Books, Manuscripts & Music

Ian Fleming Dr. No. London: Jonathan Cape, 1958 8vo, FIRST EDITION, FIRST IMPRESSION, SECOND STATE, INSCRIBED BY THE AUTHOR ("To | John Stowe - | - the semi-injured | party! | from | Ian Fleming") on second front endpaper, original black cloth (Fabroleen), "Dancing Lady" design to upper cover (missing from earliest copies), lettered in silver, dust-jacket illustrated by Pat Marriott, housed in bespoke black cloth clamshell case with embossed dust-jacket design and brown edges, plastic wallet containing related ephemera loosely inserted in case (list of ephemera available upon request), front free endpaper with some marginal soiling and dampstaining (with inscription slightly smudged), endleaves slightly spotted, circular stain from coin at margin of p.147, one or two slight creases to dust-jacket The first of the James Bond novels to be filmed, WITH A WITTY AND ENIGMATIC INSCRIPTION. LITERATURE: Gilbert A6a (1.2)

View 1 of Lot 114: Ian Fleming | Dr. No, 1958, first edition, first impression, second state, inscribed by the author

ian fleming | dr. no, 1958, first edition, first impression, second state, inscribed by the author

<a href="https://www.sothebys.com/en/search?query=Boris%20Grinsson&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Boris Grinsson</a>'s artwork features on this first-year-of-release French Petite <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">film poster</a> for the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> movie <a href="https://www.sothebys.com/en/search?query=Dr.%20No&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Dr. No</a>.<ul><li>Boris Grinsson (Russian, 1907-1999).</li><li>United Artists.</li><li>Linen backed.&nbsp;</li><li>This work is presented unframed.</li></ul>

French James Bond Dr No Movie Poster

First-year release <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> Dr. No starring Sean Connery French petite movie poster.<ul><li>Boris Grinsson (Russian, 1907–1999)</li><li>United Artists.</li><li>Unframed, linen-backed and rolled.</li></ul>

James Bond Dr. No French Movie Poster

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Photographs" rel="noopener noreferrer" target="_blank">photograph</a> taken on the set of the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film, Dr. No.<ul><li>Photographed by Herman Leonard (American, 1923-2010).</li><li>Oversized candid double-weight photograph.</li><li>With a perspex window on the back that displays the original information, along with measurements indicating the required printing size for the press.</li><li>This work is presented framed.</li></ul> This oversized, candid double-weight photograph of the legendary Sean Connery was taken on the set of the first James Bond film,&nbsp;Dr. No. Captured by Herman Leonard, a highly sought-after jazz photographer known for his dramatically lit, smoky images, Leonard’s unique background makes this photograph particularly intriguing. The image of Connery relaxing with a cigarette between takes is nothing short of iconic and represents a truly unique find.

Photograph Of Sean Connery On the Set of James Bond: Dr. No

&nbsp;A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, first printing of Dr. No, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> by Eunice Gayson and Charles Edghill.<ul><li>Ian Fleming (English).</li><li>London: Jonathan Cape, 1958.</li><li>Signed on the title page by the actress Eunice Gayson, who played the character ‘Sylvia Trench’ in the 1962 motion picture of Dr No.&nbsp;</li><li>Additionally signed by Charles Edghill, who played one of the ‘Three Blind Mice,’ on the rear of the half-title page.</li><li>Presented in the dustwrapper.</li></ul> Dr. No is the sixth James Bond novel by Ian Fleming, published in 1958. It follows British spy James Bond as he investigates the disappearance of two agents in Jamaica, leading to the mysterious Dr. No, a reclusive villain with a deadly plan. The 1962 film adaptation, starring Sean Connery in his debut as Bond, launched the iconic movie franchise. Set in the Caribbean, the film features classic Bond elements: espionage, action, gadgets, and glamorous women. Dr. No’s lair, Ursula Andress’s beach entrance, and Connery’s suave performance made the film a pop culture milestone and a blueprint for future Bond films.

Dr. No

This detailed companion explores the making of the&nbsp;<a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a>&nbsp;film&nbsp;<a href="https://www.sothebys.com/en/search?query=Dr.%20No&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Dr. No</a>&nbsp;(1962), the movie that first introduced the world to the cinematic 007.<ul><li>Paul Duncan (English).</li><li>Cologne: TASCHEN, 2024.</li><li>492 pages.</li><li>Book includes over 1000 images, as well as excerpts from the original script, and stories from the cast and crew.</li><li>Collector’s Edition (No. 501–1,962), each copy numbered.</li><li>Hardcover in slipcase.</li></ul> The most complete account of the making of the first James Bond film,&nbsp;Dr. No&nbsp;(1962). “Bond,&nbsp;James Bond.”&nbsp;Since Sean Connery uttered those immortal words in&nbsp;Dr. No, the world’s most famous secret agent in the history of cinema has been charming and thrilling audiences worldwide. This fearless, peerless and impeccably British character, created in 1953 by Ian Fleming, has starred in twenty-five EON-produced films, played by six different actors over seven decades. And still the franchise continues. To tell the full story of how it all began, EON Productions opened its archives of photos, designs, and production materials to TASCHEN. The result is&nbsp;this remarkable account of the making of&nbsp;Dr. No, Bond’s first film outing:&nbsp;a beautiful volume that includes a treasure trove of words and pictures, many of which have never been seen before. Access to EON’s&nbsp;James Bond&nbsp;archives was completely unrestricted, so this book is the most comprehensive account of one of the most iconic films the world has ever seen. Step inside the pages to find the true inside story and&nbsp;outstanding insights into the personalities and processes behind the most successful and longest-running film franchise in cinema history. You can closely follow the making of the film through a day-by-day account of what took place, which scenes were shot and who made the decisions that shaped the story and characters as it was filmed.&nbsp;Among the 1007 images, you’ll see many rare and previously unpublished stills and on-set shots&nbsp;from photographers such as Bert Cann, Bunny Yaeger and Bradley Smith, as well as memos, documents, posters, and production designs. And&nbsp;the behind-the-scenes stories paint their own pictures too, told by the people who were there. From producers Albert R. "Cubby" Broccoli and Harry Saltzman to director Terence Young and production designer Ken Adam, as well as the cast, the crew, writers and stuntmen, these personal narratives invite readers back in time and on to the film set itself. For any fan, it’s&nbsp;a fantastic insight into how the Bond cinematic world was born&nbsp;– and its comprehensive coverage of the filming experience which will grip you from the first page.

James Bond: Dr. No

A Spanish <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film <a href="https://www.sothebys.com/en/search?query=Dr.+No&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Dr. No</a>.<ul><li>Macario Gomez (Mac) (Spanish, 1926-2018).</li><li>United Artists.</li><li>Produced for the first Spanish release, 1963.</li><li>Linen backed and framed.</li></ul>

Spanish James  Bond Dr. No / Agente 007 contra el Dr. No Movie Poster

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie</a> production still photograph of <a href="https://www.sothebys.com/en/search?query=Sean%20Connery&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Sean Connery</a> as <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> in Dr. No.<ul><li>Conservation framed with UV plexiglass.</li></ul> This British publicity photograph was used to promote the film in Germany.

James Bond Dr. No Movie Production Still Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film Dr. No.<ul><li>United Artists.</li><li>Produced for the first US release, 1963.</li><li>Paper backed.</li><li>Conservation framed with UV plexiglass.</li></ul> There is a blank area at the top of the poster where the cinema would have inserted the name of the cinema and showing times. Approximately three inches of this blank area has been covered with the mount.

