyon, apud Sébastien Gryphe, 1542). The volume offered here. 3 works in one volume, 8vo (164 x 104 mm). Italic type, 31 lines plus headline. (I) collation: AA–ZZZ8 AAA–KKK8 a–i8: 336 leaves. Woodcut printer's devices on title-page and i8v, woodcut initials. (II) Italic type, 31 lines plus headline. collation: aaA–ppP8: 120 leaves. Woodcut printer's device on title-page, one woodcut initial. (III) Italic type, 31 lines plus headline. collation: AAA–FFF8: 48 leaves. Woodcut printer's device on title-page, woodcut initials, two unsigned bifolia at end, the first a full-sheet letterpress table, "De Cornelia gente fratres," the second a full-sheet letterpress plan, "Roma a acies / Antiochi egis acies." Entire volumes ruled in red. (Very occasional light soiling or spotting, chiefly marginal.) binding: Parisian light brown calf over wooden boards (172 x 115 mm), ca. 1547, by “Wotton Binder A” for Thomas Wotton, richly gilt, interlaced strapwork border and central cartouche with leaf finials, strapwork painted black, interstices filled with semé of gold dots and gilt leaves, gilt leaf at outer corners, THOMAE WOTTONI | ET AMICORVM in gilt on both covers, gilt edges. (Very finely rebacked prior to 1919, copying the original spine.) Tan buckram folding-case, red morocco label. provenance: Thomas Wotton (supralibros, “Thomae Wottoni et amicorum” in gilt on both covers), by descent to — his son, Edward Wotton, 1st Baron Wotton (1548–1628), thence to — his grandson Thomas Wotton, 2nd Baron Wotton (1587–1630), thence to — his great-granddaughter Katherine (1609–1667), later created Countess of Chesterfield, by descent to — Lady Evelyn Stanhope (1834–1875), sister of the 7th Earl of Chesterfield, thence to her son, George Edward Stanhope Molyneux Herbert, 5th Earl of Carnarvon (1866–1923; incorporated into his family library at Bretby Hall, Derbyshire; Sotheby’s, London, 8–11 April 1919, lot 57), purchased by — James Tregaskis, London (£42; their 815th Caxton Head catalogue, [1919], item 226 (£115), & 902nd Caxton Head catalogue, [1925], item 428 (£115) — Sotheby’s, London, 12–15 December 1927, lot 501, purchased by — Maggs Bros, London (£70) — John Henry Montagu Manners, 9th Duke of Rutland (1886–1940; his stamps of Belvoir Castle Library) — Marlborough Rare Books, London (Catalogue 146, [1992], item 7 (£12,500). acquisition: Purchased from Bernard Quaritch, London, 2003. references: (I) FB 72217; USTC 140467; Baudrier, VIII, p. 163; Gültlingen, V, p.122: 721; (II) FB 56558; USTC 140466; Baudrier, VIII, p.164; Gültlingen, V, p.115: 675; (III) FB 77965; USTC 122674; Baudrier, VIII, p.173; Gültlingen, V, p.126: 747; for the binding, see Moss, The English Grolier. A Catalogue of Books in Gold-Tooled Bindings from the Library of Thomas Wotton (Worth, 1941–1942), no. 24 (“Owner unknown”); for Wotton’s binders, see: Nixon, Twelve Books in Fine Bindings from the Library of J.W. Hely-Hutchinson ([Oxford], 1953), pp. 32–48; Foot, “Thomas Wotton and his binders,” in The Henry Davis Gift : A Collection of Bookbindings, Volume 1: Studies in the History of Bookbinding (London, 1978), pp. 134, 137 (note 50), 145. For the presumed set, see: Kemp, “L’historien latin Tite-Live chez Sébastien Gryphe au début des années 1540,” in Le Livre médiéval et humaniste dans les Collections de l’UQAM (Montréal, 2006), pp. 93–98 (pp. 95–96); Kemp, "Les historiens latins chez Gryphe au début des années 1540: Tite-Live, Tacite et l'humaniste Emilio Ferretti," in Quid novi?: Sébastien Gryphe à l'occasion du 450e anniversaire de sa mort: actes du colloque (Villeurbanne, [2008]), pp. 343–356 (p. 343).

