Modern Day Auction

Mathias Goeritz 1915 - 1990 American Psychological Portrait signed with the initials MG. and dated 1945 (lower left) gouache on paper 25 ⅛ by 19 ⅝ in. 63.8 by 49.8 cm. Executed in 1945.

View 1 of Lot 599: American Psychological Portrait

american psychological portrait

Fine Books and Manuscripts Online

FREUD, SIGMUND Three postcards and one calling card from Sigmund Freud to the distinguished Hungarian psychoanalyst, Sandor Radó, an original disciple of Freud's, and one of the founding fathers of American psychoanalytics 3 autograph postcards signed ("Freud"), written recto and verso in German (approximately 5 7/8 x in.; 149 mm), dated between 1921 and 1933; minor toning and soiling. With 1 calling card with notation in Freud's hand (4 1/8 x 2 7/16 in.; 105 x 62 mm) and accompanying envelope. A set of postcards from Freud to his friend and the leader of the psychoanalytic movement in the United States, Sandor Radó Sandor Radó (born in Hungary in 1890), was completing a doctorate in political science when he came across a paper by Sandor Ferenczi, one of Freud's leading proponents in Budapest. The paper in question, “Analysis of the Soul,” argued that the then emerging field of psychoanalysis could provide the answer to many of the questions surrounding why people behave in the manner they do. Following this discovery, Radó read every one of Freud's publications, and was determined to become a doctor, specializing in psychoanalysis, of course. In 1913 Radó was appointed secretary of the Hungarian Psychoanalytic Society, and by 1926 Freud had named Radó editor of Zeitschrift and Imago. From 1926 to 1930 he served as secretary to the German Psychoanalytic Society, but as Nazism gathered strength, Radó felt that the looming war posed a threat to the future of psychoanalysis. He believed that many of the field's leading practitioners would be killed, and their papers and manuscripts subsequently destroyed. Radó fled to New York in 1931, and many European analysts followed him, forming a large community that led to the rapid growth of Freudian and related schools of psychiatry in the U.S. In fact, Radó went on to organize the New York Psychoanalytical Institute on the Berlin model. Because of his leadership at the Institute, in 1944 Radó won the approval of Columbia University's College of Physicians and Surgeons to establish a graduate school of psychoanalysis, marking the first time psychoanalysis was taught in a university in the United States. His considerable professional achievements aside, Radó was connected to Freud in a far more personal capacity. Radó was married to Elie Révész, a student of Freud's in the 1910s. Once she qualified as a psychoanalyst—one of the so called "First generation"—Révész analyzed Sandor Radó. When Elie died in 1923, Freud wrote a surprisingly personal letter to Radó, expressing his sympathies: "I am totally devastated...while a student of mine, your wife had been particularly dear to me... Who is taking care of your little daughter? That sweet darling at her tender age being robbed of her mother's protection left to cope in this cruel world." The present postcards and calling card—though necessarily brief—are also indicative of this familiarity, with Freud writing "Many thanks, belated, For your birthday wishes," and "Dear Doctor, I will be happy to welcome you." A striking collections of postcards, from the the father of psychoanalysis to one of his most influential disciples

freud, sigmund | three postcards and one calling card from sigmund freud to the distinguished hungarian psychoanalyst, sandor radó, an original disciple of freud's, and one of the founding fathers of american psychoanalytics

matta (b. 1911) morphology of desire (psychological morpholo

Latin American Art

morphologie psychologique

matta: psychological morphology

Hip Hop

THE GOD MC RAKIM ALLAH "SWEAT THE TECHNIQUE." Private lyric writing lesson and studio session with The God MC Rakim Allah. This experience may be enjoyed by up to 3 participants for a duration of up to 4 hours. For those participants who are unable to meet in person, there is an option to enjoy the experience virtually. Win a chance to learn from The God MC Rakim Allah. You and up to 2 friends will join Rakim for a private lyric writing lesson and studio session, which can be enjoyed in-person, or if you prefer, virtually. In the history of the Hip Hop, few artists have had as great an impact on the development and progression of the art forms lyrical style as Rakim Allah. Universally referenced as one of the Masters of the Microphone and an influence and inspiration to his peers and followers alike, Rakim first exploded onto the scene with the release of iconic Eric B. is President in 1986 with long time collaborator Eric B. The single marked a turning point in the Rap world – raising the bar for future emcees and revolutionizing the way rhymes are delivered to this day. No serious discussion of the music’s greatest performers is held without a deferential accounting of his achievements, and no serious rap artist grips a microphone without channeling some of his legend. Rakim’s intricately intellectual lyrics draw their force from his worldly experience, inner faith and progressive contemplation; his liquid and seemingly effortless delivery – often imitated but still unrivaled – from a fire fueled by a deep understanding of not just Rap lyricism, but also the Jazz and R&B influences that have surrounded his family since his youth. Born and raised William Griffin in Long Island’s Wyandanch community, Rakim found Knowledge of Self in the parks, parties and streets of New York and, although only 16 years old at the time of his first label recording, quickly distinguished himself as a transformative entity in the rapidly globalizing Hip-Hop culture. His recordings – including the all-time classics Paid In Full, Follow the Leader and The 18th Letter - have sold in the multi-millions worldwide. Billboard, Rolling Stone, MTV and a host of others consistently refer to Paid in Full as “the greatest Hip-Hop album of all time” – a claim that is often reflected in audience polls. His personal accolades include being named the #1 Lyricist of All Time by The Source Magazine, receiving coveted BET and VH1 Lifetime Achievement Awards and being nominated to the Rock and Roll Hall of Fame. His long list of social, government and academic commendations and accreditations include recognition from The White House, The US Congress, The Nation of Islam, The Smithsonian and a Doctorate from The University of Holland. With Gold and Platinum albums lining the walls of the 4th & Broadway, MCA, EMI and most notably Universal labels, he has been recruited to add his star talents to projects for separately Bob, Damian and Stephen Marley, Jay-Z, Dr. Dre, Kanye West, Nas, Alicia Keys, Linkin Park, Jody Watley, Mobb Deep, Lloyd Banks, Busta Rhymes, Gang Starr, Truth Hurts and The Roots among many others. Rakim’s uncanny innovation was a focal point of the critically acclaimed recreation of Bob Marley’s Concrete Jungle, the award winning Art of Rap, HBO/Netflix’s Hip Hop Evolution and premier documentaries by CNN, the BBC and more. He has recorded for dozens of movie soundtracks including Juice, Brown Sugar, the Rugrats, American Psycho, Mandela: Long Walk to Freedom, Marvels Luke Cage and 8 Mile and his role model status and iconic voice have been sought after as spokesman for world famous brands such as Nike, Apple, General Motors, The Coca Cola Company, LVMH and many more. Now with over thirty years at the top of Hip-Hop’s Greatest list and his best selling “guide to a creative life” Sweat The Technique providing wisdom and insight to generations of aspiring and established artists, The God MC Rakim Allah continues to lead so others may follow. Please see the Conditions of Sale for additional conditions applicable to this lot.