James Bond Dr. No Movie Poster

A set of <a href="https://www.sothebys.com/en/search?query=lobby+card&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">lobby cards</a> for the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film Dr. No.﻿<ul><li>Sold as a set of 8.</li><li>United Artists.</li><li>Produced for the first US release 1963.</li><li>Presented in the original shipping sleeve, each unframed.</li></ul>

James Bond Dr. No Lobby Cards

A first-year-of-release French Grande <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the first, and perhaps best of the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> action adventure films ever made, Dr No.<ul><li>Boris Grinsson (Russian, 1907-1999).</li><li>United Artists.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

French James Bond Dr. No Movie Poster

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, first printing of the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> novel Dr. No, with <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signature</a> by actor <a href="https://www.sothebys.com/en/search?query=Sean%20Connery&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Sean Connery</a>, who played James Bond in the movie adaptation.<ul><li>Ian Fleming (English).</li><li>London: Jonathan Cape, 1958.</li><li>Includes insert with signature of Sean Connery.</li><li>Unclipped first issue dust wrapper.</li></ul>

Dr. No First Edition, First Printing, Signed by Sean Connery

German film poster for the first <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film Dr No. starring Sean Connery.<ul><li>Designed by Atelier Degen by combining artwork and photo montage.</li><li>Eon Productions</li><li>Rolled and unframed.</li></ul>

James Bond Dr. No German Movie Poster

Movie lobby card for the 1962 release of <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> Dr. No,&nbsp;starring Sean Connery.<ul><li>United Artists.</li><li>Lobby card number 4.</li><li>Conservation framed in obeche wood with card mount and UV plexiglass.</li></ul>

James Bond Dr. No Movie Lobby Card

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film Dr. No.<ul><li>United Artists.</li><li>Produced for the first US release, 1963.</li><li>Paper backed and conservation framed with UV plexiglass.</li></ul>

A French <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film Dr. No.<ul><li>Boris Grinsson (Russian, 1907-1999).</li><li>United Artists.</li><li>First French release, 1963.</li><li>Paper, backed on linen.</li><li>This work is presented framed</li></ul>

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a> copy of <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;creators=Ian%2520Fleming" rel="noopener noreferrer" target="_blank">Fleming's</a> sixth <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">Bond</a> thriller, and the first to be filmed in 1962.<ul><li>Ian Fleming (English).</li><li>Illustrated dust jacket by Pat Marriott (English).</li><li>London: Jonathan Cape, 1958.</li><li>pp. 256.</li><li>Octavo.</li><li>Bound in publisher’s black cloth-effect paper over boards, silver titles to spine, in second state binding, with the "Dancing Lady" design to the upper.</li><li>Housed in a custom black cloth-covered clamshell box, with gilt titles and decoration to the spine.</li></ul>

Johannes Brahms Autograph manuscript signed of the songs 'Sehnsucht', op.14 no.8, and 'Trost in Tränen', op.48 no.5, for voice and piano, FORMERLY IN THE CELEBRATED COLLECTION OF LOUIS KOCH boldly notated in dark brown ink, with scarcely any corrections, on up to three three-stave systems per page, SIGNED AND DATED AT THE END ("Detmold, / Im Winter 1858 / Joh. Brahms."), with autograph titles ("Sehnsucht. (Volkslied.)"; "Trost in Thränen. von Göthe."), the songs beginning, respectively, "Mein Schatz ist nicht da, ist weit über'm See" and "Wie kommt's, daß du so traurig bist, da alles froh erscheint?", the second verse of the second song written above the melody, the third and fourth verses written out after the end, 26 and 23 bars, respectively 3 pages, and one blank, oblong 4to (27.1 x 34cm), nine-stave paper, Detmold, winter 1858, a few small tears to margins and hinge, some splitting to vertical fold, light browning to edges, light damp-staining at lower and outer edges, not affecting text A STUNNING MANUSCRIPT OF TWO COMPLETE BRAHMS SONGS, AS YET UNPUBLISHED IN THE NEW JOHANNES BRAHMS COMPLETE EDITION. Brahms was one of the greatest, as well as most prolific, lieder composers of the nineteenth century, publishing in all 190 solo songs (many more remained unpublished), the earliest dating from May 1851 (the effervescent 'Heimkehr', op.7 no.6) and the latest from May 1896 (the sublime Vier ernste Gesänge, op.121, for bass and piano). Both op.14 no.8 and op.48 no.5, contained in the present manuscript, date from 1858, a year which saw a flood of lieder compositions, some of which, it has been suggested, were inspired by Brahms's feelings for the twenty-three-year-old singer Agathe von Siebold whom he had met in the summer. The rest of the eight Lieder und Romanzen, op.14, also date from that year (nos.2, 'Vom verwundeten Knaben', and 3, 'Murrays Ermordung', from January; nos.1, 'Vor dem Fenster', 4, 'Ein Sonett', and 7, 'Standchen', from September; and nos.5, 'Trennung', and 6, 'Gang zur Liebsten', together with the present no.8, 'Sehnsucht', from the autumn). Like most of the songs of op.14, 'Sehnsucht' is a folksong setting. The melancholic wistfulness of the text (beginning 'My darling is not here, is far across the sea') drew from Brahms music of haunting simplicity. An unusual feature of the autograph is the two-sharp key signature (F sharp and C sharp), although the key of the song (E minor) would ordinarily require only a single sharp in the key signature (the first edition of op.14, in October 1860 by J. Rieter-Biedermann, indeed prints the song with only one sharp). A second autograph of the song (together with autographs of nos.5 and 7, and also of op.48 no.5) survives in the Glinka Museum, Moscow; a third autograph is lost. Brahms later arranged 'Sehnsucht' for three women's voices (c.1859–1862); the whereabouts of the autograph of this arrangement are currently unknown. The Sieben Lieder op.48 were assembled for publication by Brahms in the summer of 1868, the majority of the songs, however, originating much earlier, as is the case with no.5 here. They take their texts from a variety of sources. 'Trost in Tränen' sets a Goethe poem (published in 1804) whose theme is grief and the consolation to be found in tears. Schubert had made a fine setting of the poem in 1814, one which Brahms was no doubt aware of. Both Schubert's song and Brahms's version here are strophic settings of similar length (Schubert's is in fact one bar longer), in the key of F, in 6/8 time, and with alternating major- and minor-key sections, the latter section containing the melancholic response of the young man addressed in the poem. Brahms's setting stands out, however, by its somewhat richer harmonic palette and one particular feature - a greater independence of the piano part: unlike Schubert, Brahms effects the key modulations in the song (from major to minor, and then at the end from minor to major) by means of two short passages for piano alone. But it was perhaps to veil the underlying similarities of the two settings that Brahms transposed the song down a semitone to E major in the first edition (published by N. Simrock, Berlin, in November 1868), with the resulting extra sonic intensity conferred upon the music by that key. PROVENANCE: Formerly in one of the most stupendous collections of autograph music manuscripts ever assembled by a private individual, that of the Frankfurt jeweller Louis Koch (1862-1930) (no.308). LITERATURE: Dr. Georg Kinsky, Manuskripte - Briefe - Dokumente von Scarlatti bis Stravinsky. Katalog der Musikautographen-Sammlung Louis Koch (Stuttgart, 1953), pp.287-289; Margit L. McCorkle, Johannes Brahms. Thematisch-Bibliographisches Werkverzeichnis (1984), pp.43-48, 188-195; TNG, iv (2001)

