Rock & Pop

A Premier Music International floor tom with DayGlo psychedelic design, originally belonging to Keith Moon of The Who. Clear wear from use on stage by Moon.

A Premier Music International floor tom with DayGlo psychedelic design, originally belonging to Keith Moon of The Who. Clear wear from use on stage by Moon. Lot includes Letter of Authenticity from Zak Starkey. Full cataloguing will be available upon auction open 9 April, 2026.

keith moon | the who

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> for the <a href="https://www.sothebys.com/en/search?query=the%20who&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Who</a> performances that took place at the Rainbow Theatre, London on the 4th, 5th and 6th of November, 1971.<ul><li>This work is presented unframed.</li></ul>

British The Who Concert Poster

A British <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the rock and roll film <a href="https://www.sothebys.com/en/search?query=Quadrophenia&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Quadrophenia</a>.<ul><li>The Who Films.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

British The Who Quadrophenia Movie Poster

Rare and early concert poster for The Who performance at the Blue Moon Club, Cheltenham, England, August 1965.<ul><li>Unframed.</li></ul> Pete Overend Watts of Mott The Hoople performed with warm-up act The Silence at this concert. The Silence drummer recalls Dale Griffin played Keith Moon’s drums, guitarist Robert Fisher blew up the Who’s amp and Pete Overend Watts sat on the neck of Pete Townshend’s guitar and broke it.

The Who Concert Poster

Original movie studio photograph for The Man Who Knew Too Much.<ul><li>Gaumont British.</li><li>Paper framed with obeche wood, card mount and UV plexiglass.</li></ul>

Alfred Hitchcock's The Man Who Knew Too Much Movie Photograph

First edition, first impression of The Tiger Who Came to Tea, written and illustrated in color by Kerr.<ul><li>Judith Kerr (German-British).</li><li>London: Collins, 1968.</li><li>Quarto.</li><li>Bound with publisher’s mat pictorial boards and with illustrated dust jacket.</li></ul>

The Tiger Who Came to Tea

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> for the <a href="https://www.sothebys.com/en/search?query=the%20who&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Who</a> performance that took place at Sportalies Ahoy, Rotterdam on the 27th of October, 1975.<ul><li>This work is presented unframed.</li></ul>

Dutch The Who Concert Poster

First edition, first impression of the tenth Bond novel.<ul><li>Ian Fleming (British).</li><li>London:&nbsp;Jonathan Cape,&nbsp;1962.</li><li>221 pages.</li><li>Octavo.</li><li>Bound in black cloth with silver lettering and knife design on cover.</li></ul> The tenth Bond novel. During its composition, Fleming had considered killing off his famous spy for the third time, after From Russia, With Love and Thunderball, but this time it was for different reasons. Fleming "had become alarmed that his earlier thrillers, designed for an adult audience, were increasingly read in schools...where young people made a hero out of James Bond...He did not regard Bond as a heroic figure 'but only as an efficient professional in his job.' Therefore he had sought to write a 'cautionary tale' to put the record straight, particularly for his younger readers" (Lycett, 401–402). Bond himself doesn't appear until the end of the book.

The Spy Who Loved Me

Signed limited edition of Giono's text presented in both English and French with photogravures.<ul><li>Jean Giono (French).</li><li>Photogravures by Martine Franck (Belgian).</li><li>Translated by Barbara Bray (English).</li><li>Afterword by Aline Giono.</li><li>The Limited Editions Club,&nbsp;1996.</li><li>Folio.</li><li>Illustrated with five photogravures by Martine Franck.</li><li>Limited to 300 numbered copies signed by Franck.&nbsp;</li><li>Text in English and French.</li><li>Original black morocco-backed mulberry tree bark covered boards in original slipcase.</li></ul> "Imagine a book about a man who planted trees in an edition that itself comes from a tree, for this magnificent volume is covered with the bark of the mulberry tree. Imagine also an ancient and enchanted land in the south of France. The Vaucluse inspired Jean Giono to write this book and the renowned photographer, Martine Franck, to create five hauntingly beautiful photogravures of scenes from that magical land. Andre Malraux called Giono (1895-1970) 'one of the greatest writers of our generation.' Inspired by God or Pan, perhaps—Giono’s hero in this story expresses humanity’s ancient kinship with the earth and reverence for all living things" (Publisher).

The Man Who Planted Trees: L'homme qui plantait des arbres

A bank check <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 Keith Moon of <a href="https://www.sothebys.com/en/search?query=The%20Who&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Who</a>.<ul><li>A Williams &amp; Glyn’s Bank Limited, St. Helier, Jersey check drawn on Keith Moon’s external account that is dated to the 30th of December, 1977, and is payable to Richard A. Dorse for £80.</li><li> Signed by Keith Moon in black pen.</li><li>This work is presented unframed.</li></ul>

Check Signed by Keith Moon of The Who

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie lobby card</a> for the film The Man Who Knew Too Much by director <a href="https://www.sothebys.com/en/search?query=alfred+hitchcock&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Alfred Hitchcock</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul> Very few original pieces are know to have survived from this early Hitchcock film. This is one of the lobby cards from the original set of eight. Not all of the lobby cards from the set have surfaced.

The Man Who Knew Too Much Movie Lobby Card

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 La Putain Respectueuse / The Respectful Whore.<ul><li>Roger Jacquier (Rojac) (French).</li><li>Les Films Marceau.</li><li>Unfolded and linen backed.</li><li>This work is presented unframed.</li></ul> French posters of this size were distributed folded. As it is unfolded, this poster must have come straight from the printer.

French La Putain Respectueuse / The Respectful Whore

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> of For Whom the Bell Tolls by <a href="https://www.sothebys.com/en/search?query=Ernest+Hemingway&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Ernest Hemingway</a>.<ul><li>Ernest Hemingway (American).</li><li>New York:&nbsp;Scribner's,&nbsp;1940.</li><li>Octavo.</li><li>471 pages.</li><li>In the first state dust jacket, publisher's coarse calico grain cloth with facsimile of the author's signature in black on the uppers cover in custom half-morocco clamshell box.</li></ul> Hemingway's celebrated novel of the Spanish Civil War, difficult to find in such nice condition, as any rubbing stands out against the black background, and the red and blue of the spine are generally found faded.