"sweat the technique": private lyric writing lesson and studio session with the god mc rakim allah.

Updike, John. Rabbit is Rich. 1981; Rabbit at Rest. 1990--Rand, Ayn. The Fountainhead. 1943, later issue, later issue jacket with reviews on lower panel--Kerouac, Jack. On the Road. 1958, first English edition--Lee, Harper. To Kill a Mockingbird. 1960, first English edition--Heller, Joseph. Catch-22, 1962, first English edition, signed by the author--Miller, Henry. Opus Pistorum. 1983--Mailer, Norman. An American Dream. 1965, first English edition--Bellow, Saul. Herzog. 1964, first English edition--Bowles, Paul. The Sheltering Sky. 1949, first English edition; The Spider's House. 1957, first English edition--Bradbury, Ray. Death is a Lonely Business. 1985--Hiaasen, Carl. Tourist Season. 1986--Ellis, Bret Easton. Less than Zero. 1985; American Psycho. 1991, paperback original; The Rules of Attraction. 1987--Cheever, John. Bullet Park. 1969; these first American editions except where stated, original cloth bindings, dust-jackets--Céline, Louis-Ferdinand. Death on the Instalment Plan. 1938, first English edition, dust-jacket--Kafka, Franz. Das Schloss. Munich, 1926, first edition, dust-jacket; and 14 others, including several limited editions published by the Black Sparrow Press in California; 8vo (33)

collection of 33 volumes:

Original Film Posters

Bad Timing (1980) Poster, US, Signed by Nicholas Roeg (director)

Bad Timing (1980) Poster, US, Signed by Nicholas Roeg (director) Artist: Vic Fair (1938-2017) Designer: Vic Fair (1938-2017) Unframed: 41 x 27 in. (104 x 69 cm) Mr. Sohal met Nicholas Roeg at the BFI, London, when they had a retrospective of his films. It is rare for anyone to have an original poster signed, as the majority of signatures are on pieces of paper, photographs, and video/DVD sleeves. This psychological drama was directed by Nicolas Roeg and stars Art Garfunkel, Theresa Russell, Harvey Keitel, and Denholm Elliott. This story is told mainly through flashbacks. A detective is investigating an apparent suicide attempt by a young American woman living in Vienna, with her partner an American psychoanalyst. Details of their stormy relationship are revealed as the investigation unfolds.

View 1 of Lot 29: Bad Timing (1980) Poster, US, Signed by Nicholas Roeg (director)

bad timing (1980) poster, us, signed by nicholas roeg (director)

Fine Books and Manuscripts

Freud, Sigmund Two autograph letters to Dr. Isador Coriat, [with] several letters from Coriat Correspondence between Sigmund Freud and Isador Coriat, including two letters signed by Freud. Ten typed letters (various sizes, though mostly 230 mm x 148 mm, 280 x 215 mm) on single leaves, two letters on Freud's stationary; minor toning, a few marginal closed tears and creases, old horizontal folds. One of Freud's letters in German, with translation, and another in English. Eight letters from Coriat [with] one photographic portrait, and one printed article on bifolia. A lovely collection of letters "from a student" to "the master" In a letter to Freud, Coriat proposes a new psychoanalytic concept, for which he desires the technical term, a "neutralizing mechanism," to explain a "certain mechanism in dreams," which allows the mind "to overcome anxiety [in the dream] or render it inert and thus [...] go on sleeping peacefully". Coriat then analyzes his dreams as examples of this phenomenon. The translation of Freud's letter in German shows him dismissing this proposal, stating: "I feel that the words 'neutralize' etc., are not to be used in a descriptive sense. I do not believe that there is any advantage in distinguishing a particular 'neutralizing mechanism'. On the contrary, we are in danger, it [sic] we use this title or name, that the whole dynamic and topographical sense will be made different." Freud then goes on to illuminate Coriat's own dream without the use of this concept. Freud's second letter is a note of congratulations upon Coriat's appointment as the president of the American Psychoanalytic Association. The remainder of the correspondence are letters from Coriat, including his well wishes upon Freud's 70th birthday, plans to meet in Vienna, a portrait of himself, a letter presenting his book Repressed Emotions, among other notes. Isador Coriat was a psychiatrist, neurologist, and one of the first American psychoanalysts. He wrote extensively on repression, dream analysis, abnormal psychology, and the nature of psychoanalysis. He was one of the founders of the Boston Psychoanalytic Society and twice the president of the American Psychoanalytic Society.