View 1 of Lot 134: Johannes Brahms | Autograph manuscript signed of the songs 'Sehnsucht', op.14 no.8, and 'Trost in Tränen', op.48 no.5, 1858

johannes brahms | autograph manuscript signed of the songs 'sehnsucht', op.14 no.8, and 'trost in tränen', op.48 no.5, 1858

Ian Fleming Complete James Bond novels. London: Pan, 1955-67 8vo, 14 volumes, FIRST PAPERBACK EDITIONS, comprising: (1) Casino Royale: FIRST PRINTING, artwork by Roger Hall; (2) Live and Let Die: FIRST PRINTING, SIGNED BY CAST MEMBERS of Live and Let Die (1973), Gloria Hendry and Madeline Smith; artwork by Rex Archer; (3) Moonraker: New edition, artwork by Josh Kirby; (4) Diamonds Are Forever: FIRST PRINTING, SIGNED by Diamonds Are Forever (1971) actress Lana Wood, artwork by Rex Archer; (5) From Russia With Love: FIRST PRINTING, SIGNED BY CAST MEMBERS of From Russia With Love (1963), Eunice Gayson, Martine Beswick and Nadja Regin; artwork by Sam Peffer; (6) Dr. No: FIRST PRINTING, SIGNED BY CAST MEMBERS of Dr. No (1962), Eunice Gayson and Charles Edghill; INCLUDES GREETING CARD SIGNED BY ARTIST SAM PEFFER; (7) Goldfinger: FIRST PRINTING, SIGNED BY CAST MEMBERS of Goldfinger (1964), Shirley Eaton, Tania Mallet, Margaret Nolan, Honor Blackman, Nadja Regin, Trisha Muller, Caron Gardner and Lesley Langley; cover artwork by Pat Owen; (8) For Your Eyes Only: FIRST PRINTING, SIGNED BY CAST MEMBERS of For Your Eyes Only (1981) and A View To A Kill (1985), Julian Glover, John Wyman, Jack Klaff, Stefan Kalipha, Jeremy Bulloch, Mary Stavin, Carole Ashby and Maud Adams; cover artwork by J. Oval; (9) Thunderball: FIRST PRINTING, SIGNED BY CAST MEMBERS of Thunderball (1963), Martine Beswick and Luciana Paluzzi; cover artwork by Raymond Hawkey; (10) The Spy Who Loved Me: FIRST PRINTING, SIGNED BY CAST MEMBERS of The Spy Who Loved Me (1977), Caroline Munro, Valerie Leon and Olga Bisera; cover artwork by Raymond Hawkey; (11) On Her Majesty's Secret Service: FIRST PRINTING, Canadian version; cover artwork by Raymond Hawkey; (12) You Only Live Twice: FIRST PRINTING, WITH THE RARE PROMOTIONAL FILM TIE-IN DUST-JACKET, cover artwork by Raymond Hawkey Of the promotional film tie-in dust-jackets, Gilbert writes: “These were intended to adorn the unsold copies of the first printing remaining in bookshops at the time of the film release, in an attempt to update their covers and clear the older ‘scorpion’ design stock. The number produced is unknown, but experience suggests that a fraction have survived, or that very few were ever made; just two copies have been noted in the course of preparing this bibliography.”; (13) The Man With The Golden Gun: FIRST PRINTING, international version; SIGNED by The Man With The Golden Gun (1974) actress Maud Adams, cover artwork by Raymond Hawkey; (14) Octopussy: FIRST PRINTING, SIGNED BY CAST MEMBERS of Octopussy (1983) and The Living Daylights (1987), Maud Adams, Kristina Wayborn, Andy Bradford, Steven Berkoff, Carole Ashby, Alison Worth, Mary Stavin, Joni Flynn, Safira Afzal, Maryam d'Abo, Virginia Hey, Catherine Rabbett, Frederick Warder, Thomas Wheatley and Glyn Baker; cover artwork by Raymond Hawkey Publisher's illustrated softcovers, housed in an Adrian Harrington black cloth slipcase, extremities slightly rubbed, covers occasionally creased, dampstaining to lower cover of Live and Let Die. A striking set of the original British paperbacks.

View 1 of Lot 127: Ian Fleming | Complete James Bond novels, 1955-67, first paperback editions, 14 volumes, some signed by cast members

ian fleming | complete james bond novels, 1955-67, first paperback editions, 14 volumes, some signed by cast members

Carl Maria von Weber Autograph musical quotation from Der Freischütz, signed and inscribed ("pour mon cher ami Disi. CMvWeber") the B-major melody from the Act III Finale, 16 bars, with autograph superscription ("aus dem le[t]zten Finale des Freischütz"), notated in brown ink on three two-stave systems 1 page, oblong 8vo (12.4 x 17.3cm), 10-stave paper, no place or date [London, early 1826], traces of mount, light discolouration to inner margin, some very light spotting The quotation from Weber's most celebrated opera corresponds to bars 5-13 on p.166, bars 6 (upbeat)-10 on p.167 and bars 1-4 on p.168 of Weber's own 1821 piano arrangement of the score (Kinsky, p.149). The musical reminiscence was written out by Weber during his last, fateful, visit to London for the Flemish harpist François Joseph Dizi (1780-c.1840). By 1826, Dizi had been in London for 30 years, where he was esteemed as one of the most famous harpists of his day. PROVENANCE: Formerly in the celebrated collection of Louis Koch (no.131). LITERATURE: Dr. Georg Kinsky, Manuskripte - Briefe - Dokumente von Scarlatti bis Stravinsky. Katalog der Musikautographen-Sammlung Louis Koch (Stuttgart, 1953), pp.149-150

View 1 of Lot 163: Carl Maria von Weber | Autograph musical quotation signed from "Der Freischütz", 1826 

carl maria von weber | autograph musical quotation signed from "der freischütz", 1826

Ian Fleming You Only Live Twice. London: Jonathan Cape, 1964. 8vo, FIRST IMPRESSION, FIRST STATE, INSCRIBED BY THE AUTHOR on second front endpaper ("To | Brilliant Young-san | from | Humbled | Fleming-san"), binding A, original black cloth (Fabroleen), original dust-jacket by Richard Chopping, housed in bespoke black cloth clamshell case with embossed dust-jacket design and pink sides, plastic wallet containing related ephemera loosely inserted (list of ephemera available upon request) THE INSCRIPTION IN THIS VOLUME IS ALMOST CERTAINLY TO TERENCE YOUNG (1915-1994), who directed the first, second, and fourth Bond films: Dr. No (1962), From Russia with Love (1963), and Thunderball (1965). As recounted in Nicholas Shakespeare's biography, the initial meeting between Young and Fleming was hardly a show of deference on either man's part. Fleming initially looked down on Young (the third-choice director), while Young later recalled finding Fleming "immensely arrogant". Nevertheless, they concluded their meeting with a dinner, and went on to form a strong friendship. The inscription in this volume indicates the high regard in which Young was eventually held by Fleming. LITERATURE: Gilbert A12a (1.1); for the relationship between Fleming and Young: Nicholas Shakespeare, Ian Fleming: The Complete Man (2023), p. 637.

View 1 of Lot 123: Ian Fleming | You Only Live Twice, 1964, first edition, first state, binding A,  inscribed by the author 

ian fleming | you only live twice, 1964, first edition, first state, binding a, inscribed by the author

Fine Books & Manuscripts, Including Americana

Plinius Secundus, Gaius — Philemon Holland, trans.

