Master Sculpture from Four Millennia

French, Limoges, early 13th century Corpus Christi gilt and partially enamelled copper, on a modern metal stand Corpus: 15cm., 5⅞in.

corpus christi

Ponte Sant’Angelo, Wrapped by&nbsp;<a href="https://www.sothebys.com/en/search?query=Christo&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Christo</a>, 2011.<ul><li>Christo (Bulgarian, 1935-2020).</li><li>Collage on lithograph.</li><li>Signed and numbered.</li><li>Edition of 160 Arab and 90 Roman.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Ponte Sant’Angelo, Wrapped

Wrapped Globe (Eurasian Hemisphere) by <a href="https://www.sothebys.com/en/search?query=Christo&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Christo</a>, 2019.<ul><li>Christo (Bulgarian, 1935-2020).</li><li>Collage, silkscreen and mixed media.</li><li>Signed and numbered.</li><li>Edition of 160 Arab and 90 Roman.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Wrapped Globe (Eurasian Hemisphere)

Wrapped Statues, Project for Die Glyptothek, München, from: Seoul Olympic Games, by <a href="https://www.sothebys.com/en/search?query=Christo&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Christo</a>, 1988.<ul><li>Christo (Bulgarian, 1935-2020).</li><li>Screenprint with collage on Wove paper.</li><li>Hand-signed and numbered.</li><li>Part of an edition of 300, plus 30 artist's proofs.</li><li>This work is presented unframed.</li></ul> This screenprint with collage and photograph is hand signed in pencil by the artist "Christo" at the lower right of the image. It is hand numbered from the edition of 300, at the lower left of the image. There were also 30 artist's proofs impressions. It was printed by Landfall Press, Chicago and published by the Olympic Games Committee, Seoul, South Korea. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Wrapped Statues, Project for Die Glyptothek, München, from: Seoul Olympic Games

Christ, in a large initial, from a manuscript choir book&nbsp;most likely decorated by a Picard <a href="https://www.sothebys.com/en/search?query=illuminated+manuscripts&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">illuminator</a> working in Naples during the Angevin rule, on <a href="https://www.sothebys.com/en/search?query=vellum&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">vellum</a>.<ul><li>[Italy (Naples), circa 1325].</li><li>Tall and thin cutting from a manuscript leaf, with large initial ‘I’ enclosing Christ as a standing figure, robed in green and burgundy, with a halo formed from burnished gold with black details, on a dark blue ground with large gold bezants and scrolling white foliage, the foot of the initial trailing off into colored acanthus leaves and a gold bezant, the later inscription “IES[U]” added over Christ’s body at thigh height, the reverse with remains of 3 lines of music in square notation on 4-line red staves (rastrum 49mm), with one line of text in a gothic liturgical script.</li></ul> This is a long-lost cutting from a fascinating Neapolitan choir book, apparently produced by French artists in the Kingdom of Naples during the Angevin rule, connected to King Robert of Anjou or a member of his court. 182 leaves of this choir book now survive in the National Museum in Stockholm. The part now in the National Museum in Stockholm was purchased in Naples in 1857, and saints Francis and Clare are in prominent positions, suggesting that the original parent book was made for the major church of the city, Santa Chiara, or the Franciscan and Clarissan monasteries that are part of the same structure there. While there are two artists’ hands represented in the illumination of the whole choir book, the one here presents as the most skillful and exceptional. The artist blends Italian and French motifs to form a bewildering and enticing hybrid style of medieval art.

Illuminated Christi Miniature

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

Wolfgang Amadeus Mozart (1) Cosi fan tutte Dramma giocoso in due Atti… Weibertreue oder die Mädchen sind von Flandern komische Oper in Zwey Aufzügen [score], Leipzig, Breitkopf & Härtel, [1810] FIRST EDITION OF THE SCORE, 2 volumes in one, [1], [viii,] 3–153, [154], 155–269 pages, folio (348 x 262 mm), engraved music, plate number 1363, printed German libretto, WITH EXTENSIVE CONTEMPORARY ANNOTATIONS IN RED CRAYON TO ACT 1, chiefly, but not only, relating to the figuring of the bass part, manuscript number to title (“34575.”), nineteenth-century mottled half calf, spine gilt in compartments, red morocco label with gilt lettering to spine (“Cosi fan tutte”), engraved surface cropped in a few places, slight loss of paper to lower outer corner of pp.27–38 and 45–50, title on guard, light staining to title (2) Così fan tutte. Weibertreue oder die Mädchen sind von Flandern, komische Oper in Zwey Aufzügen… Klavierauszug Pr. 5 Rthlr. [vocal score], Leipzig: Breitkopf & Härtel, [1819] 1 leaf, 192 pages, oblong 4to (253 x 340 mm), lithographed music, plate number 2906, cast-list and index, nineteenth-century green half calf, gilt lettering to upper cover (“Johanna Zimmermann”), without original wrapper, title and first leaf becoming detached, light browning, a few corners creased The first edition of the full score of Mozart’s Così fan tutte appeared some sixteen years after the vocal score (1794). Of particular interest in the present full score are the numerous contemporary additions and annotations. In one place (on p.84), the (evidently English) writer takes issue with Mozart’s part-writing: “The effect of this termination [i.e. cadence] with 2 naked fourths is intolerable. I can scarcely believe Mozart wrote this passage [!]” LITERATURE: (1) RISM M 4693; Haberkamp, p.334; (2) Hoboken, xii 420

View 1 of Lot 99: Wolfgang Amadeus Mozart | First edition of the full score of “Così fan tutte”, and one other

wolfgang amadeus mozart | first edition of the full score of “così fan tutte”, and one other

George Eliot Middlemarch. A Study of Provincial Life. London & Edinburgh: William Blackwood & Sons, 1871 FIRST EDITION IN THE ORIGINAL PARTS, 8 volumes, 8vo (182 x 122 mm), half titles, advertisements, errata slip tipped in to part 4, publication notices tipped in to parts 5–6, publisher's 62-page catalogue bound in at the end of part 8, original printed wrappers, one half of first leaf of advertisements torn away and lacking pages 17–18 in same, occasional scattered foxing, lower wrapper and backstrip of part 1 replaced with plain green paper, top margin of upper wrapper of part 3 extended with plain green paper, lower wrapper of same detached, spines faded, split, and torn with some losses to spine ends RARE IN THE ORIGINAL PARTS. The pagination conforms to the book edition of four volumes, with each set of two parts having consecutive pagination. PROVENANCE: Sale in our New York rooms, 15 June 2006, lot 148 LITERATURE: cf. Sadleir 815