View 1 of Lot 200: Freud, Sigmund | A selection of correspondence between Freud and an important American analyst

freud, sigmund | a selection of correspondence between freud and an important american analyst

Don't Bother to Knock (1952), original photographic production still, US

Don't Bother to Knock (1952), original photographic production still, US Unframed: 9 1/4 x 7 in. (23.5 x 17.8 cm) Framed: 14 x 11 1/2 in. (35 1/2 x 30 cm) This American psychological film noir was directed by Roy Ward Baker. The cast includes Richard Widmark and Marilyn Monroe. Widmark plays airline pilot Jed Towers who, whilst staying at a hotel in New York, where his girlfriend Lyn Lesley (Anne Bancroft) is a singer, gets pally with Nell Forbes (Marilyn Monroe), who is babysitting a young girl at the same hotel. Nell's strange behaviour eventually makes him aware that she is not really the kind of person that should be entrusted to take care of anyone.

View 1 of Lot 97: Don't Bother to Knock (1952), original photographic production still, US

don't bother to knock (1952), original photographic production still, us

discussing the war and contemporary politics, defending himself against the charge of involvement with the German National Socialists, thanking him for his help concerning "that foolish Nazi rumour", discussing Hitler and Mussolini, analyzing America's relations with Russia, pondering what should be done with the leaders ("..mostly downright criminals or lunatics..."), thanking him for a book he has written together with Christiana Morgan, a document of what he calls "American Psychology", taking issue with his opinion about individuation ("...It is not individualisation..."), refuting a rumour that he has called him "a barren tree", looking forward to his promised study of Melville, mentioning Harding and Bertine, referring to his health and many other professional matters

discussing the war and contemporary politics, defending himself against the charge of involvement with the German National Socialists, thanking him for his help concerning "that foolish Nazi rumour", discussing Hitler and Mussolini, analyzing America's relations with Russia, pondering what should be done with the leaders ("..mostly downright criminals or lunatics..."), thanking him for a book he has written together with Christiana Morgan, a document of what he calls "American Psychology", taking issue with his opinion about individuation ("...It is not individualisation..."), refuting a rumour that he has called him "a barren tree", looking forward to his promised study of Melville, mentioning Harding and Bertine, referring to his health and many other professional matters ...I'm very much obliged to you for the very decent help you have given me against that foolish Nazi-rumour. I only wonder what those people think my advantage would be in such a combination. And what I have said about the difference between the Jewish and the so-called Christian psychology is only what I have said already in 1917. Moreover the Jews themselves have written books dealing with the difference between Christian and Jewish psychology. They all wish just for an opportunity to grind me under. But I suppose I'm harder than they think... 5 pages, 4to (296 x 208mm.), Küsnacht-Zürich, 18 July 1936 and 2 July 1948, creasing, a few tiny tears to margins

one autograph letter signed and one typed letter signed ("c.g. jung"), in english, to dr henry murray

morphologie psychologique (fleureur)

matta (b. 1911) inscape (psychological morphology no. 104)

 A Discerning Eye: Latin American

morphology of desire (psychological morphology nº 37)

morphologie psychologique de l'attente

Fine Books and Manuscripts, Including Selections from the Collection of Barbara and Ira Lipman

The Passion of American Collectors: Property of Barbara and Ira Lipman

The Passion of American Collectors: Property of Barbara and Ira Lipman Locke, John Some Thoughts Concerning Education. London: Printed for A[wnsham]. and J[ohn]. Churchill, 1693 8vo (175 x 114 mm). Title within double-ruled border, contents on S4. Contemporary Cambridge style speckled calf, edges speckled red, spine gilt in 6 compartments; spine ends chipped, joints rubbed and starting. First edition, with "Patronage" on leaf A3v, line 19 A fine, bright copy internally. Begun as a series of letters to Locke's friend Edward Clarke, this work was immensely influential in its time, being published in at least fifty-three editions in the eighteenth century alone. The book is now considered to be one of the earliest expressions of the principles of modern developmental psychology. PROVENANCE George Leo Hillnot (signature on title-page) —Mr. and Mrs. H.R. Knohl (bookplate to front patedown; their sale, Sotheby's New York, 23 October 2016, lot 190) REFERENCE ESTC R213714; Pforzheimer 612; Wing L2762

locke, john | one of the earliest expressions of the principles of modern developmental psychology