Plinius Secundus, Gaius — Philemon Holland, trans. The Historie of the World. Commonly called, The Naturall Historie ... The First [-Second] Tome. London: Printed By Adam Islip, 1601 2 volumes, folio (305 x 207 mm). Two title-pages each with woodcut allegorical device, woodcut head- and tailpieces, decorative initials, last leaf with errata on recto and colophon on verso, one or two instances of early marginalia; lacking first blank leaf in each volume, scattered foxing and staining, a few marginal open and closed tears, a scattered and small rust holes costing a few letters, faint dampstaining to a few gatherings. Early calf-backed marbled paper-covered boards, edges speckled red; rebacked with original spines laid down, lower board of Vol. I detached, rubbed with some loss. First edition in English, first issue with the Islip imprint. Of this translation, Lowndes says "A work of immense labour, and what few men of his time could have executed in a superior manner to Dr. Holland." Extensively used as a source by Shakespeare, notably for King Lear and The Tempest. REFERENCES STC 20029; ESTC S115918; Pforzheimer 496 PROVENANCE M(?) Holloway (early ownership signature to each title) — William Baker (19th century ownership inscription, dated 1820, to each title) — Dr. D. Ritchie (acquisition note to front free endpaper of each volume) — Sterling l. Spicer (ownership inscription, dated 1925, to front free endpaper of each volume)

View 1 of Lot 1087: Plinius Secundus, Gaius — Philemon Holland (trans.) | First English edition of The Historie of the World

plinius secundus, gaius — philemon holland (trans.) | first english edition of the historie of the world

Wolfgang Amadeus Mozart--Paul Hirsch (collector, bibliophile and Mozartian, 1881-1951)