For Whom the Bell Tolls First Edition

Grateful Dead concert t-shirt for Rockpalast Festival in Germany with The Who.<ul><li>The Who and Grateful Dead graphic on front in a pink diamond.</li><li>Concert details on back.</li><li>Ladies t-shirt.</li><li>This item is final sale and not eligible for return.</li></ul> <a href="https://www.sothebys.com/en/buy/auction/2021/from-the-vault-property-from-the-grateful-dead-and-friends" rel="noopener noreferrer" target="_blank">From the Vault: Property from the Grateful Dead and Friends&nbsp;auction</a>.

Rockpalast Festival T-shirt 

A complete set of the Millennium Series.<ul><li>Sold as a set of 7 volumes.</li><li>Author of volumes 1-3, Steig Larsson (1954-2004).</li><li>Translator of volumes 1-3, Reg Keeland [Steven T. Murray].</li><li>Author of volumes 4-6, David Lagercrantz.</li><li>Translator of volumes 4-6, George Goulding</li><li>Author of volume7, Karin Smirnoff.</li><li>Translator of volume 7, Sarah Death.</li><li>Millennium Series: The Girl With the Dragon Tattoo, The Girl Who Played With Fire, The Girl Who Knocked the Hornets' Nest, The Girl in the Spider's Web, The Girl Who Takes an Eye for an Eye, The Girl Who Lived Twice And The Girl in the Eagle's Talons.</li><li>London, UK:&nbsp;MacLehose Press,&nbsp;2008-2023.&nbsp;</li><li>Octavos.</li><li>Volumes 1-3 are signed flat by Steven T. Murray using his pseudonym Reg Keeland on the title pages.</li><li>Volumes 4 and 5 are signed flat by David Lagercrantz on publisher's limitation pages.</li><li>Volume 6 is signed flat by David Lagercrantz and George Goulding on the publisher's limitation page, and volume 7 is signed flat by Karin Smirnoff.</li><li>First UK editions, first printings, limited editions vol. 4-6.</li><li>Volumes 4-6 are limited editions, volume 4 #437/1000, volume 5 #279/500 and volume 6 #203/500.</li><li>Volume 1 contains an email chain between the previous owner and Steven T. Murray discussing Murray's use of the pseudonym Reg, located between the rear pastedown and end page.</li><li>Volume 4 contains a loose "Lisbeth Salander is Back" bookmark and review card between the front mylar flap and cover flap.</li><li>Volume 6 contains a loose "The Sixth Dragon Tattoo Story" bookmark and review card between the front mylar flap and cover flap.</li><li>Volume 1 has a red and yellow spine with silver gilt and white lettering.</li><li>Volume 2 has an indigo and black spine with silver gilt and white lettering.</li><li>Volume 3 has a dark evergreen spine with silver gilt and white lettering.</li><li>Volume 4 has a canary yellow and black spine with black lettering.</li><li>Volume 5 has an orange and silver spine with black lettering.</li><li>Volume 6 has a red and black spine with black and white lettering.</li><li>Volume 7 has a white spine with a black and white photo at the head and mint green and red lettering.</li><li>Dust jackets are wrapped in mylar coverings.</li></ul>

Millennium Series

Whisky & Whiskey

Van Winkle 19 Year Old Special Reserve Corti Brothers 45.7 abv 1975

Van Winkle 19 Year Old Special Reserve Corti Brothers 45.7 abv 1975 Green glass, black wax, distilled in Fall 1975, exclusively bottled for Corti Brothers Wine Merchants in Sacramento by Old Rip Van Winkle Distillery Lawrenceburg KY Please note that the distillation date label has been amended to read 'Fall 1975'. It has been confirmed by Darrell Corti that there were two 1975 vintage 19 Year Old bottlings; Spring and Fall. At some point the labels got mixed up and some bottles were incorrectly labelled Spring. The amendment has been made to rectify this. Corti Brothers is a gourmet grocery store in Sacramento, California, that in the 1980s became one of the earliest buyers for Julian Van Winkle III’s bourbon, which he was buying from Stitzel-Weller and bottling at his Old Commonwealth distillery. The people at Corti Brothers were far ahead of the whiskey curve, and they ordered 19-year-old bourbon at a time when well-aged American whiskey was practically non-existent – bottles like this one constitute the first known private-barrel bourbon selection. It was Darrell Corti, who ran the business at the time, who first convinced Van Winkle to use a cognac-style bottle. Today bottles from Van Winkle that carry the Corti Brothers name rank among the rarest and most sought-after whiskeys in the world. 1 bottle 75cl (no original packaging) Please refer to images for levels and conditions All Lots are offered for sale in the condition they are in at the time of sale and sold “AS IS” in accordance with the Conditions of Business for Buyers. Prospective buyers should inspect each Lot to satisfy themselves as to condition. The images provided here are provided to assist you with assessing the condition of each Lot and are for guidance only; they should not be considered a replacement for inspecting the Lot in person. Spirits and liquor can be picked up by the buyer or the buyer’s agent at our New York premises, or shipped to the District of Columbia, New Hampshire, and New York through specialized carriers. Please note that applicable taxes and fees will be added to the purchase price on the invoice. ﻿For all other locations, Sotheby’s Wine is happy to walk you through available shipping options and, when needed, introduce you to carriers who may be able to deliver to your final destination, be it domestic or international. If you have any questions, please feel free to contact us at Winepostsaleservices.ny@sothebys.com. 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 579: Van Winkle 19 Year Old Special Reserve Corti Brothers 45.7 abv 1975 (1 Bottle 75cl)

van winkle 19 year old special reserve corti brothers 45.7 abv 1975 (1 bottle 75cl)