The Library of Dr. Rodney P. Swantko

Whitman, Walt Leaves of Grass. Brooklyn, New York: [for the author by Andrew Rome], 1855 Small folio (280 x 197 mm). Engraved frontispiece portrait of Whitman by Samuel Hollyer after a photograph, printed on thick paper and retaining original tissue-guard; occasional very light and typical browning to text, a few unobtrusive marginal dampspots to first few leaves, a few neat penciled reader's marks, with longer, early penciled comment at top margin of first page of text and a penciled transcription of Whitman's later poem "To the Man-of-War-Bird" on blank portion of final leaf. Publisher's dark green coarse-ribbed cloth, the covers with blind-stamped floral decorations and central title gilt-lettered in ornamental "rustic" font, all within a gilt triple-fillet frame, smooth spine gilt with title and floral ornaments, marbled endpapers, gilt edges (Myerson's binding A); corners just rubbed, head and foot of spine restored, inner hinges tightened. Half green morocco folding-case; extremities rubbed. A second, very fine copy of the first edition of Leaves of Grass; first issue of the text, before the insertion of eight pages of press notices; first issue of the binding; second state of the copyright page (as in all but two recorded copies) and of p. iv, col. 2, l. 4 ("cities adn" corrected to "cities and"). Leaves of Grass "is America's second Declaration of Independence: that of 1776 was political, this of 1855 intellectual" (Printing and the Mind of Man). One of the most attractive, if fragile, books in American literature, Whitman's self-published poetical manifesto was partially type-set by the author. This copy bears the Boston ticket of the distributors of the first edition, Fowlers, Wells and Co., publishers of "Books on Phrenology, Physiology, Water Cure, Phonography, Psychology and kindred subjects"; Whitman was acquainted with the firm's publications, and in July 1849 Lorenzo Fowler had made a phrenological chart of Whitman’s skull. Distribution of Leaves of Grass fell to the phrenology firm after a bookseller on Nassau Street, to whom Whitman first consigned the edition, "evidently found it offensive and ordered its removal the very next day" (Jerome Loving, Walt Whitman, p. 79). In addition to the Manhattan and Boston shops of Fowlers, Wells, Leaves of Grass was also sold at Swayne’s Book Shop on Fulton Street, Brooklyn, and the Old Corner Bookstore in Boston. In his 1995 biography, Walt Whitman’s America, David S. Reynolds postulates that the poet exemplified his distributer’s views on sex and the body. Despite the seeming limitations of its distribution, the first edition was soon exhausted. Between June 1855 and January 1856 the entire print run, which Whitman estimated at 800 copies, was bound in five tranches of increasingly modest bindings and dispersed either by sale or presentation by the author. Leaves of Grass was also reviewed widely—and not just by Whitman himself. A number of early readers, whether consciously or not, seemed to recognize and accept the proclamation made by the author towards the end of the first, long poem that would subsequently be titled "Song of Myself": "Do I contradict myself? | Very well then . . . . I contradict myself; | I am large . . . . I contain multitudes." Among the multitudes that the cultural critic Charles Eliot Norton saw in the poet, according to his review of Leaves of Grass for the September 1855 issue of Putnam’s Monthly, was "a compound of the New England transcendentalist and New York rowdy," while the volume of verse itself he summarized as “this gross yet elevated, this superficial yet profound, this preposterous yet somehow fascinating book." Norton concludes his essay, "As seems very proper in a book of transcendental poetry, the author withholds his name from the title page, and presents his portrait, neatly engraved on steel, instead. This, no doubt, is upon the principle that the name is merely accidental; while the portrait affords an idea of the essential being from whom these utterances proceed. We must add, however, that this significant reticence does not prevail throughout the volume, for we learn on p. 29, that our poet is 'Walt Whitman, an American, one of the roughs, a kosmos.' That he was an American, we knew before, for, aside from America, there is no quarter of the universe where such a production could have had a genesis. That he was one of the roughs was also tolerably plain; but that he was a kosmos, is a piece of news we were hardly prepared for. Precisely what a kosmos is, we trust Mr. Whitman will take an early occasion to inform the impatient public" (emphasis added). REFERENCE: Myerson A2.1.a1; BAL 21395; Printing and the Mind of Man 340; Grolier, American 67; Feinberg/Detroit 269; William White, "The First (1855) 'Leaves of Grass': How Many Copies?," in PBSA (1957) 57:352–54; cf. Ed Folsom, Whitman Making Books, Books Making Whitman (The Obermann Center for Advanced Studies, University of Iowa, 2005); "Afterword," in Leaves of Grass: 150th Anniversary Edition, ed. David S. Reynolds (Oxford University Press, 2005) PROVENANCE: E. A. Bigelow (armorial bookplate, dated in ink Feb’y 1894) — Walter P. Chrysler Sr. (morocco booklabel; Parke-Bernet, 8 December 1954, lot 329) — Frederic Dannay (Christie’s New York, 16 December 1983, lot 367) — Victor and Irene Murr Jacobs (Sotheby’s New York, 29 October 1996, lot 455)

View 1 of Lot 39: Whitman, Walt | "Walt Whitman, an American, one of the roughs, a kosmos"

whitman, walt | "walt whitman, an american, one of the roughs, a kosmos"