View 1 of Lot 54: George Eliot | Middlemarch, Edinburgh and London, 1871, first edition in the original parts

george eliot | middlemarch, edinburgh and london, 1871, first edition in the original parts

Thomas Hardy Tess of the d'Urbervilles. A Pure Woman. London: James R. Osgood, McIlvaine and Co., 1891 FIRST EDITION, FIRST IMPRESSION (with incorrect wording "[Chapter] XXV" on p. 199, volume 2), 8vo, half-titles, blanks, original smooth tan cloth, upper covers decorated in gilt with honeysuckle stems (after design by Ricketts), spines blocked and lettered in gilt, extremities slightly bumped FIRST EDITION OF HARDY'S CELEBRATED TRAGIC NOVEL. PROVENANCE: "H.R.S. Jr.", bookplate LITERATURE: Purdy, pp.67-78; Sadleir 1114

View 1 of Lot 70: Thomas Hardy | Tess of the d'Urbervilles. A Pure Woman, 1891, first edition, first impression

thomas hardy | tess of the d'urbervilles. a pure woman, 1891, first edition, first impression

Robert Browning and Arthur Rackham The Pied Piper of Hamelin. London: George G. Harrap & Co, 1934 SIGNED BY THE ILLUSTRATOR, 8vo (236 x 155 mm), signed and dated ("Arthur Rackham | 1934") with pen drawing of two rats, four coloured plates (including frontispiece) and fourteen black-and-white drawings (one double-page), publisher's gilt-lettered limp vellum, top edge gilt, endpapers patterned with rats, deckled edges, housed in publisher's cardboard slipcase, very occasional light spotting, vellum slightly browned at top edge﻿

View 1 of Lot 117: Robert Browning and Arthur Rackham | The Pied Piper of Hamelin, 1934, deluxe edition

robert browning and arthur rackham | the pied piper of hamelin, 1934, deluxe edition

Album Amicorum Oblong 8vo (185 x 104 mm), 83pp. excluding blanks, manuscript title on engraving mounted on first leaf, 9 silhouette portraits, 1 engraved silhouette, 5 watercolour illustrations, 1 pastel, 1 drawing, many cut down and mounted, contemporary half calf, marbled endpapers, housed in buckram clamshell case, browning throughout, some leaves detached, some mounted on guards, binding worn, gatherings exposed A charming late eighteenth-century album amicorum containing entries dating from 1779 to 1793, featuring numerous silhouettes and watercolours collected in Berlin, Dresden, Halle, Heidelberg, Jena, and Leipzig.

View 1 of Lot 2: Album Amicorum | Der Freundschaft gewidmet, 1779-1793, manuscript in German

album amicorum | der freundschaft gewidmet, 1779-1793, manuscript in german

Christoph Willibald Gluck Autograph manuscript of part of the celebrated air “J’ai perdu mon Eurydice” from Orphée et Eurydice A WORKING DRAFT DIVERGING FROM THE FIRST EDITION, including changes to the music and text, beginning with the accompanied recitative for Eurydice and Orphée (“[Reçois] donc mes derniers adieux”), including Orphée’s fatal backward glance and Eurydice’s death, and concluding with the opening twenty-five bars of Orphée’s air (up to the Adagio “C’est ton amant”), in score, for voices and instruments, notated in dark brown ink on three five-stave systems per page, some annotations in pencil and red crayon, with deletions, smudging, and alterations, the manuscript extensively reworked by the composer, including a revision of the passage leading up to Eurydice’s death, notated on a single stave at the foot of the first page, with some earlier passages, diverging from the final published versions, still legible (including “objet de mes amours”) 4 pages, folio (c. 300 x 230 mm), 16-stave paper, [1774], a few minor tears, a little paper loss caused by oxidation of the ink, some spotting and staining, strengthened at spine THIS IS THE AUTOGRAPH MANUSCRIPT OF ONE OF THE MOST FAMOUS ARIAS IN ALL OPERA; IT IS WITHOUT DOUBT THE MOST IMPORTANT MANUSCRIPT BY GLUCK TO HAVE BEEN OFFERED AT AUCTION. This is a working manuscript, containing Gluck’s draft of the crucial scene preceding Orphée’s famous air, where, having been forbidden to look back at Eurydice as he leads her out of the underworld, the hero finds he is unable to resist her plaintive cries, glances at her, and causes her death. Gluck has deleted early versions of several passages in Orphée’s part and extensively remodelled them, the earlier drafts still visible under his heavy deletions; some of these reveal different words as well as different music from the final versions known today. The moment of Eurydice’s death is underscored by the momentary singing together of the two voices (not found in the Italian version), and this too is subject to deletions and revisions. Gluck deletes the first version of the words and writes the revision at the foot of the page (“Eu Orfée o Ciel je Meurs”). Even the words of Orphée’s “J’ai perdu mon Eurydice” are different, the second line “…rien n’égale mon Malheur” here given as “j’ai perdu tout mon bonheur”; similarly the words “c’est ton Epoux” of the Adagio are given here as “c’est ton amant”. Gluck originally wrote Orfeo ed Euridice as an opera in Italian (Vienna, 1762), with the hero sung by a castrato. No autograph manuscript survives: the first edition is the primary source for the Vienna version. The composer greatly amplified the opera for Paris in 1774, rewriting the hero’s part for haut-contre (a high tenor). There is no complete autograph manuscript of the Paris version, though sections survive in Paris, Berlin and Stanford, amounting to roughly two-thirds of the score. In the present manuscript, Orphée’s part is notated in the alto clef, although the composer mistakenly began writing part of the opening of the air in the tenor clef. This air has been celebrated as a star vehicle for mezzo sopranos and contraltos from Pauline Viardot in the nineteenth century to the present. It was especially beloved in this country as “What is life to me without thee?”, as sung by the great contralto Kathleen Ferrier. PROVENANCE: Sale in these rooms, 3 December 2008, lot 35