Old Crow Bourbon Bottled In Bond 100 Proof 1912

Old Crow Bourbon Bottled In Bond 100 Proof 1912 1 bottle, distilled by W.A. Gaines & Co., distilled in Spring 1912, bottled in Fall 1918, top portion of tax strip detached (but included) revealing driven cork, front and back labels worn, creased and damaged Includes worn wooden case which would have originally held 12 bottles, dated Spring 1912 / Fall 1918 Please note this bottle is sealed with a paper strip only Up until Prohibition, Old Crow was among the most renowned names in Kentucky bourbon, respected as far as London and Paris as the pinnacle of American whiskey. Though it traces its roots to an innovative Scotsman named James Crow, who created the brand – and many of the techniques that shaped modern bourbon – in the 1830s, the Old Crow name came into its own during the Gilded Age, when it was produced at the Hermitage distillery in Frankfort, Kentucky. This bottle represents one of the last times that Hermitage-made whiskey went up for sale; Prohibition shut its doors, and they never reopened. 1 bottle 1/5 bottles gallon (no original packaging) Please refer to images for levels and conditions All Lots are offered for sale in the condition they are in at the time of sale and sold “AS IS” in accordance with the Conditions of Business for Buyers. Prospective buyers should inspect each Lot to satisfy themselves as to condition. The images provided here are provided to assist you with assessing the condition of each Lot and are for guidance only; they should not be considered a replacement for inspecting the Lot in person. Spirits and liquor can be picked up by the buyer or the buyer’s agent at our New York premises, or shipped to the District of Columbia, New Hampshire, and New York through specialized carriers. Please note that applicable taxes and fees will be added to the purchase price on the invoice. ﻿For all other locations, Sotheby’s Wine is happy to walk you through available shipping options and, when needed, introduce you to carriers who may be able to deliver to your final destination, be it domestic or international. If you have any questions, please feel free to contact us at Winepostsaleservices.ny@sothebys.com. 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 764: Old Crow Bourbon Bottled In Bond 100 Proof 1912 (1 Bottle 1/5 Gallon)

old crow bourbon bottled in bond 100 proof 1912 (1 bottle 1/5 gallon)

Books, Manuscripts & Objects from Three Important Collections

Charles Darwin Letter signed, with autograph postscript, to St George Mivart, defending the theory of Natural Selection ("...I by no means give up the immense power of natural selection; not can I see any probability in the existence of an inherent tendency to an advance in organisation...") in response to Mivart's detailed criticisms of Darwin's work in his new book On the Genesis of Species, the postscript relieving Mivart of the duty of thanking Darwin for sending him a copy of The Descent of Man ("...As you will think my new book all rubbish, you will find it pleasanter not to go through the form of thanking me for it — so pray do not write & I will attribute your silence to your wish not to say directly to me anything disagreeable."), 8 pages, 8vo, headed stationery of Down, Beckhenham, 23 January 1871 [with:] St George Mivart, retained autograph draft reply, accepting some of Darwin's corrections, noting that he may have "represented you as more attached to the predominant action of nat. select. than is really the case", and expressing his fundamental religious objection to Darwinian theory ("...Unhappily the acceptance of your views means with many the abandonment of belief in God & in the immortality of the Soul..."), 4 pages, 8vo [24 January 1871] "...If I had ever thought that I, or any one, could explain the steps through which hundreds of structures have been acquired thro' natural selection, your facts and many others would form a crushing defeat; but I have never thought that this could be done except in a few cases, & then only with some degree of probability, in which a fair number of gradational steps still exist..." AN IMPORTANT LETTER IN WHICH DARWIN DEFENDS NATURAL SELECTION AGAINST ONE OF HIS MOST ACUTE AND PERSISTANT CRITICS. St George Mivart (1827–1900) was a noted natural scientist who had enjoyed the support of both Owen and Huxley in the 1860s, but he was also a prominent figure in Britain's Roman Catholic community. On the Genesis of Species (1871) expanded on a series of articles entitled "Difficulties of the theory of natural selection" that had been published in 1869. In this letter Darwin identifies a number of points at which Mivart has misunderstood or misquoted him and asserts his continued belief in the explanatory power of natural selection. Mivart did not reject evolution entirely, but argued that any role played by the mechanism of natural selection was secondary to evolution guided by an innate force that tended towards greater order. Darwin takes some comfort from this, claiming that Mivart's acceptance of the "general principle of Evolution [...] is infinitely more important for the progress of science than the admission of natural selection." Mivart takes this comment as evidence of Darwin's weakening belief in natural selection. LITERATURE: DCP-LETT-7453 (text from Darwin's retained draft) and DCP-LETT-7454 PROVENANCE: Sale in these rooms, 21–22 July 1988, lot 417

View 1 of Lot 94: Charles Darwin | Letter signed, to St George Mivart, defending the theory of natural selection, 23 January 1871

charles darwin | letter signed, to st george mivart, defending the theory of natural selection, 23 january 1871

Charles Darwin. Autograph letter signed, to James Porter, Vice-Chancellor of Cambridge University, on the campaign to procure a portrait of the Duke of Devonshire, Chancellor of the University (“…I read in the newspapers about the Portrait, & intended to have sent a subscription, but my illness drove the whole subject out of my mind…”), 1 page, 8vo (205 x 127mm), integral blank, headed stationery of Down, Beckenham, Kent, 18 April 1882, light creasing and spotting, weak at folds DARWIN’S LAST KNOWN LETTER, WRITTEN THE DAY BEFORE HE DIED. Heart disease rendered Darwin sick and weak from March 1882. He had repeated fainting fits and was often in great pain, but he continued to find solace in the natural world and in the company of family and close friends. Within hours of writing this letter Darwin suffered a final attack from which he never recovered, and he died at 4pm on Wednesday 19 April 1882. The recipient of this letter was James Porter (1827–1900), Fellow of Peterhouse and Vice-Chancellor of the University of Cambridge from 1881 to 1884. Darwin’s letter originally enclosed a cheque for £3 3s., as recorded in his account book. The poignancy of the final letter written by a great man was not lost on Porter, who wrote to The Times a few days later reporting on this letter’s content (24 April 1882). G.F., Watts’s portrait of William Cavendish, 7th Duke of Devonshire, was given to Cambridge University by the body of subscribers and is now in the collection of the Fitzwilliam Museum. PROVENANCE: Sold in our New York rooms, 24 September 1986, lot 21 (part lot) LITERATURE: DCP-LETT-13769J