Important Modern Literature from the Library of an American Filmmaker

Hemingway, Ernest Typed letter signed (“Hemingway” in pencil), to Arnold Gingrich (“Dear Captain Gingritch”), a lengthy criticism of Gertrude Stein 2 pages (280 x 215 mm), [Madrid], 26 September [1933]; single-spaced on two sheets of poor quality tan paper, with a 50-word holograph postscript in pencil by Hemingway and a one-word penciled correction by him, very slight rubbing at folds. "Well I liked Stein very much, was always damned nice to her and loyal as hell until kicked out on my backside" An important letter mostly devoted to Hemingway’s critical view of Stein: “... Haven’t seen the G. Stein book [her The Autobiography of Alice B. Toklas had been published 1 September]. Read what was in the Atlantic [Monthly] and so much malice and so many lies made me sore but not very sore. Among other things G. Stein once liked me very much. Toklas was extremely jealous of all Stein’s friends who were not fairies and, I suppose, could be of those who were ... all of Stein’s friends were offered up on the altar of love. The more she liked them the worse roasted they were ... Toklas really very strong woman, wears plenty of the pants in that menage. Has gotten everything she wanted. Could tell you some very funny things. Picasso’s opinion of her. One time when I came in and heard her giving Stein hell [an incident Hemingway later recounted in A Moveable Feast]. Well I liked Stein very much, was always damned nice to her and loyal as hell until kicked out on my backside ... it gives you a jolt to have someone lie so much and with such malice. I’m always damned polite to people older than myself and I suppose if they have enough conceit they take that for adoreing [sic] worship and sitting at the feet of. “Who, she or [Sherwood] Anderson, taught me how to write the Chapter Headings [the vignettes] in In Our Time? From which one did I learn how to write the first and last chapters in A Farewell to Arms? ‘Hills Like White Elephants’? Some other stories and the fiesta part of The Sun Also [Rises]? Which one taught me how to write dialogue? I started the Sun Also in Madrid on my birthday July 21 [1925] and finished it on September 6. Jesus if I only could have seen Gertrude during that time what a fine book it might have been. Then she had the gall to say I talked over parts of it with her. I did, all right, a year after it came out ... G. Stein is a good psychologist though. She knows I don’t get sore at being called any damn thing I am truly. But blow up like a set piece of fireworks if accused of anything I’m not. So she has me frail ... I’ve been cut, sliced, torn...and always was very proud of how quickly I healed and what small importance gave to incidents at time and after ... She says that whenever attempted any ‘manly sports’ was always breaking a bone or being knocked out, taught to shadow box by Sherwood [Anderson]. My God. Old Mother Hubbard herself. That used to be worn out walking to her house. Am yellow (read that in Time now and N. Y. Times yesterday). I’m not yellow the funny thing is. Well what the hell. She certainly knows how to get me damned sore. It’s damned intelligent malice ...” This is apparently the first lengthy criticism of Stein in a letter by Hemingway. In later years he would voice similar views in letters to various critics and scholars (Charles Fenton, Malcolm Cowley, et al). REFERENCE: Letters, ed. Spanier, et al., 5:493–95 PROVENANCE: Arnold Gingrich (recipient) — Jonathan Goodwin (Sotheby's Parke Bernet, 12 April 1978, part of lot 717) — Maurice F. Neville (Sotheby's New York, 13 April 2004, lot 108)

View 1 of Lot 28: Hemingway, Ernest |  Typed letter signed to Arnold Gingrich, a lengthy criticism of Gertrude Stein 

hemingway, ernest | typed letter signed to arnold gingrich, a lengthy criticism of gertrude stein

Fine Manuscript and Printed Americana

[Alexander Gardner, et al] Gardner's Photographic Sketch Book of the War. Washington, D.C.: Philip & Solomons, 1866 2 vols, oblong folio. 100 albumen photographs (each plate 6 ¾ by 8 ¾ in. or the reverse) printed by Alexander Gardner from negatives by himself, James Gardner, Timothy O'Sullivan, David Knox, John Reekie, William R. Pywell, D. B. Woodbury, W. Morris Smith, Barnard & Gibson, and Wood & Gibson, each on a two-toned mount printed with photographer's, printer's, and publisher's credits, and title, date, copyright, and plate number. In gilt-lettered black morocco with gilt-decorative borders and the publisher's gilt monogram, spines with raised bands in six compartments, tooled and lettered in gilt, all edges gilt; a dated presentation, in ink, in a contemporary hand on the front flyleaf. In presenting the PHOTOGRAPHIC SKETCH BOOK OF THE WAR to the attention of the public, it is designed that it shall speak for itself. The omission, therefore, of any remarks by way of preface might well be justified; and yet, perhaps a few introductory words may not be amiss. As mementoes of the fearful struggle through which the country has just passed, it is confidently hoped that the following pages will possess an enduring interest. Localities that would scarcely have been known, and probably never remembered, save in their immediate vicinity, have become celebrated, and will ever be held sacred as memorable fields, where thousands of brave men yielded up their lives a willing sacrifice for the cause they had espoused. Verbal representations of such places, or scenes, may or may not have the merit of accuracy; but photographic presentments of them will be accepted by posterity with an undoubting faith. — Alexander Gardner Gardner’s Photographic Sketch Book of the War, the definitive collection of photographs of the American Civil War, is a landmark in the history of photography and in the history of the photographically illustrated book. Recognized from the start as a monument of its kind, the Sketch Book has been praised by historians and photographers alike, including Robert Taft, Helmut Gernsheim, and Beaumont Newhall. Comparing the Sketch Book photographs to the battle sketches that appeared regularly in Harper’s Weekly during the War, Newhall observed, "Gardner’s dead sharpshooter, his long rifle gleaming by his side, is not imagined. This man lived; this is the spot where he fell; this is how he looked in death. There lies the great psychological difference between photography and the graphic arts; this is the quality which photography can impart more strongly than any other picture making" (The History of Photography: From 1839 to the Present Day, 1964, p. 71). Four decades later, cultural critic Susan Sontag commented of the Sketch Book, "To photograph was to compose (with living subjects, to pose), and the desire to arrange elements in the picture did not vanish because the subject was immobilized, or immobile" (Regarding the Pain of Others, 2003, unpaginated). This two-volume set of Alexander Gardner’s Photographic Sketch Book of the War is remarkable in that it carries a dated, personal presentation, in ink, on the front flyleaf: "To our dear sister Mary / From Sam and Kate / Jan. 1. 1867." The original subscriber of the Sketch Book offered here, with its early presentation, is likely to have been someone of means—someone eager to acquire the set within a year of publication, and someone with more than a casual interest in the conflict. Published by Philip & Solomons, the volumes became available to subscribers near the end of February 1866, and that they were an expensive purchase—at that time, $150 for the pair, or around $2,808 in 2022. Although the projected edition of Gardner’s volumes may have been as large as 200, Anne Peterson, Curator of Photographs at the DeGolyer Library and an authority on the Sketch Book, has located evidence of only 90 sets, more than half of which are in institutional collections. In her ongoing census of the Sketch Book, Peterson notes that only a handful of copies with a documented, early acquisition date are extant. The Boston Athenaeum purchased a set in July of 1866, followed by the British Library in May of 1867, and the Library of Congress in 1868. Generals Grant, Sherman, and Meigs owned copies, as did Commodore Matthew Perry, although the dates of these acquisitions are unknown. REFERENCE: NYPL 121; Truthful Lens 68