View 1 of Lot 61: Christoph Willibald Gluck | Autograph manuscript of part of the celebrated air 'J’ai perdu mon Eurydice' from "Orphée et Eurydice", 1774 

christoph willibald gluck | autograph manuscript of part of the celebrated air 'j’ai perdu mon eurydice' from "orphée et eurydice", 1774

From Meissen to Paris : The Röbbig Collection | Part I

Franz Christoph Janneck Graz 1703 - 1761 Vienne Le Fils prodigue Huile sur cuivre 38 x 52,6 cm ; 15 by 20¾ in.

le fils prodigue

Claude Debussy Autograph manuscript of the song Flots, palmes, sables, signed (“Ach. Debussy”) an essentially fair-copy manuscript, scored for voice and piano, notated in black ink on up to four three-stave systems per page, with an autograph DEDICATORY TITLE-PAGE TO HIS MUSE AND FIRST LOVE MARIE-BLANCHE VASNIER (“a Madame Vasnier. / Flots, palmes. Sables. (poésie tirée des Nuits persannes d’Armand Renaud) Musique. Ach. Debussy”), the text beginning “Loin des yeux du monde”, dated and signed in bold stylized fashion at the end (“2 Juin 1882 Ach. Debussy”), with a number of deletions, corrections, annotations and revisions by the composer, some in pencil, with an autograph three-bar draft, possibly relating to the song, contained on the otherwise blank last leaf 6 pages in all (on 4 leaves), including title-page and an otherwise blank leaf with a 3-bar draft, with two blanks, oblong 4to (c. 270 x 352 mm), stamp of the “Société des Auteurs …3 Oct 1947-621,602…Paris” to title and first blank page, unbound, modern cloth folding case, vertical folds, first and last leaf joined at spine with old transparent adhesive tape, outer pages browned and with some marginal staining, a few tiny tears to edges, very small loss of paper to three corners, not affecting text THIS IS THE AUTOGRAPH MANUSCRIPT OF A COMPLETE SONG BY THE NINETEEN-YEAR-OLD COMPOSER, DEDICATED TO HIS FIRST LOVE. It is currently unpublished in the modern critical edition of Debussy’s works. It was while acting as accompanist for Madame Moreau-Sainti’s singing classes that the young composer met the soprano Marie-Blanche Vasnier, fourteen years his senior and married to the Parisian civil servant Henri Vasnier. Part lover, part muse and part mother figure, she was the inspiration behind nearly thirty of his early songs, including the present one. Also significant in shaping the composer’s early musical aesthetic was the large library at the Vasnier residence, for it was here that Debussy became acquainted with the poetry of Paul Verlaine, Théodore de Banville, and Leconte de Lisle. Madame Vasnier’s exceptionally high and supple voice encouraged Debussy to write florid and ornate vocal lines, as in the present song Flots, palmes, sables, where Debussy’s vocal arabesques are used to great effect in invoking the “waves”, “palms” and “sands” of Armand Renaud’s Persian-inspired exotic lyric. It would appear that Debussy began the song - for voice and piano - in late 1881 or early 1882, and then completed it with a harp part in June 1882. There are no other autograph sources for the work, with the exception of the harp part, the whereabouts of which are currently unknown.

View 1 of Lot 47: Claude Debussy | Autograph manuscript of the song “Flots, palmes, sables”, signed, 1882

claude debussy | autograph manuscript of the song “flots, palmes, sables”, signed, 1882

Napoleon I (association)—Madgett Histoire de Jean Churchill, duc de Marlborough... imprimee par ordre de Sa Majeste Imperiale. Paris: Imprimerie Impériale, 1808 FIRST EDITION, 3 volumes, 8vo, half-titles, engraved portrait and 5 large folding maps and battle plans, contemporary calf gilt, bindings rubbed [with, loosely inserted:] 1 page letter of 25 April 1870, from booksellers Williams & Norgate to Sir Willoughby Jones, identifying Napoleon's library stamp ("Our Paris agent... thinks that the books, having the said stamp, must have proceeded from the Bibliothèque de la Malmaison") A REMARKABLE ASSOCIATION COPY: A BIOGRAPHY OF ENGLAND'S PRE-EMINENT MILITARY LEADER OWNED BY FRANCE'S GREATEST MILITARY COMMANDER, WITH NAPOLEON'S MALMAISON LIBRARY STAMP. Napoleon had ordered the publication of this and may well have read the present volumes. The volumes were later acquired by Sir John Jones, a noted Napoleonic era General, who befriended Wellington during the Peninsular Campaign (later becoming a baronet upon Wellington's recommendation). PROVENANCE: Napoleon I (1769–1821), his red Malmaison stamp to titles; Major General Sir John Thomas Jones, 1st Baronet (1783–1843, noted British Army officer who served in the Napoleonic Wars), gilt stamps to upper covers ("JOHN T. JONES | RL ENGR"), by direct descent to Sir Willoughby Jones, 3rd Baronet (1820–1884), armorial bookplate; sale, Christie's, 16 March 2006, lot 417

View 1 of Lot 101: Napoleon I's copy—Madgett | Histoire de Jean, duc de Marlborough, Paris, 1808

napoleon i's copy—madgett | histoire de jean, duc de marlborough, paris, 1808

William Heath Robinson "All but blind in his chambered hole | Gropes for worms | The four-clawed mole", 1916 c.110 x 82 mm (frame 225 x 225 mm), pen and ink, captioned "(TAIL-PIECE) | ALL BUT BLIND", mounted, framed, and glazed, very light marginal dampstaining A charming original illustration for the lyric "All but Blind", reproduced in Walter de la Mare's Peacock Pie (London: Constable & Co., 1916, p. 121). EXHIBITED: The Robinson Brothers, Chris Beetles Gallery, 15 February–20 March 1992, item no. 342 PROVENANCE: Chris Beetles Gallery, gallery label to verso

View 1 of Lot 122: William Heath Robinson | "All but blind in his chambered hole...", original illustration for Walter de la Mare's Peacock Pie, 1916

william heath robinson | "all but blind in his chambered hole...", original illustration for walter de la mare's peacock pie, 1916