Wolfgang Amadeus Mozart--Paul Hirsch (collector, bibliophile and Mozartian, 1881-1951) The Frankfurt and Cambridge autograph guest books and chamber-music notebooks of Paul Hirsch THE FRANKFURT GUEST BOOK, containing autograph inscriptions and musical quotations signed by around 400 composers, musicians, writers, musicologists, philosophers and artists, 1919-1936 including by Igor Stravinsky ("Im ausserordentligen Fernügen zeichne ich Igor Strawinsky..."), Paul Hindemith, Richard Strauss, (signature, 18 October 1930), Arthur Honegger (autograph musical quotation signed from Le Roi David, 2 bars, 10 June 1926), Franz Schreker (autograph musical quotation signed from his opera Die Gezeichneten, 3 bars, 21 November 1919), Artur Schnabel, Bruno Walter, Emil Orlik, Carl Flesch, Wilhelm Furtwängler, Egon Wellesz (autograph musical quotation from his opera Die Prinzessin Girnara, 2 bars, 15 November 1920), Emmy Wellesz, Edwin Fischer (autograph musical quotation from the slow movement of Beethoven's Piano Concerto no.5, op.73, 3 bars, 19 December 1920), Max Unger, Adolf Busch and other members of the Busch Quartet (twice, with drawings and autograph musical quotations), Johannes Wolf, Fedor von Zobeltitz, Hermann Erpf, Wilibald Gurlitt, Hermann Scherchen, Henri Hinrichsen, Edward Dent, Alois Hába, Martin Breslauer, Marya Freund, Ernst Toch, Alma Moodie, Ludwig Rottenberg, Martin Kessel, Alfredo and Yvonne Casella, Julius Weismann, Günther and Charlotte Ramin, Raymond Petit, Serge Koussevitsky, Henry Prunières, Elizabeth Sprague Coolidge, Guido Adler (and ten other members of the directorate of the Internationale Gesellschaft für Musikwissenschaft; and also a loose letter of thanks signed by the same, 4 September 1928), Karl Straube, Wanda Landowska, Agi Jambor, Ernest Ansermet, Gian Francesco Malipiero (twice, including with an autograph musical quotation from his opera San Francesco d'Assisi, 8 bars, 28 October 1930), George Antheil (autograph musical quotation signed, from the overture to his opera Transatlantic, premiered in Frankfurt on the day of this entry, 2 bars, 25 May 1930), Florent Schmitt (autograph musical quotation from his choral masterpiece Psalm XLVII, 2 bars, 23 October 1930), Nathan Milstein, Hans Pfitzner, Igor Markevitch, Rudolf Koch (and other designers at his Offenbach workshop), Erich Kleiber, and Anthony van Hoboken 86 leaves, plus blanks, large 4to (26.3 x 19.3cm), mostly written on the rectos only, with two loose postcard photographs showing back and front views of Neue Mainzerstrasse 57 (Paul and Olga Hirsch's residence between December 1918 and May 1936), original tan morocco gilt binding by Dora Thormählen, gilt monogram device of Paul Hirsch ("PH") to upper cover, Frankfurt, 1919-1936 THE CAMBRIDGE GUEST BOOK containing autograph inscriptions, musical quotations, poems and drawings by around 400 musicians, musicologists, librarians, friends and members of the Hirsch family, 1936-1967 including by Roberto Gerhard (autograph musical quotation from Soirées de Barcelone, 2 bars, 25 July 1939), Rudolf Serkin, Boris Ord, Mark Hambourg, Kathi Mayer-Baer (inscribed watercolour, 20 May-20 July 1937), Georg and Petronella Witkowski, Egon Wellesz (autograph musical quotation from Prosperos Beschwörungen, op.53, 20 May 1938), Carl Flesch, Anthony and Eva van Hoboken, Edward J. Dent, Max Rostal, Reginald Jacques, Kurt Jooss, Marjorie Trevelyan, Antonio Brosa, Walter Naumburg, Christopher Peto, Samuel Kutcher, Peter Schidlof ("...and many thanks for the loan of the Guadagnini Viola..."), Laurence Picken, Donald Gowing, Frederic Lamond, Dolf Polak, Rosemary Hughes, Edith B. Schnapper, Alfred Loewenberg, Paul Henry Lang, Robin Orr, Jill Vlasto, Sydney Smith, Alec Hyatt King, C.B. Oldman, Albi and Maud Rosenthal, Philip Radcliffe, O.E. Deutsch ("In dankbarer Erinnerung an viele schöne Stunden im Cambridger Heim vom July 1939 bis zum September 1952..."), Helmut Federhofer, Manfred Bukofzer, Susanne Lachmann, Geoffrey Sharp, Cecil Hopkinson, O.W. Neighbour, H.A. Feisenberger, Alfred Mann, Raymond Leppard, Robert Thurston Dart, Robert Anderson, Charles Cudworth, Rudolf Elvers, Eberhard Hopf, Elisabeth Friedlander, and Michael Tunstall-Behrens 58 leaves, plus blanks, large 4to (31 x 24cm), written on the rectos only, red morocco binding by J. Niederhöfer of Frankfurt, with four loose autograph letters by Thurston Dart and Edward J. Dent, gilt monogram device of Paul Hirsch ("PH") to upper cover, Cambridge, 1936-1967 THE CHAMBER-MUSIC NOTEBOOKS, comprising four autograph manuscript volumes by Paul Hirsch, recording over 600 chamber music evenings at which Hirsch and other members of his quartet, as well as other occasional guest musicians, performed between 1897 and 1950 1) documenting chamber-music evenings between 10 November 1897 and 11 September 1901, numbered '1'-'65', headed on the first page "Verzeichnis der ab 10. Novbr. 1897 gespielten Kammermusik-Werke", with details of works performed, participating performers, locations of the performances, with other annotations and humorous commentaries, and a manuscript index of composers' works at end, 36 pages in all, plus blanks, 8vo (20.6 x 14.2cm), stamped "Paul Hirsch" on front free endpaper, original cloth 2) documenting chamber-music evenings between 10 May 1910 and 31 March 1919, numbered 'I'-'VI' (10 May to 29 June 1910) and '1'-'200' (11 May 1911 to 31 March 1919), the members of the regular quartet listed at the head of the volume ("Dr. R[ichard] Stern, P[aul] H[irsch], L. Natterer, G. Wallau"), with additional performers also recorded, 54 pages, small 8vo (16.3 x 10.5cm), original blue wrappers, manuscript label to upper cover ("Quartette"), creasing and browning to upper cover 3) documenting chamber-music evenings between 8 May 1919 and 23 December 1932, numbered '201' to '376', with autograph title-page ("Verzeichnis der ab Mai 1919 (201. Abend) gespielten Kammermusik-Werke...Normale Besetzung des Streichquartettes: / Dr. Richard Stern / Paul Hirsch 1. & 2. Geige abwechselnd / Aug. Allekotte Bratsche / Ary Schuyer Cello..."), 45 pages, plus blanks, small 8vo (16.5 x 10.5cm), with a loose autograph postcard by Richard Hirsch addressed to "das Hausquartett von Paul Hirsch" (Leipzig, 29 October 1931), original blue wrappers, manuscript label to upper cover ("Quartette / II / Mai 1919 bis Decbr. 1932"), corners of upper cover torn with loss 4) documenting chamber-music evenings between 3 January 1933 and 13 January 1950, numbered '377'-'463' (3 January 1933 to 18 May 1936; the Cambridge evenings unnumbered), title-page dedication ("Quartett-Buch von Puhli...Meinem lieben Pühli zur Erinnerung, daß er recht oft mit 'holden Tönen kommen' möge und damit sich und andern viel Freude macht. Weihnachten 1932 von Irene."), the details of the first quartet evening prefaced by an introductory remark by Hirsch ("Begonnen Januar 1933 / Wenn nicht anderes vermerkt ist, spielt das Quartett in folgender Zusammensetzung: 1. Violine Paul Hirsch / 2. [ditto] Willa Weigle / Bratsche Aenni Rosenthal / Cello Ary Schuyer"), 64 pages, small 4to ( 17.2 x 13.5cm), plus blanks, with a number of separate, loose leaves (9 numbered pages) detailing chamber-music evenings in England that took place elsewhere than at 10 Adams Road, and 5 other loose handwritten or typed lists, including one detailing the number of performances of Mozart's mature string quartets between 1936 and 1942, and with a loose printed concert programme of the Cambridge University Musical Club on 6 March 1943, gilt edges, original roan gilt ...Das Programme des 50. Abends sowie der folgenden mindestens 10 Abende wurde durch die geradezu unglaubliche Nachlässigkeit des p. p. Hirsch nicht niedergeschrieben - ein geradezu unersetzlicher Verlust für die Nachwelt...350. Abend 30. October 1931 Wegen der schlimmen Zeit keine Feier, aber gemütlichen Abend mit Lanckoronskis & 1911 Rüdersheimer!...463. Abend 18. Mai 1936...letzter Abend in Deutschland. Am 22 Mai 1936 Ausreise nach England...In Cambridge / Adams Road 10 / 2. October 1937... together with: a printed programme of the 200th chamber-music evening on 31 March 1919, 1 page, 24.2 x cm, splitting along horizontal fold; 5 typed lists indexing and summarising the works performed and the participating musicians during the first 400 chamber-music evenings in Germany, between May 1911 and November 1933, and in Cambridge between 10-19 April 1945, 19 pages, various sizes, with some manuscript annotations, some splitting along folds, rusty paper-clip stains; and a manuscript note in Olga Hirsch's hand ("Chamber Music played by Paul Hirsch in Germany, in England"), 1 page, no date, laid down on thin card, browning, small tears A WHOLE WORLD OF EUROPEAN MUSICAL CULTURE LIVES IN THESE SIX VOLUMES. Not only were the Frankfurt residences of the industrialist and bibliophile Paul Hirsch (1881-1951), at first in the Beethovenstrasse and, from December 1918 to May 1936, at Neue Mainzerstrasse 57, the homes of what became the largest private music library ever amassed in Europe, they were also the settings for a remarkable series of over 450 chamber-music concerts given by Hirsch's "house quartet", in which he regularly featured as violinist. The earlier, Frankfurt, guest book documents not only visitors to his library and events connected with it, such as a 1924 exhibition of opera scores, as part of the 54th Music Festival of the Allgemeiner Deutscher Musikverein, and a 1932 meeting of the Gesellschaft der Bibliophilen, of which he was the founder, but also numerous musical occasions (the library had its own concert hall), including a performance on 1 June 1924 of Stravinsky's Octet for Winds conducted by Hermann Scherchen. One particular highlight of the volume is a collection of signatures of over fifty of the world's leading musicians attending a reception held in connection with the 1925 Stravinsky Festival (the entries include a fine idiosyncratic German inscription by Stravinsky himself). The rise of the National Socialists in the 1930s rendered Hirsch's position impossible, on account of his Jewish heritage, and on 22 May 1936 he and his family fled to Great Britain, having been able to arrange the export out of Germany of nearly all the music library, which would be purchased ten years later by the British Museum. A poignant couple of pages in the last of the four chamber-music notebooks records the last chamber-music evening in Frankfurt (number 463, on 18 May 1936), and the first musical gathering in Cambridge at the Hirsch's new home at 10 Adams Road (on 2 October 1937). On both occasions music by Mozart, Hirsch's favourite composer, was played (the String Quartet in D minor, K.421, and the Piano Quartet in G minor, K.478). One remarkable page in the Cambridge guest book, which also documents concert participants as well as other visitors, is that recording the party held on 16 July 1946 in the lovely garden of 10 Adams Road on the occasion of the seventieth birthday of Edward J. Dent, Professor of Music at Cambridge from 1926-1941, a party which also served as a thank-you to him for his invaluable services in securing Hirsch's music library for the nation. Sixty distinguished musicians, musicologists and friends of Paul Hirsch signed the book that day - a roll call of the musical great and good. Following Paul Hirsch's death in November 1951 the Cambridge book continued to be used by his widow Olga, who in addition to being a bibliophile was also a noted collector of decorated papers used in bookbinding. The character of Hirsch's dedicated and sustained work as collector, scholar and musician was movingly summed up in an address given by Laurence Picken at his funeral, on 28 November 1951: I have said little of the place of music in his life. Properly speaking, it filled his life. He was not a bibliographer strayed into the domain of music, but a musician who found that he could best serve the art which had absorbed him from youth onwards through the pursuit of musicology - of musical bibliography. It was not the material basis of music which was his primary concern, but music itself. Music was for him a perfecting correlative of life. The illustrated photograph showing Paul Hirsch in his study at 10 Adams Road is not included with this lot. See lots 5, 6, 147 and 149. PROVENANCE: By descent from Paul Hirsch to the present owner LITERATURE: Alec Hyatt King, 'Paul Hirsch and his music library', The British Library Journal, vol.7 no.1 (1981), pp.1-11; David Josephson, ' "Why then all the difficulties!": a life of Kathi-Meyer-Baer', Notes, 2nd series, vol.65 no.2 (2008), pp.227-267

View 1 of Lot 148: Wolfgang Amadeus Mozart--Paul Hirsch | The autograph guest books and chamber-music diaries of Paul Hirsch, 1897-1967

wolfgang amadeus mozart--paul hirsch | the autograph guest books and chamber-music diaries of paul hirsch, 1897-1967

Important Watches featuring Exceptional Discoveries: The Olmsted Complications Collection