View 1 of Lot 1314: [Alexander Gardner, et al] | The definitive collection of photographs of the American Civil War

[alexander gardner, et al] | the definitive collection of photographs of the american civil war

Ang-ma-reul bo-at-da / I Saw the Devil (2010) Poster, US, First American release 2011, Signed by Kim Jee-woon (director), Choi Min-sik and Lee Byung-hun

Ang-ma-reul bo-at-da / I Saw the Devil (2010) Poster, US, First American release 2011, Signed by Kim Jee-woon (director), Choi Min-sik and Lee Byung-hun Unframed: 39 3/4 x 27 in. (101 x 68.5 cm) Mr. Sohal met Kim Jee-woon at the London Film Festival, Choi Min-sik at BAFTA when he was promoting the film Nameless Gangster: Rules of the Time, and Lee Byung-hun at the premiere of the film The Fortress. It is rare for anyone to have an original poster signed, as the majority of signatures are on pieces of paper, photographs and video/dvd sleeves. It is unusual to have the film's poster with you when you try to obtain signatures. This South Korean action thriller was directed by Kim Jee-woon and written by Park Hoon-jung. The cast includes Lee Byung-hun and Choi Min-sik. The film tells the story of a NIS agent who takes revenge when his fiancée is murdered by a psychopath serial killer. This film was shown at the 2011 Sundance Film Festival and had a limited release in the US.

View 1 of Lot 239: Ang-ma-reul bo-at-da / I Saw the Devil (2010) Poster, US, First American release 2011, Signed by Kim Jee-woon (director), Choi Min-sik and Lee Byung-hun

ang-ma-reul bo-at-da / i saw the devil (2010) poster, us, first american release 2011, signed by kim jee-woon (director), choi min-sik and lee byung-hun

Brandt, Bill Perspective of Nudes. Preface by Lawrence Durrell. London: The Bodley Head, 1961 4to. Illustrated with 90 black and white gravure plates; occasional thumb-soiling. Original patterned paper boards, spine and upper cover lettered in red; corners lightly bumped. Original photographic dust jacket; some creasing, short closed tear to lower panel with tape repair to verso. Housed in a grey cloth clamshell case. First edition, presentation copy, inscribed on the front free endpaper: "For Debra Patnaik with gratitude, Bill Brandt." An important body of work from the famed British photographer: "These startling images rewrote the language of nude photography in not one, but several quarters ... Brandt's approach was primarily formal, but his own sensibilities, combined with photography's tendency to overwhelm form's purity with life's impurities, ensured that his nudes are as interesting for their psychological undertones as for the wealth of unexpected forms he conjured" (The Photobook). REFERENCE: The Photobook, vol. I, p. 216 PROVENANCE: Debra Patnaik (presentation inscription) — Fine Photobooks From An Important Private Collection (Christie's New York, 10 April 2008, lot 103)

View 1 of Lot 81: Brandt, Bill | Perspective of Nudes, inscribed

brandt, bill | perspective of nudes, inscribed

Books, Manuscripts and Music from Medieval to Modern

Robert Graves Country Sentiment. New York: Alfred Knopf, 1920 FIRST AMERICAN EDITION, INSCRIBED BY THE AUTHOR, 8vo, original boards, lacking dust-jacket, worn Inscribed by the author to an unidentified recipient: "to Miss I. B. O'Malley with gratitude, 1920". There have been no inscribed copies of the first American edition at auction since at least 1974. For the first English edition of this work, inscribed to Sassoon and Owen's psychologist, see previous lot.