PROVENANCE: 1. Made in the last quarter of the 15th century, part of a large choir book, illustrating the line from Psalm 53 in which the fool is one who denies God: ‘The fool says in his heart “There is no God.”‘ . 2. Captain John Henry Ball (d.1938): his red stamp on the reverse. Acquired probably in the 1920s and placed on deposit with his substantial collection of antiquities, arms and armour, and medieval items, at the Hertfordshire Museum, St Albans. By descent to: 3. His son, John Brayfield Ball (d.1940); bought by Capt. Ball’s executor, Sydney Edward Lucas (d.1970), by whom withdrawn from the Museum and sold at: 4. Christie's, London, May 16, 1961, probably part of lot 146 (the figure identified as Lazarus) bought by Rogers. 5. Collection of Karl and Elizabeth Katz, their sale at Christie’s: Script and Illumination: Featuring the Karl and Elizabeth Katz Collection on12th Dec 2017, lot 27. One of the Middle Ages’ most popular and ever present figures: the Fool, in an elegant pink initial ‘D’ COMMENTARY: Against a blue ground decorated with swirling white tracings stands the figure of a happy fool, safely encased by the soft pink body of a letter ‘D’ with white leaf-like embellishments. The male figure is dressed in a grey tunic that is coming apart at the seams, carrying a club and wearing a cap of very faintly visible feathers. His gaze is turned upwards, to heavens, unaware of where his next step is going to take him — off a cliff or into the next adventure? The fool was a central figure in the imagination and visual landscape of the Middle Ages, from murals to paintings, to card games, human foolishness embodied in the figure of the fool was ever present. In liturgical manuscripts, the fool was traditionally used to illustrate the introduction of Psalm 53, opening with Dixit insipiens in corde suo (‘The fool said in his heart’) where he took centre stage. Our content looking figure can be attributed to the artist Antonio Maria da Villafora, who was active in Padua for an extensive period from 1469 until his death in 1511 (Armstrong 2018, p.76). Payment records survive for a Missal illuminated in his hand and a copy of the Speculum Humanae Salvationis by Vicent Beauvais and Antonio Maria is further documented in 1482 at the University of Padua, where he worked as an illuminator attached to the faculty of law (cf. Bagatini 2001). Besides working for individual patrons, such as Pietro Barozzi, Bishop of Padua (1489–1505), whose manuscripts and incunabula are now in the Biblioteca Capitolare in Padua, he also worked on monastic commissions of impressive liturgical books. In his later years he almost exclusively worked for the Benedictine congregation of San Giustina in Pada (Canova 1978, Bagatin 2001, Bollati 1994, p.69–73) for whom he illuminated a number of psalters — now held at Padua, Biblioteca Civica, ms.811, 812. In Gnaccolini’s Dizionario biografico dei miniatori italiani, Antonio Maria is praised as the leading figure of the Paduan Renaissance for the volume, continuity, and high quality of his output. (Gnaccolini 2004, pp.36-9). His recognisable style is marked by the strong features of his human figures, often with slightly upturned noses as exemplified by the figure of the fool in our initial. The portrait also demonstrates his careful modelling of faces which is achieved through multiple layers of brushstrokes — a technique that Villafora perfected towards the end of his career. The depiction of the fool is a clear foreshadowing of this artistic trajectory and pinnacle of his work. LITERATURE: Alexander, J. J. G. The Decorated Letter. New York: George Braziller, 1978, nos.17–18. Alexander, J. J. G., and A. C. de la Mare. The Italian Manuscripts in the Library of Major J. R. Abbey. London: Faber and Faber, 1969, 109. Bagatin, Pier Luigi. Antonio Maria da Villafora: tra università, curia e monasteri, un miniatore ritrovato. Antilia. Treviso: Antilia, 2001. Bradley, John W. A Dictionary of Miniaturists, Illuminators, Calligraphers, and Copyists. 3 vols. London, 1887–1889. D’Ancona, Paolo, and Hans Aeschlimann. Miniature Painting. Milan, 1949. De Ricci, Seymour. Census of Medieval and Renaissance Manuscripts in the United States and Canada. 3 vols. New York: H. W. Wilson, 1935–1940, vol. 2, 1337. Fumian, Silvia. Gli incunaboli miniati e xilografati della Biblioteca Capitolare di Padova. Fonti e ricerche di storia ecclesiastica padovana 38. Padua: Istituto per la storia ecclesiastica padovana, 2014, 49–63, 157–227. Gnaccolini, Laura Paola. Dizionario biografico dei miniatori italiani. Milan: Editrice Bibliografica, 2004. —. “Antonio Maria da Villafora.” In Dizionario biografico dei miniatori italiani, 36–40. Kidd, Peter. “Medieval Manuscripts from the Collection of Captain Jack Ball.” In Beyond Words: New Research on Manuscripts in Boston Collections, edited by Jeffrey F. Hamburger, Lisa Fagin Davis, Anne E. McGee Morgan, Nancy Netzer, and William P. Stoneman. Turnhout: Brepols, 2016. Mariani Canova, Giordana. Miniatura veneta del Rinascimento. Venice: Neri Pozza, 1969, 80–96, 96, 130–136, 134–135, 163, cat. 117. New York, The Art of the Renaissance Book (exh. cat.). New Haven and London: Yale University Press, 2005–2006, no. 30, 154–157. Padua, Biblioteca Capitolare: Manuscripts of the Renaissance (exh. cat.). Padua, 1999, nos. 139–142, 153–165, 167. Walther, Ingo F. Codices illustres: The World’s Most Famous Illuminated Manuscripts. Cologne: Taschen, 2001, 386–389. The Art of the Renaissance Book. New Haven and London: Yale University Press, 2005.