Dial: brown sunburst Caliber: cal. 3075 automatic, 27 jewels Movement number: 1'090'791 Case: 18k yellow gold and stainless steel, screw down case back engraved 'WWC DR PEPPER COMPANY 100th ANNIVERSARY BEST YEAR EVER JRA' Case number: 8'957'007 Closure: 18k yellow gold and stainless steel Rolex Jubilee bracelet with folding clasp, folding clasp with gold 10-2-4 Dr. Pepper logo Size: 40 mm diameter, bracelet circumference approximately 185 mm Signed: case, dial, and movement Box: no Papers: no

View 1 of Lot 79: Reference 16753 GMT-Master 'Root Beer' Dr. Pepper  | A yellow gold and stainless steel automatic dual time wristwatch with date, bracelet, and nipple dial, Celebrating the 100th Anniversary of Dr. Pepper, Circa 1985

reference 16753 gmt-master 'root beer' dr. pepper | a yellow gold and stainless steel automatic dual time wristwatch with date, bracelet, and nipple dial, celebrating the 100th anniversary of dr. pepper, circa 1985

(Boston Tea Party) The Votes and Proceedings of the Freeholders and other Inhabitants of the Town of Boston, in Town Meeting Assembled, According to Law, the 5th and 18th days of November. 1773. [Published by Order of the Town.]. Boston: Printed for Joseph Greenleaf, and sold at the Printing-Office, in Hanover-Street, 1773 Small 4to (198 x 134 mm), 2 quires, 15 printed pages, final page blank. Uncut and stab-sewn as issued. A seminal and very rare record of the genesis of the Boston Tea Party: according to Rare Book Hub, this is the first copy to appear at auction since the sale of the historical library of Dr. George C. F. Williams at Anderson Galleries, 17 May 1926. This pamphlet records the proceedings of two Boston town meetings moderated by John Hancock at Faneuil Hall on 5 and 18 November 1773 regarding Parliament’s Tea Act of 10 May 1773 and the alarm caused by "the reports that the East-India company in London are about shipping a cargo, or cargoes of tea into this and other colonies." These two meetings laid the foundation for the 29 November meeting called by Samuel Adams, which lead directly to “the Destruction of Tea” in Boston Harbor on 16 December. The minutes of the 5 November meeting note that “the duty imposed by parliament upon tea landed in America, is a tax on the Americans, or levying contributions on them without their consent” and that “the express purpose for which the tax is levied on the Americans, namely, for the support of government, the administration of justice, and the defence of his Majesty’s dominions in America, has a direct tendency to render assemblies useless, and to introduce arbitrary government and slavery.” The meeting concluded that a committee be sent to the consignees of the tea “and request them, from a regard of their own characters, and the peace and good order of this town and province, immediately to resign their appointments.” The pamphlet includes the response to the committee from one of the consignees, Thomas Hutchinson Jr., essentially deferring an answer. “Tea—‘harmless, necessary tea, which, with the harmless, necessary cat, made up the sweet content of the domestic hearth’—was the agent that unified the colonies, precipitated their opposition to Great Britain, and in the end, turned America into an independent nation of coffee drinkers. “The tea situation should have been solely Britain's concern—not one to make the colonists react so violently. It started with the greed and irresponsibility of the proprietors and directors of the East India Company. Possessing extensive lands and military forces in India, the company monopolized the sale of tea to the British Empire. Its importance to England's economy was expressed by the King, who welcomed an arrangement that would ‘in some degree curb if not eradicate what otherways must render that trade the ruin instead of a source of restoring the finances of this country.’ 2 Since 1767, the company had helped restore the government's finances by an annual payment of £400,000. But the company was in a precarious position. … By 1772, as a result of disastrous management, it could no longer contribute money to the government's treasury. Seventeen million pounds of tea were stored in its London warehouses-unsold and a debt of £1,300,000, mostly to the government, had to be met. The company was barely one step from bankruptcy.” Frederick, Lord North, First Lord of the Treasury, Chancellor of the Exchequer, “hit upon what he considered a splendid plan to reduce the company's tea supply. By permitting the company to export the tea in their warehouses directly to America, duty free, it would bypass the middleman—the London merchant who bought the tea at auction for later distribution. Americans would be able to buy the tea cheaper than Englishmen could in England. Of course, Americans would still have to pay the three-pence-per-pound tax that North insisted be retained when the Townshend duties were repealed to sustain ‘that just right which I shall ever wish the mother country to possess, the right of taxing Americans’" (Miller, pp. 257–58). Boston was not the only American port to protest the Tea Act. While four ships carrying East India Company tea were sent to Boston in September and October 1773, three others were sailing, respectively, to New York, Philadelphia, and Charleston. Colonial protesters in those three towns were able to force the tea consignees to resign or to return the tea to England. But in Massachusetts, Governor Thomas Hutchinson refused to relent, perhaps because two of the Boston consignees were his sons. Hutchinson’s attitude provoked an equally intransigent response among the colonists, and British North America took another step closer to Revolution. A remarkably fresh copy of this vital witness of the prologue to the American Revolution. REFERENCES Adams, American Independence 92; ESTC W2451; Evans 12692; Sabin 6567; cf. Lillian B. Miller, et al., In the Minds and Hearts of the People: Prologue to the American Revolution, 1760–1774 (New York Graphic Society, 1974)

View 1 of Lot 1011: (Boston Tea Party)  | Very rare printing of the Votes and Proceedings of two November 1773 Boston town meetings, demonstrating the contention that "Tea was the agent that unified the colonies"

(boston tea party) | very rare printing of the votes and proceedings of two november 1773 boston town meetings, demonstrating the contention that "tea was the agent that unified the colonies"

Fitzgerald, F. Scott. This Side of Paradise. New York: Charles Scribner’s Sons, 1931 8vo. Publisher’s dark blue-green cloth, spine lettered in gilt; cloth a little rubbed with minor fraying to spine extremities, corners lightly bumped. Inscribed by Fitzgerald on the front free endpaper: “Best wishes ("Now you just go right to sleep") from Old Insomniac Fitzgerald to his old childhood nurse, Mrs. Freeman.” This rare survival is from one of the most difficult periods of Fitzgerald’s life. In the summer of 1934, Zelda remained hospitalized at Sheppard-Pratt, Scottie was staying with cousins in Norfolk, and Fitzgerald himself oscillated between stays at Johns Hopkins Hospital and periods of fragile convalescence. Indeed, his friend H. L. Mencken wrote in a June 1934 diary entry that "the case of F. Scott Fitzgerald has become distressing. He is boozing in a wild manner and has become a nuisance. His wife, Zelda, who has been insane for years, is now confined at the Sheppard-Pratt Hospital, and he is living in Park Avenue with his little daughter, Scottie." During this time he was attended by Carma Kaufman Freeman, a Hopkins-trained nurse and the wife of Dr. George Freeman. Fitzgerald’s playful self-designation as “Old Insomniac” echoes the running joke between him and Carma—“Now you just go right to sleep” being her habitual reassurance when administering medication. The line would later shadow the reflections on sleeplessness in “The Crack-Up,” but here it appears in a far lighter register. This volume formed part of the small group of books and papers Carma retained from her time with Fitzgerald, including the autograph manuscript of Edgar Fawcett’s “The Other Side of the Moon” written out for her (see lot 1058) and her inscribed copy of Tender Is the Night (see lot 1057). Fitzgerald’s life in 1934 was difficult and complicated. His Ledger references a “collapse at home,” the “first Welbourne trip,” and “the nurse who was the doctor’s wife,” long misinterpreted by scholars but evidently referring to Carma Freeman. “Her Last Case,” written between visits to Welbourne and the Fishers’ house at Ruxton and published in fall 1934 in the Saturday Evening Post (for which Fitzgerald received an essential payment of $3,000), transforms his nurse into Bette Weaver, a young professional woman pulled between duty and suppressed emotion. Now recognized as one of Fitzgerald's most important stories about the South, it explores the lingering psychological impact of the Civil War, and the phenomenon of the "Lost Cause." REFERENCES Bruccoli, Matthew J., Some Sort of Epic Grandeur: The Life of F. Scott Fitzgerald. Columbia: University of South Carolina Press, 2002; Daniel, Anne Margaret. "Medical advances: How F. Scott Fitzgerald's nurse inspired a fictional romance." TLS. Times Literary Supplement, no. 6224, 15 July 2022, p. 13 PROVENANCE Carma Kaufman Freeman; thence by descent