View 1 of Lot 339: Robert Graves | Country Sentiment, New York, 1920, first American edition, inscribed by the author

robert graves | country sentiment, new york, 1920, first american edition, inscribed by the author

The Passion of American Collectors: Property of Barbara and Ira Lipman James, William The Principles of Psychology. New York: Henry Holt, 1890 2 vols., 8vo (218 x 143 mm). Publisher's olive drab cloth, spines gilt-lettered, brown-coated endpapers; light wear at heads and feet of spines, covers with minor spotting, small gouge on upper cover of volume 1, some loss of coating on endpapers where labels removed. 2 red half-morocco gilt slipcases, chemises. First edition, first printing of James's brilliant major work on psychology, which emphasized his experimental method and the treatment of psychology as a natural science. Here James puts forth his belief that mental processes should be viewed as "activities [useful] to living creatures as they attempt to maintain and adapt themselves to the world of nature" (D. Schultz, A History of Modern Psychology, 3rd ed., p. 143). A seminal work in the history of modern thought. REFERENCE McDermott 1890–4

james, william | william james's seminal principles of psychology

Stoker, Bram. the original publishing contracts for "dracula"' one entirely in bram stoker's hand

Stoker, Bram. the original publishing contracts for "dracula"' one entirely in bram stoker's hand being the two contracts for the novel retained by the publisher, Archibald Constable & Co., comprising: i) bram stoker's autograph memorandum of agreement for "a work entitled 'the un-dead"'' written out entirely in his own hand, with corrections, initialled by him three times in the margin where changes have been made and signed by him in full as witness at the end, also witnessed by Charles E. Howson, Librarian (see below), 2 pages, folio, on paper watermarked "T H Saunders 1895"'' embossed "six pence" stamp in orange and white (dated 1-12-96) on first page, integral blank, numbered in red on the first page and on a label on the final verso "110"' also docketed on the last verso "Bram Sto[ker] 'The Un-dead' 1897"' a space left in the contract for the day and month of the date, 1897 ii) typed memorandum of agreement for "a work entitled 'the un-dead"' with autograph alterations by Stoker, the changes initialled by him seven times in the margin, each page also initialled and dated by him (20-25/5/97) at the bottom, and signed in full by him at the end, also signed as witness by H.J. Loveday (see below), 3 pages, folio, watermarked "Waterlow & Sons / London"' typed on rectos only, numbered in red on the first page and on a label on the last verso "113"' also docketed on the final verso "Bram Stoker. May 21. 1897. Dracula"' the date given in the text of the contract 20 May 1897 the original contracts for one of the most famous horror stories ever written Dracula is the world's most famous vampire story. It shares with Mary Shelley's Frankenstein (see lot 102) the distinction of being one of the two most famous horror stories ever written. Since 1897 the novel has been translated into forty-four languages, and Count Dracula is the most filmed character after Sherlock Holmes. Millions of copies of the novel have been sold; there have been innumerable published studies of the work, examining every aspect of its origin, influence, and psycho-sexual contents, its sub-layers of meaning and implications; and it has long had a world-wide cult following. The Anglo-Irish author Bram Stoker (1847-1912), who was Henry Irving's acting manager of the Lyceum Theatre from 1878 to 1905, turned to writing novels in the 1890s. Although his first novel, The Snake's Pass, a story of a search for buried treasure in western Ireland, appeared in 1890, and he would turn out two more novels, The Watter's Mou and The Shoulder of Shastra, in 1895 (see the next lot), it was the idea of a sweeping Gothic novel about a vampire which gripped Stoker's imagination for the greater part of this period. As his surviving notes (now in the Rosenbach Museum, Philadelphia) make clear, Stoker began writing it in March 1890, possibly inspired by a nightmare he had, and was still at work on it in March 1896, if not later. The result was a fiction derived from a variety of sources, ranging from legends of the Wallachian prince Vlad the Impaler, Faust, and earlier vampire stories, to personal visits to Whitby and Scottish and Irish castles, Victorian melodrama, and current interest in the occult. Yet all these elements were fused to produce a distinctly new work, with its own character, power and fascination. It was probably to avoid any strong element of imitation that Stoker (or his publisher) also changed the ending of the novel, which originally had Dracula's castle disappearing in a mighty convulsion ("...the whole castle and the rock and even the hill on which it stood seemed to rise into the air and scatter in fragments...it seemed as though the one fierce volcano burst had satisfied the need of nature and that the castle and the structure of the hill had sunk again into the void..."). This was perhaps too reminiscent of the end of Poe's The Fall of the House of Usher (which is also reflected in Charlotte Bronte's Jane Eyre, and later Daphne du Maurier's Rebecca). Stoker originally called his main character Count Wampyr, but at some point changed it to Dracula. In Wallachian the word means "dragon" or "son of the devil"' and is also reminiscent of the Celtic droch fhola (pronounced "druck ulla") meaning "of bad blood". Stoker originally called the novel "The Un-Dead"' the term used to describe the peculiar, in-limbo condition-between life and death-of the supernatural vampire, and this was still the title when the novel was submitted and contracted to his publisher only days before its publication. It was virtually at the last moment that the striking name of its hero was substituted as the eponymous title. The present surviving memoranda of agreement for the publishing of the novel show clearly that Stoker's contractual arrangements with Constable & Co. were technically completed at the last minute, since the typed version dated 25 May 1897 was finished only one day before the publication of Dracula, when the novel was actually distributed to booksellers. Presumably terms had already been agreed with Constable, who had published Stoker's two previous novels. Constable had also persuaded Stoker to cut his original first chapter-a scene involving an ominous encounter on Walpurgis Night-in order to reduce costs and make the book a more manageable length of 390 pages. Yet even though these documents were simply a formality at the final stages of printing and binding, it is interesting to see how great a part the author