View 1 of Lot 74: Illuminated Manuscript—Initial ‘D’ from a choir book illuminated by Antonio Maria da Villafora, (North-Eastern Italy, Padua), last quarter 15th century

illuminated manuscript—initial ‘d’ from a choir book illuminated by antonio maria da villafora, (north-eastern italy, padua), last quarter 15th century

Christian Zervos Pablo Picasso. Œuvres de 1895 à [1972]. Paris: Éditions Cahiers d'Art, 1949–1978 33 volumes in 34 (volume 2 in two parts), FIRST EDITIONS, small folio (314 x 242 mm), numerous plates, black morocco by Sangorski and Sutcliffe, edges gilt A FINE SET OF THE PICASSO CATALOGUE RAISONNÉ. Zervos first met Picasso in Paris. In 1926 Zervos founded the publishing house Cahiers d'Art and sixteen years later Picasso approved his wish to create as close to an exhaustive catalogue raisonne of the artist's paintings and drawings as possible. Picasso was an enormously prolific creator: upon his death there were more than 45,000 unsold works in his estate. Published between 1942 and 1978, extending to thirty-four volumes, Zervos's work reproduces over 16,000 works.

View 1 of Lot 106: Christian Zervos I Pablo Picasso. Œuvres de 1895 à [1972], 1949-1978, 33 volumes in 34, a fine set of the Picasso catalogue raisonné

christian zervos i pablo picasso. œuvres de 1895 à [1972], 1949-1978, 33 volumes in 34, a fine set of the picasso catalogue raisonné

Ian Fleming Centenary Edition. London: Queen Anne Press, 2008 18 volumes, ONE OF 26 LETTERED SETS (THIS SET LETTER "M"), of a total edition of 406, 8vo, each volume in special pictorial bindings by Shepherds, Sangorski & Sutcliffe in dark blue morocco gilt onlaid with various coloured designs (in red, yellow, pink, green etc), each volume according to theme (Casino Royale with playing cards, From Russia with Love with design of Moscow, On her Majesty's Secret Service with Alpine ski resort etc), the spine of Diamonds are Forever incorporating a diamond, hand-sewn head- and tail-bands, all edges gilt, handmade watermarked endpapers, the text designed and typeset by Libanus Press, each volume in specially made blue cloth slipcase lettered in gilt, the set preserved in black cloth presentation box with Ian Fleming's crest in gilt on the lid A SPECTACULAR EDITION CELEBRATING THE CENTENARY OF THE BIRTH OF IAN FLEMING, FINELY BOUND BY SHEPHERDS, SANGORSKI & SUTCLIFFE. During his lifetime Fleming was the author of seventeen published books: twelve James Bond novels, starting with Casino Royale (1953), two volumes of Bond short stories; a book of travel journalism, Thrilling Cities; a nonfictional account of the diamond trade, The Diamond Smugglers, and the children's book, Chitty-Chitty-Bang-Bang. This collected edition—in fact the first of its kind ever published—adds Talk of the Devil, a collection of rarely seen material (some unpublished), as well as explanatory comments written by Fleming in the flyleaves of his personal copies. "M" is James Bond's boss and head of the British Secret Service, a composite character probably based on Rear-Admiral John Godfrey (Fleming's former boss in the Department of Naval Intelligence), Maxwell Knight, former head of counter-subversion in MI5 and Maurice Buckmaster, head of the F Section of the SOE. In the James Bond film franchise, the character has been played by Bernard Lee (until 1979), Judi Dench, and Ralph Fiennes. PROVENANCE: Sale in these rooms, 17 December 2009, lot 100

View 1 of Lot 59: Ian Fleming | The Centenary Edition, 2008, 18 volumes, one of 26 lettered sets (letter "M")

ian fleming | the centenary edition, 2008, 18 volumes, one of 26 lettered sets (letter "m")

Siegfried Sassoon FIRST EDITIONS OF THE SHERSTON TRILOGY, SIGNED BY THE AUTHOR, 3 volumes, 8vo, many gatherings uncut, original blue buckram, spines lettered in gilt, top edges gilt, spines of both Memoirs sunned, upper cover Comprising: (i) Memoirs of a Fox-Hunting Man. London: Faber & Gwyer, 1928 Number 205 of 260 numbered copies on English hand-made paper, spine sunned; (ii) Memoirs of an Infantry Officer. London: Faber & Faber, 1930 Number 24 of 750 numbered copies, spine sunned, upper cover slightly marked, endleaves slightly browned; (iii) Sherston's Progress. London: Faber & Faber, 1936﻿ Number 195 of 300 numbered copies, endleaves slightly browned

View 1 of Lot 127: Siegfried Sassoon | The Sherston Trilogy, first editions, signed

siegfried sassoon | the sherston trilogy, first editions, signed

Antonín Dvořák Requiem Mass, op.89 [vocal score], SIGNED AND INSCRIBED BY THE COMPOSER TO KAREL BENDL (“Karla Bendlovi / Ant. Dvořák”) 8vo (c. 250 x 165 mm), London & New York, 1891, publisher’s red cloth stamped in gilt and blind, gilt edges, slight smudging to inscription, spine a little sunned Dvořák’s great Requiem Mass was composed in 1890 and first performed in Birmingham on 9 October 1891, with the composer conducting. This copy of the vocal score was presented by Dvořák to his friend the composer and choirmaster Karel Bendl (1838-1897), with whom he had been acquainted since the time of his studies at the organ school in Prague.

View 1 of Lot 52: Antonín Dvořák | Vocal score of the Requiem Mass inscribed by the composer to Karel Bendl

antonín dvořák | vocal score of the requiem mass inscribed by the composer to karel bendl

William Wordsworth Yarrow Revisited and Other Poems. London: Edward Moxon, 1839 PRESENTATION COPY INSCRIBED BY WORDSWORTH TO HIS FELLOW WALKER IN THE LAKE DISTRICT LAURA CARR ("To Laura Carr | from | William Wordsworth; | In the hope that the volume | will serve to remind her | of many pleasant walks | taken in this neighbourhood | W.W. | Rydal Mount. Febr[uar]y 11, 1840"), 8vo, third edition, nineteenth-century maroon morocco gilt, all edges gilt, gilt dentelles, preserved in quarter brown morocco folding box, minor wear to joints Opposite the presentation inscription is an inserted thin leaf with a pressed dried flower with a note (probably in Laura Carr's hand) "Geranium Robertianum or 'Herb Robert'. Gathered by Mr. Wordsworth on the walk on the road between Ambleside and Windermere and given me Tuesday, October 20, 1840". A SUPERB PRESENTATION COPY, linking Wordsworth with a fellow walker and his own famous walks in the Lakes, when he composed aloud so many of his celebrated poems. PROVENANCE: Presented by the author to Laura Carr on February 11th 1840; Lady Rolfe: bookplate; Isabelle Louise Aitken: bookplate (dated 1917); J.O. Edwards: bookplate; Sotheby's, 17 December 2008, lot 81