View 1 of Lot 42: Glareanus, In Titum Livium annotationes, Lyon, 1542, Parisian calf by Wotton Binder A for Thomas Wotton

glareanus, in titum livium annotationes, lyon, 1542, parisian calf by wotton binder a for thomas wotton

Books and Manuscripts: A Spring Miscellany

[CORBUTT, C. (PSEUDONYM R. PURCELL)], AFTER THOMLINSON

[CORBUTT, C. (PSEUDONYM R. PURCELL)], AFTER THOMLINSON Charles Lee, Esqr. Major General of the Continental-Army in America. London: Published by C. Shepherd, Oct. 1775 Mezzotint (image size, including text: 14 x 9 7/8 in.; sheet size: 14 1/2 x 10 1/2 in.), a strong impression. An early print of Charles Lee, the famous general of the American Revolution Public demand for portraits of Revolutionary heroes was not limited to America but spread to English and European print shops, where an inquisitive audience clamored for a glimpse of the key figures of the war. Public interest reached such a frenzy that European printmakers published fictitious portraits before they had accurate likenesses of the sitters and thus, many of the first English and European prints of Revolutionary colonials were completely invented. London publishers, using the names C. Shepherd, Thomas Hart, and John Morris, issued a series of mezzotints of the officers of the American Revolution, none of which were taken from accurate portraits but rather, were constructed on a visual formula and bore no resemblance to the individuals they claimed to be representing. Tomlinson's portrait of General Charles Lee is just such a portrait: the image bears little resemblance to contemporary accounts of his appearance, and there is no record of him sitting for the artist. This portrait was executed and printed early in the war with the expectation that Lee would play a major role in the conflict, an assumption based on his past military record in the French and Indian War. Although born in England, Lee committed himself to the Patriot cause and soon became a leader in the Colonial army. He took part in the defense of Charleston and was a commander at the Battle of Monmouth. REFERENCE: Chaloner, Smith British Mezzotinto Portraits (engraver not ascertained, Class III) 9; Cresswell, The American Revolution in Drawings and Prints 147; George, Catalogue of Political and Personal Satires..in the British Museum V:5296; Russell, English Mezzotint Portraits, and their States II:450.9

[corbutt, c. (pseudonym r. purcell)], after thomlinson | charles lee, esqr. major general of the continental-army in america. london: published by c. shepherd, oct. 1775

The Ricky Jay Collection

Buchinger, Matthias Fine autograph calligraphic family tree and coat of arms of Herbert and Arabella Aubrey signed ("Matthew Buchinger") Manuscript on two sheets of overlaid paper (overall 265 x 200 mm), the upper sheet with thirteen cutouts to reveal writing on second sheet, Hereford, 25 September 1734; browned and stained, some marginal and other chipping, costing a bit of the drawing at top margin in the foliage of the tree, a few wormholes in lower margin, laid down on mat board. This is one of the uncommon family trees drawn by Buchinger that demonstrate his skill not only with the pen, but with the knife as well. The family tree, which incorporates the Aubrey arms, is captioned within the ruled border: "Herbert Aubrey of Clayhonger, Married Arabella; the Daughter of ye Rt. Honble. The Lord Viscount Harcourt; May ye 29 1716." The top sheet has a cutout window to reveal the preceding caption, which is inscribed on the second sheet; the top sheet also has a dozen cutouts to accommodate the records of the births of the couple's children, also written on the second sheet (three of the "fruit" cut-outs are unaccomplished). Hanging from a loop on a lower limb is a trompe l'oeil locket with the Aubrey and Harcourt arms impaled. The manuscript is signed, dated, and localized by Buchinger in his usual formula on the upper sheet below the ruled border: "Hereford, September the 25, 1743. This Coat of Arms & This tree was Drawn Written by Matthew Buchinger born Without Hands or Feet, in Germany, June the 3d. 1674." REFERENCE: Exemplars, p. 59

View 1 of Lot 130: Buchinger, Matthias | A two-sheet Buchinger family tree with cut-outs

buchinger, matthias | a two-sheet buchinger family tree with cut-outs

Original Film Posters 

Unframed: 29 x 20 in. (74 x 51 cm) This fictional popular motor racing film is the story of the 1966 Formula One season through the eyes of four Formula One drivers The film includes real-life motor racing footage and cameos by several Formula One World Champions, including Juan Manuel Fangio, Phil and Graham Hill and Jack Brabham. The film was directed by John Frankenheimer, and stars James Garner, Eva Marie Saint and Yves Montand.