View 1 of Lot 98: Charles Darwin | Autograph letter signed, 18 April 1882, his last known letter

charles darwin | autograph letter signed, 18 april 1882, his last known letter

Benjamin Franklin Autograph letter signed (“B. Franklin”), to William Petty, 2nd Earl of Shelburne, as American Peace Commissioner, (“…Mr Vaughan brought me some time since from your Lordship a Remedy you were so kind as to send my for my Gravel. I intended to thank you by him. He staid here much longer than I expected, and when he went it was so suddenly that I had not time to write…”), 1 page, 4to, integral address leaf, Passy, 26 November 1782, docketed, with an erasure, presumably a false start (“Mr Franklin presents…”), on the address leaf BEN FRANKLIN THANKS THE BRITISH PRIME MINISTER FOR A CURE FOR BLADDER STONES, WHILST NEGOTIATING THE END OF THE REVOLUTIONARY WAR. Franklin, who had been the American representative in Paris throughout the revolutionary period, and also had many connections in England, was key to the peace negotiations that followed British defeat in North America. Negotiations had begun in April 1782 and a draft treaty had been agreed just a few days before this letter was written (although the treaty would not be signed until the following September). Lord Shelburne, the British Prime Minister, was willing to make generous concessions to the Americans in the hope that close alliance would benefit British trade in the long term, so this friendly letter reflects something of the spirit of the negotiations. Shelburne’s remedy for the bladder stones that plagued Franklin in his final years was sent to Paris by Benjamin Vaughan (1751–1835), a merchant, publisher, and political radical who was both a close friend of Ben Franklin (he published Franklin's Works in 1780) and confidential agent to Lord Shelburne. Vaughan was first sent to Passy at the beginning of July 1782, shortly after Shelburne became Prime Minister, and played an important role as the unofficial conduit for negotiations between Britain and America that led to the Treaty of Paris. He was with Franklin once again in the autumn, and this letter was written during a ten-day trip back to England to try and bring negotiations to a successful conclusion. Franklin diagnosed with bladder stones in August 1782 but he was well aware of the suffering that the disease could cause: his brother had been afflicted earlier in life, leading Franklin to invent a flexible catheter in the 1750s. Two days after writing this letter, Franklin wrote to an English MP, David Hartley, thanking him for another cure but saying that “at present the Gravel has left me”. The cure proved to be only a temporary amelioration, however, and Franklin's bladder stone caused him chronic pain during the later 1780s.

View 1 of Lot 100: Ben Franklin |  Autograph letter signed, to Lord Shelburne, British Prime Minister, during peace negotiations, November 1782

ben franklin | autograph letter signed, to lord shelburne, british prime minister, during peace negotiations, november 1782

O.F.C. 100 Proof 1916 Distilled in Spring 1916, bottled in Spring 1925, distilled at the Frankfort Distillery by The Geo. T. Stagg Company Inc., produced by Albert B. Blanton, tax strip ripped, damaged and torn, front label slightly worn and peeling in the bottom left hand corner, back label slightly peeling O.F.C. – or Old-Fashioned Copper – was the original name of the distillery founded by Col. E. H. Taylor Jr. in 1870, located in Frankfort, Kentucky on the site of an even older distillery. He soon lost control of it to an investor named George T. Stagg, after whom the distillery was later renamed. Eventually both George T. Stagg and O.F.C. would become names of whiskeys distilled at the site. During Prohibition the distillery was sold to the Schenley company, which had a license to continue to sell – though not distill – whiskey for medicinal purposes. This bottle, distilled in 1916 and bottled in 1925, bears not only the name of the distillery but its plant manager, Albert B. Blanton – a curious but not uncommon practice during Prohibition. 1 bottle pint (no original packaging) Please refer to images for levels and conditions All Lots are offered for sale in the condition they are in at the time of sale and sold “AS IS” in accordance with the Conditions of Business for Buyers. Prospective buyers should inspect each Lot to satisfy themselves as to condition. The images provided here are provided to assist you with assessing the condition of each Lot and are for guidance only; they should not be considered a replacement for inspecting the Lot in person. Spirits and liquor can be picked up by the buyer or the buyer’s agent at our New York premises, or shipped to the District of Columbia, New Hampshire, and New York through specialized carriers. Please note that applicable taxes and fees will be added to the purchase price on the invoice. ﻿For all other locations, Sotheby’s Wine is happy to walk you through available shipping options and, when needed, introduce you to carriers who may be able to deliver to your final destination, be it domestic or international. If you have any questions, please feel free to contact us at Winepostsaleservices.ny@sothebys.com. 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 753: O.F.C. 100 Proof 1916 (1 Bottle Pint)

o.f.c. 100 proof 1916 (1 bottle pint)

Oscar Wilde Signed inscription (“To Kenyon Fortescue from his friend Oscar Wilde. Feby ’82. With his love”), written around a printed facsimile reproduction of the Great Seal and signature of Henry VIII, 8vo (c.200 x 140 mm), creased; framed alongside a photographic portrait of Wilde, 245 x 355 mm, not examined out of frame This warm inscription by Oscar Wilde, written during his lecture tour of America is written on a leaf that appears to have been removed from a copy of Mark Twain’s The Prince and the Pauper (1882), which contains an identical facsimile of Henry VIII’s seal and signature as its frontispiece. Twain's charming children's story would have been a suitable gift for the young Kenyon Fortescue (1871–1939), who was the illegitimate son of Robert Roosevelt, a writer and politician who was a friend of Wilde. PROVENANCE: Sale in our New York rooms, 24 September 1986, lot 59