View 1 of Lot 155: William Wordsworth | Yarrow Revisited and other poems, 1839, a superb presentation copy

william wordsworth | yarrow revisited and other poems, 1839, a superb presentation copy

Franz Christoph Janneck Graz 1703 - 1761 Vienne La Première rencontre La Lecture Huile sur cuivre, une paire L'un signé en bas à droite F.C. Janneck fc. (I) 25,8 x 31,5 cm ; 10⅛ by 12⅜ in. ; (II) 25,1 x 31,2 cm ; 9⅞ by 12¼ in. (2)

View 1 of Lot 97: La Première rencontre ; La Lecture

la première rencontre ; la lecture

Raymond C. Booth Hilly Habitat of Lilium Auratum, undated 423 x 324 mm (framed 540 x 435 mm), executed in pencil, signed lower right PROVENANCE: Exhibited at The Fine Art Society, London, March 1997, 'Japonica Magnifica', no. 49; sold at David Duggleby, 18 June 2021, lot 168

View 1 of Lot 26: Raymond C. Booth | Hilly Habitat of Lilium Auratum, pencil drawing

raymond c. booth | hilly habitat of lilium auratum, pencil drawing

Antiquarian Books Seven volumes, comprising: (i) Matthew Prior. Poems on Several Occasions. London: Jacob Tonson, 1718. FIRST FOLIO EDITION (464 x 282 mm), engraved frontispiece, title-vignette and head- and tail-pieces, list of subscribers, contemporary calf, dampstaining, large closed tear to pp. 19–20, rebacked, rubbed and rebacked (ii) Jean-Philippe Rameau. Generation harmonique ou traité de musique theorique et pratique, Paris: Prault fils, 1737 [Hirsch, i 486], OTTO JAHN’S COPY. [16] & 227, [13], [4] pages, title printed in red and black, engraved vignette by Duflos on title-page, 12 folding plates of musical examples by J.L. Renou, bookplate of Mozart’s biographer Otto Jahn, pp.226-227 misnumbered, eighteenth-century calf, light browning, discolouration to title, repairs to spine (iii) Francis Bacon. The historie of the raigne of King Henry the Seventh. London: W. Stansby for Matthew Lownes and William Barret, 1622. Folio (291 x 182 mm), engraved portrait of Henry VII supplied from a later work and pasted in, title-page within woodcut architectural border (McKerrow & Ferguson 224), woodcut initials and headpieces, text within ruled border with blank marginal columns for side-notes (one printed side-note on X1v), errata on verso of final leaf, later calf, red edges, marbled endpapers, lacking the engraved frontispiece portrait of Henry VII by John Payne, final leaf soiled and with marginal repairs, rebacked (iv-v) Robert Southey. Life of Nelson. London: John Murray, 1813. FIRST EDITION, 2 volumes, 8vo (158 x 94 mm), engraved portrait in first volume and facsimile of Nelson's signatures in second volume, publisher's advertisements to verso of final text leaf in each volume, contemporary calf, housed in a modern cloth slipcase, joints of first volume starting, joints of second volume repaired (vi) Bernardo de Ulloa. Rétablissement des manufactures et du commerce d'Espagne. Amsterdam, 1753. PRESENTATION INSCRIPTION ON FLYLEAF FROM THE TRANSLATOR PLUMARD DE DANGEUL, TO 'LE BARON DE HOPEKEY DE LAPLAND', 8vo (164 x 95 mm), fine contemporary calf, spine gilt, gilt edges, marbled endpapers, inner dentelles, some light spotting (vii) Alexander Hunter. Culina famulatrix medicinae, or receipts in modern cookery. York: T. Wilson and R. Spence, 1806. 8vo (193 x 114 mm), fourth edition, engraved frontispiece of a pig by H. Cave, untrimmed edges, contemporary half calf, brown stain to leaves O3-4, occasional spotting throughout, spine and upper board becoming detached, binding worn PROVENANCE: (i) "Catherine Leveson Gower | June 17 1741", ownership inscription to front pastedown; monogrammed bookplate dated 1892; (ii) Otto Jahn (1813–1869, German biographer of Mozart), bookplate; (iii) P.J. Radford, bookplate; (iv-v) sale, Bloomsbury Auctions, 3 February 2005, lot 290; (vi) sale in these rooms, 11 April 1985, lot 253