View 1 of Lot 1056: Fitzgerald, F. Scott | “Now you just go right to sleep” — This Side of Paradise, inscribed to his nurse, Carma Kaufman Freeman

fitzgerald, f. scott | “now you just go right to sleep” — this side of paradise, inscribed to his nurse, carma kaufman freeman

This Art Edition book treats the viewer to a close encounter with Glenn Brown’s paintings, paint sculptures, and drawings, eye-deceiving renderings of brushstrokes from sources between sci-fi and the old masters.<ul><li>Bice Curiger (Swiss).</li><li>Dr John Paul Stonard (English).</li><li>John Chilver (English).</li><li>Hans Werner Holzwarth (German).</li><li>Köln: TASCHEN, 2023.</li><li>474 pages.</li><li>Hardcover in clamshell box.</li><li>Part of a numbered edition of 100 (No. 13–112) signed by Glenn Brown.</li><li>Accompanied by&nbsp;a three color woodblock and lithographic plate print&nbsp;Sizewell A, 2023, also signed by the artist.</li></ul> The main spirit that runs through Glenn Brown’s work is transformation. The motif may come from old master paintings, the color scheme from modernist ones, the mood might be set by a title that quotes from a pop song. Brown became famous (and sometimes infamous) for his unabashedly appropriative work in the early 1990s, a golden era for young British art. He rendered the thick brushstrokes of expressionist painters like Frank Auerbach or Karel Appel almost photo-realistically, carefully modeling their dashing gestures with a fine brush until his smooth surfaces deceived the viewer’s eye. Taking space fantasies from science-fiction paperbacks, he made epic history paintings out of tiny book illustrations. Brown turned to the old masters, updating their historical models with a contemporary understanding of paint’s materiality and a barbed sense of color. Following the artist’s development through the decades, we find his engagement with the medium deepening and branching out. Brown invents his own brushstrokes that take over the picture’s subject, unsettling viewers by their sickly hues. When he starts making sculptures from paint, he absurdly layers brushstrokes on top of each other until they become three-dimensional figures, sometimes growing from bases of historical bronze statuettes. Then he arranges his works in installations as an interplay of different media, or exhibits them in the collection of an art museum in a dialogue between his own paintings and the works that inspired them. In the mid-2010s, Brown stopped painting altogether to explore the medium of drawing, often creating work that reacts to vintage wooden frames he is collecting. Upon his return to painting, there is a newfound freedom of lines dancing and mingling, colors radiating from the core of Janus-like superimpositions of two counteracting motifs. This book has been conceived and realized in close collaboration with the artist, curating an overview of his work in unprecedented depth. All authors have worked with Brown before to now deliver an incisive portrait of the artist, an art-historical survey of his work and development, as well as essays on different artistic approaches and genres. Comments written by Brown especially for this edition discuss specific works and artistic choices. More than anything, it is the book’s large format that makes the eye-deceivingly smooth brushwork and exuberant lines come alive, allowing viewers to immerse themselves in every detail and share the artist’s contagious love of painting and paint.

Glenn Brown: Art Edition No. 13–112 Sizewell A

(Obstetrics) — Dr. Edward Rigby et al A group of three manuscript ward books from the the General Lying-In Hospital of Westminster, London, ca. 1819-1839 Three volumes, folios (320 x 200 mm), comprising: Midwife's Journal, dated January 1819 to February 1824, manuscript text, accomplished in several hands, written recto and verso on faintly ruled paper; scattered soiling, a few stray spots, one leaf nearly detached. Contemporary brown paper-covered boards, partially printed paper label to spine, edges marbled, marbled endpapers, bookseller John Miller's label to front pastedown; overall rubbed and soiled, label chipped. Midwife’s Journal, from June 1827 to August 1829, manuscript text, accomplished in several hands, written recto and verso on faintly ruled paper; scattered soiling, a few stray spots. Contemporary velum stained green, partially printed paper label to spine, marbled endpapers, bookseller John Miller's label to front pastedown; overall rubbed and soiled, joints split, label chipped. Medical Officer’s Book, dated October 1828 to October 1830, manuscript text, accomplished in several hands, written recto and verso on ruled paper with letterpress index tabs; scattered soiling, a few stray spots, some instances of browning and creasing. Contemporary velum stained green, partially printed paper label to spine, bookseller Romney's label to front pastedown, presentation inscription to front free endpaper; overall rubbed and soiled, joints split, label chipped. "22 Monday | 26 Patients | Mary Read came in poorly — | Read was delivered of a Girl | Mr. Mathias and Dr. Ley visited | Anne Smart's Child died" (Midwife's Journal from 1819) The General Lying-In Hospital, founded by Dr. John Leake in 1767, was one of the first maternity hospitals in Great Britain. Established for “the Relief of those Child-bearing Women who are the wives of poor Industrious Tradesmen or distressed House-keepers, and who either from unavoidable Misfortunes of the Expenses of maintaining large Families are reduced to real Want. Also for the Reception and Immediate Relief of indigent Soldiers and Sailors Wives, the former in particular being very numerous in and about the City of Westminster.” The ward books date from the early nineteenth century, a period of significant medical advance in Britain, particularly in relation to understandings of hygiene, as well as the implementation of new standards of professional qualifications. The present works offer an accounting of the hospital's daily operations, including the number of patients being treated, the names of the patients, the date they gave birth along with the gender of the baby, and the date of their discharge. The ward books also note the the names of the attending doctors: Edward Rigby, Sir Charles Locock, Robert Gooch, and Hugh Ley, among others. Rigby became examiner in midwifery at London University from 1841 to 1860, and when the Obstetrical Society was founded in 1859, he was elected its first president. Locock would establish his own obstetrical practice, which became the largest in London, and in 1840 he was made obstetrician to Queen Victoria, serving as attending doctor for the births of all nine of her children. Gooch was a lecturer on Midwifery at St. Bartholomew’s hospital, and is his Account of some of the most important Diseases peculiar to Women (1829) came to be known as a standard text on the subject. Ley went on to lecture extensively on matters pertaining to midwifery and diseases unique to women and children. Beyond recording the number of patients, their basic state of health, and when they were discharged, more detailed case studies are also offered: "Mary Burton [...] Admitted Monday November: 26. 1838. Delivered of a female infant at 1/2 past three a.m. on Monday Dec: 3rd a premature birth. Has had previously two stillborn children (both females) having in both instances having gone to the(?) full period of gestation, was delivered in this Hospital in both cases by means of instruments" (Medical Officer’s Book, pg. 186). "Sarah Harper At: 21. Admitted Febr'y 10 3 a.m. and delivered of a male infant. Has had one m. inf:t before. [...] Membranes ruptured at 1 a.m. and the child was born before the patient could be placed on the bed, perineum suffered a very slight laceration. Placenta was expelled five minutes after the birth of the child" (Medical Officer’s Book, pg. 216). An important group of manuscripts offering insight into the history of obstetrics and women’s health.