View 1 of Lot 167: Grand Prix (1966), style C poster, first Japanese release (1967)

grand prix (1966), style c poster, first japanese release (1967)

Un cabinet de curiosités bibliophiliques : de Dürer à Alechinsky 

Livres et Manuscrits des XIX & XXe siècles (lot 99 à 171)

Livres et Manuscrits des XIX & XXe siècles (lot 99 à 171) CENDRARS, BLAISE 9 lettres autographes et une lettre dactylographiée à Madeleine ou Marcellin Castaing. 17 rue du Mont-Dore, Paris [1922-1924]. BELLE CORRESPONDANCE DE CENDRARS, SCÉNARISTE, À CELLE QU’IL SURNOMMA LA FUTURE MARIE PICKFORD FRANÇAISE. 8 pages in-4 et 7 pages in-8 dont deux avec adresses (325 x 230 mm à 160 x 115 mm). Signées "Blaise Cendrars". S’adressant soit à Marcellin Castaing, soit à Madeleine, soit aux deux, Cendrars qui reconnaît un vrai talent d’actrice à son amie, est à la recherche d’un sujet de film, évoquant notamment une adaptation de Madame Bovary. Jeudi [3 ? août 1922]. Il a enfin pu voir les essais tournés chez Pathé : "Dites à Madame qu’elle est réellement [souligné trois fois] très bien [souligné une fois] […]. Je lui écrirai demain pour lui dire par le même bout ce que j’en pense et vous enverrai le film". Jeudi 10 août 1922. Il expose à Madeleine les raisons de son retard à lui écrire. "Voici ce que j’ai pensé pour vous. Vos bouts d’essai sont concluants. Vous êtes pleine de qualités et avec beaucoup de travail et de patience vous pourrez arriver à quelque chose de supérieur à la moyenne. Evidemment la grosse difficulté pour vous, au début, c’est le jeu, c’est-à-dire l’expression, l’intensité dramatique, la personnification d’un personnage qui ne serait pas vous". Il lui demande si elle a déjà une idée du genre d’héroïne qu’elle aimerait incarner, lui conseillant de partager l’affiche avec une grande vedette masculine en raison de son inexpérience à elle et de choisir une comédie alerte, pleine d’entrain : "le sujet absorberait ainsi vos hésitations et défaillances éventuelles" et lui suggère de chercher une idée. De son côté, il a un très beau sujet de film "mais je le crois un peu difficile et surtout trop coûteux pour un début". Il ajoute qu’il n’existe pas de bons livres qui pourraient lui être utiles en tant qu’actrice, le cinéma ne s’apprenant que par la pratique. Mardi [1922], à Marcellin. Il espère pouvoir aller leur rendre visite à Toulouse. "Dites à votre femme que j’ai relu Mme Bovary, que j’ai déjà pris quelques notes et que je vois très bien selon quelle formule on peut réaliser ce film. C’est un gros morceau. Je suis sûr que nous en viendrons à bout". Mardi 3h. "Mon ami Leonard Meeter, un jeune dramaturge américain qui rentre vendredi à New-York, désire passer sa dernière soirée chez vous pour faire un article sur Mme Bovary dès son arrivée à New York". Une mention, au crayon dans la marge, indique qu'une invitation a été envoyée. [Décembre 1922]. Fasquelle lui a donné les coordonnées de l’héritière de Flaubert [Caroline Hamard, Mme Franklin-Grout, nièce de l’écrivain] pour tenter d’obtenir les droits d’une adaptation cinématographique de Madame Bovary, ce dont il doute : "Mme Bovary a déjà été tourné, en Italie, avant la guerre d’une façon si déplorable, que devant les nombreux reproches faits par les admirateurs de Flaubert, Mme Franklin-Grout s’était jurée de ne plus jamais rien confier au cinéma". Cependant s’il peut la rencontrer personnellement, chez elle à Antibes, et lui expliquer ce qu’il imagine faire, dans le respect du texte et la portée artistique de l’œuvre, il pourrait réussir. S’il n’a pas encore réussi à trouver un exemplaire de J’ai tué [paru en 1918, illustré par Fernand Léger], il lui propose une carte d’entrée pour la première de La Roue [film d’Abel Gance à qui Cendrars servit d’assistant et dont la première version, durant plus de sept heures, fut présentée à Paris en décembre 1922]. [Printemps 1923]. Le projet sur Madame Bovary a dû être abandonné [après la visite de Cendrars et de Marcellin Castaing à Caroline Franklin-Grout, à Antibes, il semble que la Société des Amis de Flaubert ait posé son veto sur l’adaptation envisagée, comme l’a raconté Madeleine Castaing elle-même]. Après avoir donné quelques conseils de rééducation pour leur fils, Michel, opéré au genou, Cendrars avoue n’avoir encore rien trouvé de fameux pour leur projet cinématographique. "Il ne faut plus songer à Madame Bovary, Adolphe ne fera pas un bon film. Dominique il y a plus de dix films au moins cette saison. Le Lys dans la vallée – bon – mais il ne faut plus toucher à Balzac d’ici dix ans, tant on en a tourné de mauvais. Il nous reste quoi ? – un scénario inédit et trouver les capitaux". Il évoque à ce sujet la proposition de Paul Laffitte [fondateur des éditions La Sirène] qui souhaite créer pour lui une société de production, mais Cendrars est conscient que son ami banquier promet beaucoup et entreprend trop d’affaires en même temps. Un autre de ses amis, le marchand d’art Léopold Zborowski, a pensé à On ne badine pas avec l’amour de Musset : il va relire la pièce et voir ce qui peut en être fait. "Il y a encore Bug-Jargal de Victor Hugo à condition que les droits soient libres, que l’on vous y taille un beau rôle et qu’un voyage aux Antilles ne vous effraye pas". Il avoue être très embêté de n’avoir rien de plus à lui annoncer. Jeudi soir. Il a eu de bonnes nouvelles de Laffitte qui pourrait réunir le capital nécessaire d’ici quelques jours. Il donne à ses amis des instructions pour se rendre dans sa maison de Tremblay-sur-Mauldre. Dimanche [automne 1923]. Toujours à la recherche d’un sujet de film, il a lu La Petite Paroisse [d’Alphonse Daudet], un livre "faux, archifaux". Il propose que Madeleine Castaing relise La Faustin des frères Goncourt, si elle se sent capable d’interpréter ce rôle de grande comédienne. Il cite d’autres titres dont Madame Dora de J.V. Jensen, La Puissance des Ténèbres de Tolstoï, La Chute de la maison Usher de Poe, ou encore Le Bar de la Fourche de Gilbert des Voisins. Il fait ensuite allusion à deux films qui se tournent actuellement d’après L’Affaire du Collier de la Reine par Louis Mercanton et Le Cachet rouge, d’après Vigny, par Germaine Dulac. [29 décembre 1923]. Il annonce son prochain départ pour São-Paulo, le 15 janvier, à bord du Formosa [qui donnera son nom à la première partie de Feuilles de route]. Sans nouvelles encore de Grasset, "En attendant, je travaille ferme à mes livres et cela me tue et me vide". [11 janvier 1924]. "Non seulement Grasset est invisible, mais Brun vient de perdre son fils unique ! Alors, rien à faire de quelque temps. Je pars demain. Serai de retour fin avril". Au lendemain de cette lettre, Cendrars s’embarquait effectivement pour l’Amérique latine sur l’invitation de l’écrivain brésilien Paulo Prado, n’en revenant qu’au mois d’août suivant. Conférencier, reporter et explorateur, il trouva dans le Brésil sa "deuxième patrie spirituelle" où il retourna à deux reprises. Quant à Madeleine Castaing, elle racontera que Cendrars lui avait également proposé d’adapter Maria Chapdelaine, mais qu’elle refusa, ayant peur d’avoir froid si le tournage se faisait au Canada, "et j’en suis restée là pour le cinéma !". Elle se consacra par la suite à sa passion de la décoration et de l’art contemporain, devenant notamment le soutien le plus fidèle du peintre Soutine. [On joint :] Photographie de Madeleine Castaing [vers 1922]. Tirage argentique (181 x 128 mm). Déchirures marginales. LITERATURE: J.-N. Liaut, Madeleine Castaing… Payot, 2008. "Lettres à Madeleine et Marcellin Castaing", présentées par Th. Jugan in Feuille de route, n° 47, printemps 2009. Madeleine Castaing (1894–1992) "Une liesse bordée d’acier", émission radiophonique diffusée le 18 mars 2017 : https://www.franceculture.fr/emissions/une-vie-une-oeuvre/madeleine-castaing-1894-1992-une-liesse-bordee-dacier.