View 1 of Lot 3: Antiquarian Books | Seven volumes

antiquarian books | seven volumes

James McNeill Whistler A collection of books by and pertaining to James McNeill Whistler, including: Campbell Dodgson, The Etchings of James McNeill Whistler. London: The Studio, Limited, 1922 Theodore Duret, Whistler. London: Grant Richards Ltd, 1917, 4to, original blue cloth, boards worn; Arthur Jerome Eddy, Recollections and Impressions of James A. McNeill Whistler. London: Philadelphia & London: J.B. Lippincott Company, 1903, cloth over brown boards; A.E. Gallatin, Whistler: Notes and Footnotes, and other Memoranda. New York and London: The Collector and Art Critic Co. and Elkin Mathews, 1907, 8vo, pink cloth; A.E. Gallatin, Whistler's Pastels and Other Modern Profiles. New York and London: John Lane, 1913, new edition, 8vo, cloth; A.E. Gallatin, Whistler's Art Dicta and Other Essays. Boston and London: Charles E. Goodspeed and Elkin Mathews, 1914, 8vo, marbled boards; Elbert Hubbard, Little Journeys To the Homes of Eminent Artists: Whistler. East Aurora, NY: self-published, 1902, number 208 of 940 copies, 4to, inscribed to Adolf Vögtlin from James Carleton Young, suede covers, deckle edges; James Laver, Whistler. London: Penguin Books, 1942, 8vo, original wrappers, covers detached; James Laver, Whistler. London: Faber and Faber, 1951, 8vo, original cloth, dust-jacket, dust-jacket price-clipped and frayed at edges; Mortimer Menpes, Whistler As I Knew Him. London: Adam and Charles Black, 1904, 4to, original cloth, frontispiece loose, loss at spine; Elizabeth Mumford, Whistler's Mother. London: Hutchinson & Co., 1940, first edition, 8vo, original boards, dust-jacket, dust-jacket worn; Albert Parry, Whistler's Father. Indianapolis and New York: The Bobbs-Merrill Company, 1939, blue cloth and burgundy morocco, binding worn; E.R. and J. Pennell, The Life of James McNeill Whistler. London: William Heinemann, 1908, two volumes, number 92 of 150 copies signed by the publisher, folio, mustard gilt-ruled half morocco; E.R. and J. Pennell, The Whistler Journal. Philadelphia: J.B. Lippincott Company, 1921, autograph edition, small 4to, original vellum-backed buckram; E.R. and J. Pennell, The Whistler Journal. Philadelphia: J.B. Lippincott Company, 1921, small 4to, original boards; Victoria and Albert Museum, Catalogue of Works by James A. McN. Whistler with a Bibliography. London: Published under the authority of His Majesty's Stationery Office, 1921, small folio, original wrappers, wrappers worn at edges; T.R. Way and G.R. Dennis, The Art of J. McNeill Whistler. London: George Bell and Sons, 1903, small 4to, original gilt-stamped cloth, boards stained, endleaves spotted; Thomas R. Way, Memories of James McNeill Whistler. London: John Lane, 1912, two volumes, small 4to, gilt-stamped cloth (two copies), ink-stain to upper board of one volume, endleaves of other volume, spotted bindings worn; Frederick Wedmore, Whistler and Others. London: Sir Isaac Pitman and Sons, 1906, 8vo, gilt-stamped brown cloth, boards worn; James McNeill Whistler, Nocturnes, Marines, & Chevalet Pieces. London: [Tite Street, Chelsea, 1878], small 4to, original wrappers; James McNeill Whistler, Etchings and Dry Points. Venice. Second Series. London: Tite Street, Chelsea, [1883], small 4to, original wrappers; James McNeill Whistler, "Notes"—"Harmonies"—"Nocturnes.". London: Tite Street, Chelsea, 1884, small 4to, original wrappers; James McNeill Whistler, Mr. Whistler's "Ten O'Clock.". London: Chatto and Windus, 1888, small 4to, original wrappers (two copies); James McNeill Whistler, The Gentle Art of Making Enemies. London: William Heinemann, 1890, small 4to, gilt-tooled upper cover, deckled edges; James McNeill Whistler, The Gentle Art of Making Enemies. London: William Heinemann, 1890, number 42 of 250 copies, 4to, gilt-tooled upper cover, deckled edges; James McNeill Whistler, The Baronet & the Butterfly, A Valentine with a Verdict. New York: R.H. Russell, 1899, number 82 of 250, signed by Whistler with his butterfly monogram, 4to, gilt-tooled upper cover, deckled edges, housed in green buckram slipcase; James McNeill Whistler, Eden versus Whistler: The Baronet & the Butterfly, A Valentine with a Verdict. Paris: Louis-Henry May, 1899, 4to, gilt-tooled upper cover, deckled edges; [James McNeill Whistler], An Illustrated Catalogue of the Whistler Exhibition. London: Ballantyne Press, 1905, luxe edition, 4to, bookplates of Theodore Besterman and Cornelius Verheyden de Lancey, half mustard cloth over brown boards, deckled edges, spotting and browning to endleaves, boards lightly worn; [James McNeill Whistler], An Illustrated Catalogue of the Whistler Exhibition. London: Ballantyne Press, 1905, third edition, 4to, bookplates of Theodore Besterman and Cornelius Verheyden de Lancey, unbound, lacking front free endpaper; [James McNeill Whistler], Paintings, Drawings, Etchings & Lithographs. London: Ballantyne Press, 1905, third edition, small 4to, original wrappers, wrappers worn, loss to spine; James McNeill Whistler, "Ten O'Clock": A Lecture by James A. McNeill Whistler. Portland, MN: Thomas Bird Mosher, 1920, 8vo, gilt-tooled upper cover; James McNeill Whistler, James McNeill Whistler: An exhibition of paintings and other works, organized by the Arts Council of Great Britain and the English-speaking union of the United States. London: W.S. Cowell, 1960, 4to, original covers, back cover annotated; Wilde v Whistler: an acrimonious correspondence on art between Oscar Wilde and James A. McNeill Whistler. London: privately printed, 1996, the Estelle Doheny copy, one of 400, 4to, original wrappers, housed in quarter black morocco slipcase; [with:] A selection of ephemera pertaining to Whistler, including an annotated typescript of an undergraduate essay written by Christopher Cone, a transparency of a Whistler painting, two photographs of Whistler paintings,

View 1 of Lot 149:  James McNeill Whistler | A collection of antiquarian books

james mcneill whistler | a collection of antiquarian books

Jean-Henri Marlet 1771 – 1847 Le pauvre malade conduit à l'Hôpital, from Tableaux de Paris lithograph on wove paper, with one page of text image: 200 by 280 mm. 7⅞ by 11 in. sheet: 250 by 320 mm. 9⅞ by 12⅝ in. Executed in 1821.