View 1 of Lot 1085: (Obstetrics) — Dr. Edward Rigby | Extraordinary and important ward books from the General Lying-In Hospital, Wesminster

(obstetrics) — dr. edward rigby | extraordinary and important ward books from the general lying-in hospital, wesminster

The Library of Barry Yampol: A First Selection. Part 2

Buch, Leopold von Physicalische Beschreibung der Canarischen Inseln. Berlin: Druckerei der koeniglichen Akademie der Wissenschaften, 1825 One volume with atlas plates bound at end, 4to (290 x 206 mm). Half-title, 6 engraved and 3 lithographed folding plates, one of which hand-colored, letterpress index to the plates on 2 folding leaves, several in-text illustrations; foxing and a few stray stains, light creasing to a couple leaves, p. 409-411 mispaginated, one or two plates lightly offset, foxing to most plates. Late nineteenth-century calf, covers decorated in gilt and blind, spine in six compartments, second gilt-lettered on red leather label, sixth gilt-numbered with year, others with decorative gilt motif, by P. Hance, Chelsea; a few scuffs and staining to covers, light rubbing to extremities. First edition, presentation copy of Buch’s description of the Canary Islands. The Norman copy. The atlas to Physicalische Beschreibung der Canarischen Inseln was originally issued in printed boards measuring 553 x 410 mm, but this copy has been cut down and the plates folded, presumably at the direction of its recipient, Dr. Buckland, in order to be bound with the text (Norman). REFERENCES Norman 365, this copy PROVENANCE William Buckland, English paleontologist (presentation inscription from the author on front fly-leaf, “Pour Monsieur le Dr. W. Buckland with an atlas Oxford de la part de l’auteur,” and Buckland’s cut signature mounted below inscription) — Haskell F. Norman (bookplate to upper pastedown; Christie’s New York, 29 October 1998, lot 963)

View 1 of Lot 65: Buch, Leopold von | Physicalische Beschreibung der Canarischen Inseln, first edition, the Norman copy

buch, leopold von | physicalische beschreibung der canarischen inseln, first edition, the norman copy

Bibliotheca Brookeriana VIII

MISSAL BOX. A red morocco gilt missal box in the form of a book, for Renata di Francia, Duchess of Ferrera, Northern Italy, sixteenth-century

MISSAL BOX. A red morocco gilt missal box in the form of a book, for Renata di Francia, Duchess of Ferrera, Northern Italy, sixteenth-century 28.2 by 21.5 by 8 cm The upper and lower covers red morocco richly gilt, with two roll-tooled borders containing Greek and Latin mottos between them, the upper cover lettered “EΛΠIZΩ META TOV XPONOV” and “VITA MEA SPES ET FIDES MAGIS VNIQVAM PLVRIBVS” and the lower cover lettered “VOTO NIL LIBERALIVS SPES ALTRIX MISERVM” and “VIRTVS CLARA DOMI NABITVR ASTRIS ADERIT ET TANDEM VOCATVS IVPITER”, on both covers framing a lozenge containing a six-point star with lettering “RENEA DE FRANZA” , inside the star a carnation in a diamond ring and above and below it flaming vases, studs on both covers, one as the catch, spine with three bands, the interior of the upper cover red morocco tooled in blind, with roll-tooled outer borders, lettered “SVSTINE ET ABSTINE”, “TV DEA TV PRESENS NRO SVCCVRRE LABORI”, “PATIENTIA DVRIS IMPERAT”, “DOMINE QVID VIS?E FACERE”, inner roll-tooled border containing six-point star in blind with winged angel-heads and gilt Virgin and Child within gilt mandorla, the interior of the remainder of the box red morocco tooled in blind with roll-tooled borders and a trellis pattern containing fleur-de-lys, three sides painted gold and tooled to imitate gilt and gauffered book edges, upper joint cracking, slight rubbing and scraping to lower cover The Virgin and Child and flaming vase tools are similar but not identical to that on De Marinis II, plate CCXV (MS, Bologna, 1520). The same flaming vase tools are also found on plate CCXVII (Bologna, 1519). Renata di Francia (or Renée de France; 1510–1575), whose name is lettered on this book-form box, was Duchess of Ferrara between 1534 and 1559 through her marriage to Ercole II d’Este (1508–1559). She was the youngest surviving child of Louis XII and Anne of Brittany. Renata di Francia is perhaps best known for her support for the Protestant Reformation. She had met Calvin in 1536 and the two remained in contact. She also showed great hospitality to French suspects of heresy, such as Louis du Tillet, sheltering them from prosecution in Ferrara and other residences. Eventually, in 1554, her Catholic husband, Duke Ercole, involved the Inquisitor Ortiz, and she was condemned as a heretic. The majority of her books were burned, but some were left behind in Italy when Renata left for Montargis in the Loire Valley after the death of her husband in 1559. These then became part of the Este library. Provenance: Renata di Francia (or Renée de France), Duchess of Ferrara (1510–1575), a large part of her library left with — Este library, Ferrera — Bernard Breslauer (1918–2004), sale, Christie’s New York, 17 May 2005, lot 344 (lots 321–347 identified as the property from the estate of Dr. Bernard Breslauer). References: Domenico Fava, La biblioteca Estense nel suo sviluppo storico. Con il catalogo della mostra permanente e 10 tavole (Modena, 1925), pp. 126–129

View 1 of Lot 339: A north Italian gold-tooled and red morocco leather book-form missal box. Probably Milan, second quarter 16th century, made for Renée of France

a north italian gold-tooled and red morocco leather book-form missal box. probably milan, second quarter 16th century, made for renée of france

A French <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film The Mysterious Dr. Fu Manchu.<ul><li>Jacques Bonneaud (French, 1898-1971).</li><li>Paramount Pictures.</li><li>Produced for the First French release, 1930.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

French The Mysterious Dr. Fu Manchu / Fu Manchou Movie Poster

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Fine%2520bindings" rel="noopener noreferrer" target="_blank">finely bound</a> and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Illustrated" rel="noopener noreferrer" target="_blank">illustrated</a> edition of Modes and Manners of the Nineteenth Century.<ul><li>Sold as a set of 3 volumes.</li><li>Oskar Fischel (English).</li><li>Max Von Boehn (German).</li><li>Translated by M. Edwardes.</li><li>Modes and Manners of the Nineteenth Century as Represented in the Pictures and Engravings of the Time.</li><li>London: J. M. Dent &amp; Co., 1909.</li><li>Each volume with 4 inlaid miniature portraits for a total of 12 portraits by Currie.</li><li>Bound in full teal morocco, ribbed gilt decorated spines, covers ruled and paneled in gilt, floral gilt decorations to front covers, white silk morie pastedowns and endpapers, top edges gilt, others uncut, each housed in their original open ended slipcases, by Riviere &amp; Son for J. H. Stonehouse, lower edge of rear cover stamped "Miniatures C. by Currie".</li></ul> The "Currie" refers to Miss C.B. Currie (Caroline Billin Curry, 1849-1940), a British book illuminator known for her miniature portraits on book covers and fore-edge paintings. She worked for the bookshop Henry Sotheran &amp; Co. and is famous for her work with the binder Riviere &amp; Son.

Modes and Manners of the Nineteenth Century as Represented in the Pictures and Engravings of the Time

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