10 lettres à madeleine ou marcellin castaing. 1922-1924. à propos de cinéma

Jewels Online

Property of a Gentleman PAIR OF CUFFLINKS (PAIO DI GEMELLI), STITTGEN Designed as formula one cars, signed Stittgen. (Disegnati come macchine di formula uno, firmati Stittgen.) Please see shipping calculator link: click here. («Calcolatore di spese di spedizione»: cliccare qui).

pair of cufflinks (paio di gemelli) | stittgen

Original Film Posters Online

Modern Times (1936) unique painting, US Artists: Norton Gaston (1905-1944), Edward Gaston (1906-1991) and Jerome Gaston (1911-1989) Unframed Dimensions: 60 x 40 in. (152 x 102 cm) From The Gaston Collection. In the early 20th century, it was not unusual for local movie theatres to commission artists to create custom lobby cards to supplement the lithographic film posters issued by studios. Based in Long Beach, California, the Gaston Brothers were one such outfit dedicated to supplying local cinemas with bold and eye-catching original artwork that would set them apart from their competitors. Using magazine images and studio stills for inspiration, the Gastons made a good living selling artwork for six to forty dollars apiece to theatres in the Long Beach area. Even at the height of the Great Depression their successful formula was built on team work - with Norton painting the pictures and the other two brothers concentrating on the lettering and backgrounds. The brothers often retrieved their artworks after the film's run was over and reused their materials for future works. Like the great majority of film posters created in the 20s and 30s, the Gaston Brothers' work was long assumed to be lost. However, after Jerome Gaston's death in 1989, his son Norton (named after his uncle) discovered a trove of artworks in his father's garage. This striking Charlie Chaplin piece was part of this find. Please see shipping calculator here.