View 1 of Lot 90: Le pauvre malade conduit à l'Hôpital, from Tableaux de Paris

le pauvre malade conduit à l'hôpital, from tableaux de paris

Tom Phillips (illustrator) Dante's Inferno. London: Talfourd Press, 1983 LIMITED EDITION, COPY NUMBER 68 of 100 copies of the standard edition (from a total edition of 185 copies), 3 volumes, folio (412 x 312 mm), containing the complete set of 139 etchings, lithographs, and screenprints, on Inveresk mould-made wove paper watermarked "Tom Phillips", each initialled on lower-right-hand margin, colophon signed, dated, and numbered by the artist in purple ink, original half-vellum over green cloth boards by Pella Erskine-Tulloch, top edges gilt, others uncut, housed in original slipcase, slipcase lacking 2 leather ties

View 1 of Lot 105: Tom Phillips (artist)—Dante | Inferno, Talfourd Press, 1983, 3 volumes, copy number 68 of 100

tom phillips (artist)—dante | inferno, talfourd press, 1983, 3 volumes, copy number 68 of 100

[Fryderyk Chopin]—Franz Liszt F. Chopin par F. Liszt, Paris, Leipzig and Brussels: Escudier, Breitkopf and Schott, 1852, SIGNED AND INSCRIBED TO THE VIOLINIST FERDINAND DAVID (“Fer: David / son très affectionné / FLiszt”) FIRST EDITION OF LISZT’S BIOGRAPHY OF CHOPIN, [2 leaves], 206 pages, [1 leaf], original blue printed wrappers, late nineteenth- or early twentieth-century black cloth, red morocco label with gilt lettering (“Chopin / Liszt”) to spine, browning to edges, light scattered spotting, light staining and wear to wrappers A fine rare copy of Liszt’s seminal biography published three years after Chopin’s death, and inscribed to the great German violinist Ferdinand David (1810-1873). For all its longueurs, questions of authorship and ultimate motivation, Liszt’s study remains an important early contribution to Chopin biography. Although it remains significantly mute on the subject of Chopin’s actual style of playing and his contribution to the development of piano technique, it nevertheless contains many fascinating first-hand insights into its subject's personality as well as the Polish aspects of his inspiration.

View 1 of Lot 40: [Fryderyk Chopin]—Franz Liszt | First edition of Liszt’s biography of Chopin, signed and inscribed by Liszt to Ferdinand David, 1852 or later

[fryderyk chopin]—franz liszt | first edition of liszt’s biography of chopin, signed and inscribed by liszt to ferdinand david, 1852 or later

Margaret Mitchell Gone with the Wind. New York: Macmillan, 1936 FIRST EDITION, FIRST ISSUE, 8vo (214 x 146 mm), publisher's grey cloth, lettered and decorated in blue, original dust-jacket, extremities slightly rubbed and bumped, dust-jacket chipped at corners, browned and worn at edges, lower cover of dust-jacket lightly soiled A classic of American popular fiction; first issue, dated May 1936. The dust-jacket is first state, with Gone with the Wind listed second in the right-hand column on the lower cover, and with price listed as $3.00 on front inner flap.

View 1 of Lot 95: Margaret Mitchell | Gone with the Wind, New York, 1936, first edition, first issue

margaret mitchell | gone with the wind, new york, 1936, first edition, first issue

British Topography A group of four works, seven volumes in all, comprising: (i) William Grosart Johnstone and Alexander Croall. The Nature-Printed British Sea-Weeds. London: Bradbury & Evans, 1859. 4 volumes, 8vo (230 x 141 mm), 221 nature-printed colour plates, further in-text illustrations, near-contemporary green calf gilt, gilt arms/initials of George Savile Foljambe to upper covers (see provenance below), spines gilt in six compartments, red morocco labels to second and fourth compartments, marbled edges, marbled endpapers, spotting, extremities slightly rubbed, spines faded (ii) William Hutchinson. An Excursion to the Lakes in Westmoreland and Cumberland; with a tour through part of the Northern Counties in the Years 1773 and 1774. London and Newcastle: For J. Wilkie and W. Charnley, 1776. FIRST EDITION, 8vo (217 x 128 mm), portrait and 19 further plates (mostly folding), contemporary quarter calf, some staining, extremities slightly rubbed (iii) [John Aikin]. The Woodland Companion. London: for J. Johnson, 1802. FIRST EDITION, 8vo (193 x 113 mm), 28 double-page engraved plates (plates bound after the text), modern quarter calf over contemporary boards, a few platemarks cropped (iv) R.G. Stapledon and J.A. Hanley. Grass Land, its management and improvement. Oxford: Clarendon Press, 1927. FIRST EDITION, INSCRIBED BY THE AUTHORS, 8vo (189 x 124 mm), publisher's black cloth gilt, half-title browned, extremities slightly bumped PROVENANCE: (i) Presented by Lady Selina Charlotte Jenkinson, Viscountess Milton (1812–1883) and Cecil George Savile Foljambe (1846–1907, Liberal politician and noted ornithologist) to George Savile Foljambe (1800–1869) on 4 June 1862, gift inscription to front free endpaper, bookplate ("G.S. Foljambe, Osberton") and arms/initials stamped in gilt to covers; sale, Bloomsbury Auctions, 10 March 2005, lot 288

View 1 of Lot 31: British Topography | A group of four works, 7 volumes in all 

british topography | a group of four works, 7 volumes in all

[RMS Queen Mary]—Autograph album An autograph album, largely compiled on RMS Queen Mary, including on her maiden voyage, with the signatures of actors, sports personalities, and others, including Erich von Stroheim, Larry Adler, Irene Dunne, Helen Hayes, Dolores del Rio, Evelyn Laye, Noel Coward, Ricardo Cortez, Errol Flynn, Mary Pickford, Fred Perry, John Henry Lewis, and Pam Barton, 58 pages, oblong 8vo (112 x 135 mm), 1936 to 1954 (but chiefly 1936), black cloth, housed in a collector's box signed by Paul Wright as Captain of Queen Mary 2, wear to covers and spine, loss to front pastedown, some light spotting RMS Queen Mary sailed on her maiden voyage on 27 May 1936 and operated as a transatlantic liner until 1967 (except during the war years, when she carried troops). This album appears to have been compiled by a Miss R. Richards, who worked on the ship's telephone switchboard (she is named on a press cutting that is loosely inserted and her name is partially visible on the front pastedown).

View 1 of Lot 88: Maritime—Queen Mary (ship). Autograph Album

maritime—queen mary (ship). autograph album

the hinged lid decorated with a transfer printed scene after Alexander Carse, from the Burn’s poem of circa 1790, Tam o' Shanter

the hinged lid decorated with a transfer printed scene after Alexander Carse, from the Burn’s poem of circa 1790, Tam o' Shanter 5cm by 11cm by 8.5 cm.

View 1 of Lot 36: [Robert Burns] A Scottish polished burr sycamore snuffbox, probably Mauchline, Ayrshire, 19th century

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