View 1 of Lot 110: Oscar Wilde | Signed inscription, to Kenyon Fortescue, 1882, framed with a photograph

oscar wilde | signed inscription, to kenyon fortescue, 1882, framed with a photograph

T.S. Eliot—W.H. Auden and others A series of 11 letters signed by writers (chiefly autograph), discussing the character of T.S. Eliot, to Michael Gonin, 12 pages, various sizes, 1965–72 (but chiefly 1965), by: i) W.H. Auden, providing a careful and sympathetic view of Eliot, noting the difference between his public persona and personal character (“…Everyone seems the serious conscientious Arch-deacon. Few, except the personal friends, are aware of the little boy who loved simple practical jokes…”), and reflecting on his poetry, 2 pages, 4to, Kirchstetten, Austria, 23 April n.y., splitting at folds ii) William Golding (“…He tried to be kind to me, I believe, but he was so tall, so thin, so distinguistly [sic] stooping, and there was so little I could contribute to any conversation with him that my opinion is hardly worth having…”), 27 November n.y. iii) Robert Graves (“…As a poet he burned out about 1926 – the main passion has been suppression homosexual, I understand […] he was also a coward. But I couldn’t dislike him…”), 14 Jun n.y. iv) Graham Greene (“…I always found him a rather aloof character and we came together only on certain esoteric enjoyments – such as the books dealing with the exploits of Arsene Lupin…”), 27 January 1972 v) Frank Kermode, 31 May 1965 vi) John Lehmann, 6 December 1965 vii) Michael Ramsey, Archbishop of Canterbury, 5 July 1965 viii) Herbert Read, (“…Far from being arrogant or in any sense an objectionable personality he was one of the kindest and most considerate people I have ever known…”), 12 July 1965 ix) Bertrand Russell, recalling two meetings with Eliot in 1914 that provide a wholly unsympathetic view of his character, 1 page, 9 March 1965 x) Lord Snow, 9 June 1965 xi) Hugh Trevor-Roper (“…I don’t think that I ever met T.S. Eliot […] I do not like his cold, starched, slightly inhuman high-church formalism and thin-blooded reactionary views!...”), 8 November 1967 “…Eliot was certainly not narrow-minded but, as a poet, the range of experience and emotion with which he could deal was a narrow one. Indeed what to me is most extraordinary about his work is how much he managed to do with so little…” (W.H. Auden) After the death of T.S. Eliot a Canadian, Michael Gonin, wrote to a number of writers with a serious of tendentious questions about Eliot’s supposedly cold, arrogant, and prejudiced personality. These replies provide a fascinating range of responses. Some of the public figures to whom Gonin had written had barely known Eliot, although this did not always stop them from having a strong opinion on his personal qualities, but in general, as might be expected, those who had known him best tended to write with more nuance and sympathy about his personal characteristics. The two most interesting replies came from men who had known Eliot well. W.H. Auden writes with grace and sympathy. He acknowledges the anti-Semitism that mars Eliot’s early work but charitably explains it as the product of his upbringing; he also makes very clear that Eliot’s public persona was only one aspect of his character. His letter also includes revealing comments on Eliot’s poetry. In contrast, Bertrand Russell’s comments on Eliot are extraordinarily poisonous and no doubt stem in part from the longstanding bitterness originating in Russell’s destructive relationship with Eliot’s first wife. Russell claims that Eliot’s only contribution to discussion during three months as Russell’s graduate student at Harvard in 1914 was to compare the pre-Socratic philosopher Heraclitus to the French poet Villon. Russell also reports their conversation in London after the outbreak of war later that same year: “…I said ‘What are you doing here?’ He said, ‘I have just returned from Berlin.’ I said, ‘What do you think of the war?’ He said, ‘I don’t know, except that I’m not a pacifist.’ I said, ‘I see. You don’t care what people are killed about, so long as they kill each other.’…”

View 1 of Lot 99: T.S. Eliot—WH. Auden and others | Series of 11 letters on Eliot's character, to Michael Gonin, 1965-72

t.s. eliot—wh. auden and others | series of 11 letters on eliot's character, to michael gonin, 1965-72

Michter's 10 Year Old Single Barrel "Bourbon Barons" 94.4 Proof 2006

Michter's 10 Year Old Single Barrel "Bourbon Barons" 94.4 Proof 2006 Distilled on 6-28-2006, bottled on 7-9-2021, bottle #37 of 136, 15 Year Old Bourbon, includes original carton Michter's does not have a private barrel program the way many distilleries do, making this bottle exceptionally rare. This barrel is one of less than a handful of private single barrels Michter's has ever produced. This Special bottling of Michter's 10 Year Single Barrel Kentucky Straight Bourbon recognizes the generosity of the Bourbon Barons of Atlanta, who together supported the global hospitality industry during the coronavirus pandemic of 2020. In winning the 50 best for recovery auction, the Bourbon Barons donated £166,000 to an important cause and set a new world record for a private barrel of American Whiskey. 1 bottle 75cl (original carton) Please refer to images for levels and conditions All Lots are offered for sale in the condition they are in at the time of sale and sold “AS IS” in accordance with the Conditions of Business for Buyers. Prospective buyers should inspect each Lot to satisfy themselves as to condition. The images provided here are provided to assist you with assessing the condition of each Lot and are for guidance only; they should not be considered a replacement for inspecting the Lot in person. Spirits and liquor can be picked up by the buyer or the buyer’s agent at our New York premises, or shipped to the District of Columbia, New Hampshire, and New York through specialized carriers. Please note that applicable taxes and fees will be added to the purchase price on the invoice. ﻿For all other locations, Sotheby’s Wine is happy to walk you through available shipping options and, when needed, introduce you to carriers who may be able to deliver to your final destination, be it domestic or international. If you have any questions, please feel free to contact us at Winepostsaleservices.ny@sothebys.com. 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 747: Michter's 10 Year Old Single Barrel "Bourbon Barons" 94.4 Proof 2006 (1 Bottle 75cl)

michter's 10 year old single barrel "bourbon barons" 94.4 proof 2006 (1 bottle 75cl)