modern times (1936) unique painting, us

Fine Books and Manuscripts, Including Americana. Part 2

Ramanujan, Srinivasa, G. H. Hardy, et al The Messenger of Mathematics. Vol XLIV. [May 1914–April 1915]. Cambridge: Bowes & Bowes, 1915 8vo (213 x 136 mm). Very minor pale spotting, mostly to the endpapers, a short tear at the top edge of the front free endpaper, a few pencil annotations, an old bookseller's invoice laid in. Original patterned brown cloth, gilt-titled spine; spine ends and corners softened, a few rubbed spots at extremities. First and only edition of a rare mathematics journal featuring one of Srinivasa Ramanujan's earliest appearances in print in Europe. It includes three papers by the mathematical autodidact, written soon after he arrived in Cambridge, as well as his mentor G. H. Hardy's proof of one of the equations. In late January of 1913, Cambridge mathematician G. H. Hardy received an envelope sent from Madras, India. The cover letter began: "I beg to introduce myself to you as a clerk in the Accounts Department of the Port Trust Office at Madras on a salary of only £20 per annum. I am now about 23 years of age. I have had no University education but I have undergone the ordinary school course. After leaving school I have been employing the spare time at my disposal to work at Mathematics. I have not trodden through the conventional regular course which is followed in a University course, but I am striking out a new path for myself. I have made a special investigation of divergent series in general and the results I get are termed by the local mathematicians as ‘startling’... I would request you to go through the enclosed papers. Being poor, if you are convinced that there is anything of value, I would like to have my theorems published. I have not given the actual investigations nor the expressions that I get but I have indicated the lines on which I proceed. Being inexperienced I would very highly value any advice you give me." What followed were nine pages of mathematical formulae on infinite series, improper integrals, continued fractions, and number theory. Despite initially dismissing the letter, Hardy took a second look at the equations with his colleague J. E. Littlewood. They realized the work was sensational, its author a mathematical genius. Some of the results were entirely novel and extremely advanced, stumping even the esteemed Cambridge professors. Hardy eventually managed to arrange for Ramanujan to come to Cambridge as a research fellow. Arriving in 1914, Ramanujan stayed at the University under Hardy's tutelage, publishing articles, and making substantial contributions to the field. In 1918 he was elected to the Royal Society. He was one of the youngest fellows in its history and the second Indian person ever admitted. After falling ill, he returned to Madras, where he died in 1920 at age 32. After his death, Ramanujan would be recognized as one of the most important mathematicians of the twentieth century, and by far the most compelling. Volume XLIV of the Messenger of Mathematics (Cambridge: Bowes & Bowes, 1915) contains three papers by Ramanujan—“Some definite integrals” (pp. 10–18; followed by Hardy's 3-page proof of the formula), “Some definite integrals connected with Gauss’s sums” (pp. 75–86), and “Summation of a certain series” (pp. 157–160). It is of particular note that Ramanujan's first paper appears alongside Hardy's proof of it. This is emblematic of their mathematical partnership, where Ramanujan would provide a highly intuitive insight, and the professor would formally prove it. Additionally, Hardy's proofs of Ramanujan's formulas acted as a stamp of approval in the mathematics community. This cannot be overstated — Hardy was the premier mathematician in England at the time, while Ramanujan had only just arrived. This journal was among the earliest glimpses that the Western mathematics community would see of Ramanujan's prodigious genius. The Collected Papers of Srinivasa Ramanujan, edited by Hardy, includes a list of Ramanujan's papers and a bibliography. He dates the first two papers that appear in this journal to 1914 and puts them first and second on his list. As such, it appears that these papers were the first ones that Ramanujan wrote after arriving in England and receiving instruction in modern math. However, according to the bibliography, Ramanujan's earliest publication to appear in Europe was "Modular equations and approximations to π," in The Quarterly Journal of Mathematics (1914). Before leaving India, Ramanujan had published nine papers in the Journal of the Indian Mathematical Society starting in 1911. While we are able to locate a handful of copies of this volume of The Messenger of Mathematics in institutional libraries, we cannot find any record of this volume having been sold at auction, or any copies in the trade. REFERENCES Ramanujan, Srinivasa and G. H. Hardy, editor. Collected Papers... Cambridge University Press, 1927 PROVENANCE Possibly A. Hodge Esq. (scrawled name written on laid in invoice from A. C. Curtis Limited, Godalming, dated 20 September 1915)

View 1 of Lot 496: Ramanujan, Srinivasa — G. H. Hardy | The mathematician's second appearance in print in the West

ramanujan, srinivasa — g. h. hardy | the mathematician's second appearance in print in the west

CIRCUIT PAUL RICARD (1970) POSTER, FRENCH

CIRCUIT PAUL RICARD (1970) POSTER, FRENCH 25¼ x 18½in. (64.2 x 47 cm) The Circuit Paul Ricard opened at Le Castellet, Var, near Marseille on the 19th April 1970, and is home to the French Formula One World Championship. This stylish poster was created to advertise the track's opening. To view shipping calculator, please click here

circuit paul ricard (1970) poster, french

Grand Prix (1966) Poster, East German, First East German release 1974

Grand Prix (1966) Poster, East German, First East German release 1974 Unframed: 33 x 23 in. (84 x 58 cm) This fictional popular motor racing film is the story of the 1966 Formula One season through the eyes of four Formula One drivers The film includes real-life motor racing footage and cameos by several Formula One World Champions, including Juan Manuel Fangio, Phil and Graham Hill and Jack Brabham. The film was directed by John Frankenheimer, and stars James Garner, Eva Marie Saint and Yves Montand.

grand prix (1966) poster, east german, first east german release 1974

carved in sunk relief with two confronted striding men, wearing kilts of differing lengths with triangular over-folds in front, and long wigs, eight columns of inscription above containing two offering formulas, the figure on the left named as "the scribe Imeni, whom Hemi bore," the one on the right as the "Guest of Osiris Khenti-Amentiu, Lord of Abydos."

Results for "Formula One"