W.B. Yeats Autograph letter signed, to Florence Emery, on the aftermath of “this wild rising in Dublin”, written while Yeats was staying with Maud Gonne in France and describing her response to her husband’s execution for his role in the Uprising (“…When she heard the news of her husband’s execution she went to Iseult, paper in hand & looking pale and said ‘MacBride has been shot’ & then went to her little boy who was making a boat & said ‘Your father has died for his country — he did not behave well to us — but now we can think of him with honour’ and then said to Iseult ‘Now we can return to Ireland’…”), continuing with personal news, including that the Abbey Theatre is in chaos, that “Ezra [Pound] and his wife are happy”, and detailing his latest writings, 2 pages, large 4to, ["Colleville" deleted] 63 St James Street, London, 19 August [1916] “…My more elaborate piece of mystical writing is a long terminal essay but where I have put the results of my spiritualist research. I have also written notes on Witchcraft & the like. It will be an important work, a necessary authority. It just occurs to me that I never sent you a copy of my autobiography "Reveries over Childhood & Youth" […] I am just bringing out some poems but you will know them all in my sister’s editions I suspect. I have finished also a first draft of 'Memoirs' up to date which are not to be published till after my death […] It is a very candid book & will be quite unpublishable unless the world grows more free spoken…” AN EXCEPTIONAL LETTER WRITTEN AT A TURNING POINT IN YEATS’S LIFE AND IN IRISH HISTORY. Maud Gonne was the great love of Yeats’s life. After repeatedly refusing Yeats’s proposals of marriage, in 1903 she had married the solider and revolutionary John MacBride, but the marriage was deeply unhappy and collapsed within two years. Maud Gonne had instituted divorce proceedings in Paris when she came to believe that MacBride had sexually assaulted her ten-year-old daughter Iseult, but MacBride returned to Dublin and refused to agree to divorce — as a result Maud Gonne was unable to return to Ireland without risking custody of their son Sean. However, as this letter shows, she reclaimed her relationship with MacBride’s when his leading role in the Easter Uprising and subsequent execution transformed him into a martyr to the Irish nationalist cause. She wore mourning, took his name, and castigated Yeats for his ambivalent representation of MacBride in "Easter 1916", which places him among the glorious dead for whom "a terrible beauty is born" but recalls that he had “done most bitter wrong/ To some who are near my heart”. Yeats states in this letter that “The death of her husband has made no difference in our relations”: this was true in that he had proposed marriage to her once more during the visit, and had once more been rejected (following this final rejection Yeats also proposed to her daughter Iseult). Yeats’s correspondent here was another of the remarkable women to whom he was attracted throughout his life, Florence Emery (née Farr), an actor, composer, director, feminist, and mystic. In 1912 she had left England for Ceylon, where she was principal of a Tamil girl’s school founded by Sir Ponnambalam Ramanathan. Yeats writes in this letter that after the war is over he hopes to travel to the East and visit her in Ceylon, but she died of cancer in Ceylon in 1917. Emery shared Yeats’s interest in the occult, and like him was a member of the Order of the Golden Dawn, which is why Yeats is particularly keen in this letter to ensure she is kept up to date with his mystical writings. PROVENANCE: Sale in these rooms, 21–22 July 1988, lot 272

View 1 of Lot 115: W.B. Yeats | Autograph letter signed, to Florence Emery, about Maud Gonne and the Easter Rising, 19 August 1916

w.b. yeats | autograph letter signed, to florence emery, about maud gonne and the easter rising, 19 august 1916

[Giambattista Lolli—Modenese School of Chess]

[Giambattista Lolli—Modenese School of Chess] Two manuscript works on chess, believed to be in the autograph of Giambattista Lolli, with illustrative games: "Sinopsi de sei capitoli componenti il Trattato della difesa dell’Anonimo Modanese", divided into seven chapters, 59 pages; and "Ginoco Piano esposto sino ai tratti piu necessari dimostrativo L'Offesa piu insidiosa, e spedita per chihail vantaggio del primo tratto division tre variazioni dell' avversario", divided into three chapters, 19 pages, altogether 80 pages (including titles), plus blanks, in a single hand, 8vo (148 x 105 mm), both works dated 1762, bound in contemporary patterned papered boards, worn, especially at edges and joints These two works are connected with the Modenese School of chess, a movement that centred on the work of three lawyers from Modena. The "Anonimo Modenese", referred to in the title of the first work, was Domenico Ercole del Rio (1718–1802), so-called because his only book published in his lifetime was Sopra il Giuoco degli Scacchi Osservazione Pratiche d'Anonimo Autore Modenese. The two other Modenese masters were Giambattista Lolli (1698–1769) and Domenico Lorenzo Ponziani (1719–1796). They advocated opening with the Italian Opening and playing a fast-developing and aggressive game, in opposition to the ideas of their French contemporary Philidor who emphasised the importance of control of the centre and pawn formation. This is one of a group of manuscripts by members of the Modenese school that was noted by van der Linde as being in the collection of Francesco Discart, a noted chess player and secretary to the Duke of Modena. Van der Linde, presumably following Discart, who was a noted authority on the Modena School, stated that these two tracts are in Lolli's own hand (see van der Linde, Geschichte und Litteratur des Schachspiels (1874), vol. 2, p.444). He further notes that he facilitated the sale of Discart's collection of manuscripts to the British collector J.W. Rimington-Wilson. PROVENANCE: Fransesco Discart; sold in 1874 via Antonius van der Linde to: J.W. Rimington-Wilson (1822–1877), ownership inscription

View 1 of Lot 41: [Giambattista Lolli] | Manuscript of Sinopsi de sei capitoli componenti il Trattato dSinopsi de sei capitoli componenti il Trattato della difesa dell’Anonimo Modanese, 1762

[giambattista lolli] | manuscript of sinopsi de sei capitoli componenti il trattato dsinopsi de sei capitoli componenti il trattato della difesa dell’anonimo modanese, 1762

Heaven Hill William Heavenhill Signature Anniversary 18 Year Old 127.6 Proof NV

Heaven Hill William Heavenhill Signature Anniversary 18 Year Old 127.6 Proof NV Bottle #53 of 225, aged 225 months (18.75 years), signed by Parker Beam, crack around the whole wax capsule and a slight chip, includes original wooden case 1 bottle 75cl (original wooden case) Please refer to images for levels and conditions All Lots are offered for sale in the condition they are in at the time of sale and sold “AS IS” in accordance with the Conditions of Business for Buyers. Prospective buyers should inspect each Lot to satisfy themselves as to condition. The images provided here are provided to assist you with assessing the condition of each Lot and are for guidance only; they should not be considered a replacement for inspecting the Lot in person. Spirits and liquor can be picked up by the buyer or the buyer’s agent at our New York premises, or shipped to the District of Columbia, New Hampshire, and New York through specialized carriers. Please note that applicable taxes and fees will be added to the purchase price on the invoice. ﻿For all other locations, Sotheby’s Wine is happy to walk you through available shipping options and, when needed, introduce you to carriers who may be able to deliver to your final destination, be it domestic or international. If you have any questions, please feel free to contact us at Winepostsaleservices.ny@sothebys.com. 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 714: Heaven Hill William Heavenhill Signature Anniversary 18 Year Old 127.6 Proof NV (1 Bottle 75cl)

heaven hill william heavenhill signature anniversary 18 year old 127.6 proof nv (1 bottle 75cl)

Luis Ramírez de Lucena Repetición de Amores y Arte de Ajedrez. [Salamanca: Leonardo Hutz and Lope Sanz, 1497] FIRST EDITION, 2 parts in one volume, 4to (180 x 138 mm). COLLATION: a–d8 e1–3; A8 2a–2c8 2d–2e6 B–F8 G1–3: 122 leaves (only, of 124: lacking terminal blanks to both parts, each supplied on later paper stock), gothic type, numerous woodcuts of chessboards within woodcut borders, woodcut initials, some washed early modern annotations, modern maroon blind-stamped panelled calf over wooden boards, spine lettered in gilt, inner dentelles gilt, dampstaining throughout A RARE COPY OF THE OLDEST SURVIVING BOOK DEALING WITH PRACTICAL CHESS PLAY, and including 150 positions (although not the Lucena Defence or the Lucena Position). Lucena's book is particularly significant as it was written just after the modern rules of chess had emerged in Valencia in the 1470s. The most significant change was that the queen became much more powerful than in earlier versions of the game; the new game was much more dynamic and aggressive, so gained the name scacchi alla rabioso in Italy. Lucena describes both old and new chess in his book. The Arte de Ajedrez forms the second part of this book, following the Repetición de Amores, an anti-feminist poem. Little is known about the author, who is recorded variously as Juan or Luis Ramírez de Lucena. He was probably a student in Salamanca and the son of the humanist Juan Lucena. Pérez de Arriaga suggests that the most likely date of printing is October 1497 (ISTC). The book is exceptionally rare. 18 copies are recorded in ISTC and Rare Book Hub records just 2 copies sold at auction (Sotheby's London, 22 November 1984, lot 85 and Swann Galleries, 8 March 2018, lot 113), both of which lack the first part, which is PRESENT IN THIS COPY. LITERATURE: USTC 344916; ISTC il00317000 ("Frequently found without the 'Repetición de amores'" [i.e. Part 1]); Hain 10254; Pierpont Morgan Catalogue, Part III, 668 (giving full collation)

View 1 of Lot 47: Luis Ramírez de Lucena | Repetición de amores y arte de ajedrez, [Salamanca, 1497], the oldest surviving book on the game of chess

luis ramírez de lucena | repetición de amores y arte de ajedrez, [salamanca, 1497], the oldest surviving book on the game of chess

Emanuel Lasker Three autograph manuscripts (i) Autograph manuscript relating to the St. Petersburg 1914 chess tournament, entitled "Schachtaktik" ("Chess tactics") Notebook containing analyses of openings and endgames (“Angriff im Ruy… Endspiel der Riga Variante… Damengambit-Pillsbury… Ruy… Rubinstein Petersburg 1914”) (6 pages) and also notes on general tactical rules (“Allgemeine taktische Regeln…Das Prinzip der Teilung”) (12 pages), with autograph title page (“Schachtaktik / Emanuel Lasker / Aschaffenburgerstr. 6a / Berlin-Wilmersdorf. / Angefangen Petersburg / 25. Apr. 1914”); also containing 38 pages of mathematical studies, including notes on differential forms, reciprocal curves, and other topics, 56 pages in all, plus blanks, 4to (211 x 169 mm), with a loose reproduction of a signed and inscribed photograph of Lasker from June 1940, wrappers, red edges, St Petersburg, 1914 (and later?), first two leaves loose, cracked at hinge, some leaves torn out, browning (ii) Autograph manuscript of draft notes apparently for lectures on chess in Russia Notebook containing analyses and commentaries on openings, various positions and problems, with many hand-drawn diagrams illustrating positions, including those in matches played by Wagner, Alekhine, Berger, Capablanca, Grigoriev, Bogoljubov, Spielmann, Verlinsky, Rabinovich, Zubarev, Ballodit, Kmoch, Maroczy, Grau, Fairhurst, Vidmar and others (some diagrams annotated “1927”), 43 pages, plus blanks, 4to (212 x 171 mm), some later pencil notes, including to lower pastedown (“Em. Lasker / Notes for lectures on chess in Russia”), stiff decorated wrappers, gilt lettering to upper cover (“Obshchaya tetrad [Exercise Book]”), no place or date [Russia, 1930s?], browning, cracking at hinge (iii) Autograph manuscript of notes apparently for lectures on chess in Russia Notebook containing remarks on and analyses of openings and endgames (“Eröffnungen… Zur Methodik der Analyse von Endspielen… Endspiele… Über die Methode der Analyse vorgehender Stellungen…”), including 158 numbered positional diagrams, 160 pages, 4to (202 x 156mm), later pencil note to lower pastedown (“…MS. for Lectures on Chess in Soviet Russia (?) ca. 1936”), blue card wrappers, no place or date [c. 1936?], vertical crease to upper cover, light wear to covers, small ink stain affecting upper cover and lower edge of first seventeen leaves A remarkable collection of autograph notebooks, including one dating from the time of the 1914 St Petersburg chess tournament (21 April to 22 May), regarded in some quarters as the greatest single tournament ever staged. Featuring a formidable cast of chess stars, it transfixed Europe, and seemed to offer temporary respite from the headlong rush to world war. It was the wily Lasker who sensationally prevailed, winning by just half a point over the brilliant Cuban José Raúl Capablanca, twenty years his junior.

View 1 of Lot 40: Emanuel Lasker | Three autograph notebooks, including for the St. Petersburg 1914 tournament, 1914 and later

emanuel lasker | three autograph notebooks, including for the st. petersburg 1914 tournament, 1914 and later

George Bernard Shaw A collection, comprising: i-iv) Four letters (two autograph and two typed) signed, to Ernest Hieatt of St Albans District Council, complaining repeatedly and in extravagant and witty terms about the smells emanating from a rubbish dump near his home in rural Hertfordshire ("...I was very strongly reminded of the dump by the fumes of the island volcano Stromboli, which is believed by the islanders to communicate directly with hell..."), 7 pages, various sizes, Ayot St Lawrence, Herts., and Whitehall Court, London, 24 October 1927–7 July 1931 "...I returned in May and found the Dump in full blast. This time, however, a much more dangerous nuisance that the smell, horrible as that is, has developed. To explain its gravity is beyond my literary powers; therefore I will ask the District Council to allow me to quote the eighth chapter of the book of Exodus, verses 21 and 24 . Behold, I will send swarms of flies upon thee [etc]. [...] Now this may have served Pharaoh right; but what have we in Herts done to deserve this plague?..." This amusing series of letters chronicles Shaw's long-running battle against a refuse dump in Wheathampstead, about a mile from the beautiful village of Ayot St Lawrence, where Shaw had his home, which was used to dump waste from the London Borough of Islington. v) Autograph manuscript note in reply to a letter by H. Robinson Shepherd of Boston University, declining to provide to Shepherd a requested comment on "the joys and struggles of the effort to use the language skilfully and well", explaining that "As soon as I have an idea I have the words to express it, and my only conscious effort is for accuracy of expression...", Shaw's response subscribed under Shepherd's original letter, 1 page, folio, 31 December 1924 vi) The Doctor's Dilemma, Getting Married, & The Shewing-up of Blanco Posnet. London: Constable, 1911. 8vo, inscribed by the author to Sir Almroth Wright on the half-title ("to Sir Almroth Wright in whose laboratory the Doctor's Dilemma was incubated, and in whose brain it was made possible, from G. Bernard Shaw. 23rd February 1911"), publisher's green cloth, binding bumped, and stained, spine discoloured The immunologist Almroth Wright (1861–1947) was the basis for Sir Colenso Ridgeon in The Doctor's Dilemma. PROVENANCE: i-iv) Sale in these rooms, 21 July 1988, lot 224

View 1 of Lot 108: George Bernard Shaw | A collection, including letters and an inscribed book

george bernard shaw | a collection, including letters and an inscribed book

Alexander Petrov Руководство къ основательному познанiю шашечной игры, или Искусство обыгрывать всѣхъ въ простыя шашки [Rukowodstwo k’osnowatelnomu poruanno schaschetnoj ig]. St. Petersburg: A. Smirdin, 1827 8vo (180 x 110 mm), engraving of a draughts board, publisher's original wrappers, dampstaining to wrappers and title page, first two leaves soiled, marginal dampstaining throughout text, wrappers frayed and worn at spine Alexander Petrov (1794–1867) was the first great Russian grandmaster. He was the best player in St Petersburg by the time he was 20, and in later years was patron to the great Russian theorist Carl Friedrich Jaenisch (with whom he perfected the Petrov Defence). He was also the author of one of the earliest Russian chess handbooks in 1824 (for the first, see lot 8). Three years later, he published the present work, known in English as A guide to a thorough knowledge of the game of draughts: the first Russian book on draughts. Draughts became exceedingly popular in nineteenth-century Russia, with the first championship held in 1894.

View 1 of Lot 55: Alexander Petrov | Rukowodstwo k’osnowatelnomu poruanno schaschetnoj ig, St Petersburg, 1827

alexander petrov | rukowodstwo k’osnowatelnomu poruanno schaschetnoj ig, st petersburg, 1827

Bernard de Montméja Two works, comprising: Ludi latrunculorum brevis descriptio. Paris: Fédéric Morel, 1560. 4to (212 x 150 mm), woodcut device to title-page, ruled in red throughout, modern paper wrappers, some light spotting and browning to endleaves [with:] Kurzer Abriß des Schachspiels von B. Mommeianus aus Toulouse, gewidmet dem M. Virellus aus Marseille in Wiener Schach-Zeitung. Vienna: A. Lewit, May 1927. 32 pages (240 x 166 mm), wrappers, text occasionally faded, covers defective and loosely inserted Ludus latrunculorum was a two-player board game resembling chess or draughts played throughout the Roman Empire. Though multiple attempts have been made to decode the rules of ludus latrunculorum, a lack of sources means that we can only conspire about its gameplay. It is presumed that the game was played on an 8x8 board, and involved capturing the other player's soldiers — whoever captures the most, wins. The game is referred to in Ruy López de Segura's Libro de la invencion liberal y arte del juego del axedrez (see lot 42), and Phildor's Analysis of the Game of Chess (see lot 56). PROVENANCE: Dr Robert Blass, Zurich, inkstamp to wrappers, not in the 1992 Christie's sale of his library LITERATURE: USTC 152956 (listing 8 institutional copies)

View 1 of Lot 51: Bernard de Montméja | Ludi latrunculorum brevis descriptio, Paris, 1560, the Robert Blass copy

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