himself played in their formulation, since he drafts out the first one in full himself, in his own somewhat hurried, ungainly script. It is, besides all else, a reminder that, as Irving's factotum at the Lyceum, Stoker, who became a qualified barrister in 1890, was accustomed to dealing in person with a variety of formal business matters, rather than delegating to secretaries. We are reminded too, that Dracula begins with the journal of a lawyer, Jonathan Harker, engaged in the practical business of taking "papers of the law" for Count Dracula's purchase of a house in London, and there are even passages in which Harker looks over the Count's letters to bankers, etc., and advises him against having "more than one solicitor engaged in one transaction, as only one could act at a time". It was evidently felt necessary to have a typed copy of Stoker's contract made as well (it was presumably the duly signed carbon-copy of this which the author himself retained for his own records). Both contracts were carefully and professionally scrutinised by Stoker and minor changes formally initialled in the margins. Each of the contracts was formally witnessed by a second party, the two witnesses concerned both being members of the staff of the Lyceum Theatre and well known to Stoker. Charles Howson, who witnessed the manuscript contract, was (in Barbara Belford's words) "a near-destitute old actor forced to eke out a living by copying band parts at sixpence a time" who joined the Lyceum in 1878 as the theatre's accountant. "In the Lyceum organization he was unimportant and paid only the smaller salaries and routine bills; but he was extremely jealous of Stoker, who refused to share with him the key of the big safe, which Stoker protected against all intruders." By 1897, as the present contract shows, Howson was calling himself a "Librarian"' presumably a euphemism for "book-keeper". On the other hand, H.J. Loveday, who witnessed the final typed contract, was the Lyceum's well-known and well-respected stage manager, one who was totally devoted to Irving and had the actor's implicit trust and affection. Curiously, though, according to the actor John Martin-Harvey, between Loveday and Stoker "there was at times an open and often amazing hostility. Perhaps it was the old antagonism between fact and fancy" (Belford, p.177). Nevertheless, this did not prevent Stoker from using him as his legal witness in 1897. The two present contracts have substantively identical texts and set out the relatively fair, though not inordinately generous, terms which a hitherto only modestly successful novelist in 1897, far from being a best-selling author, could reasonably have expected. The memoranda document an agreement between Archibald Constable & Co. and Bram Stoker, of 18 St Leonard's Terrace, Chelsea, stipulating that the novel The Un-Dead will be printed in 1897 after the rights have been secured in the U.S.A.; that the first edition will have a print-run of at least 3000 copies, published at the price of six shillings, and made available to the Book Trade at 'Trade' terms; that after the first 1000 copies sold the author will receive one shilling and sixpence per copy, and two shillings per copy after any possible run of 10000 has been reached; that the publisher may, with the author's consent, publish "a Colonial edition (Canada being excepted)"; that unless terminated by mutual consent, this agreement will remain in force for ten years, with accounts settled every six months; that the agreement does not include Canada or any other country outside the United Kingdom and other British Dependencies; and that the copyright in the work belongs absolutely to Bram Stoker. The contract also mentions that the novel should not be published "until the rights have been secured in the United States of America to the Author"' but clearly this was not felt in practice to be an obstacle to immediate publication. Stoker had already secured the dramatic rights to the story by arranging for a pre-publication copyright reading of a dramatic version, advertised as Dracula or the Un-Dead, to take place at the Lyceum on 18 May. This secured a Lord Chamberlain's licence (as well as Irving's contemptuous dismissal of it: "Dreadful!"). But although he purchased the U.S. copyright of the novel, Stoker failed to comply with the technical requirement of registering two copies. Consequently Stoker received nothing from the first American printings in 1899, when the novel was serialised in several newspapers and then published separately by Doubleday & McClure. Dracula has, therefore, always remained in the public domain in the U.S.A. The novel proved to be a great success, not least from its serialisations in America, where, during one of his theatre company's tours, Stoker was featured in local newspapers ("...Why it is hard to imagine Bram Stoker a business manager, to say nothing of his possessing an imagination capable of projecting Dracula upon paper..."' "...Bram Stoker is a writer of renown. His 'Dracula'' a weird story of a human vampire, is as vivid and thrilling as 'The Black Cat'' with vastly more detail...": quoted in Belford, p.288). Yet neither Bram Stoker not his publishers could have envisaged just how extensive and remarkable that success would eventually be, as new editions and translations appeared in the 1900s, and ever new audiences were thrilled by increasing numbers of film versions, starting with F.W. Murnau's silent German masterpiece Nosferatu in 1922 (which Stoker's widow attempted to suppress), the first Hollywood version with Bela Lugosi appearing in 1931, and with other stage, radio and television versions, and even dance and musical adaptations, following later. The present business contracts, written days before Dracula was first presented to the public, represent stages in the practical steps to fulfilment of an extraordinary literary phenomenon: the publication of a horror story that would exert a remarkably powerful and enduring grip on the imagination of untold generations world-wide. references: Barbara Belford, Bram Stoker: A Biography of the Author of Dracula (1996) Daniel Farson, The Man Who Wrote Dracula: A Biography of Bram Stoker (1975) Christopher Frayling, Nightmare: The Birth of Horror (1996) Peter Haining (ed.), Shades of Dracula: Bram Stoker's Uncollected Stories (1982) Harry Ludlam, A Biography of Dracula: The Life Story of Bram Stoker (1962)

stoker, bram. the original publishing contracts for "dracula"' one entirely in bram stoker's hand

From the Library of Clayre and Jay Michael Haft

From the Library of Clayre and Jay Michael Haft Poe, Edgar Allan The Raven and Other Poems. New York: Wiley and Putnam, 1845 [Bound with:] Tales. New York: Wiley and Putnam, 1845 Two titles bound in one volume, 8vo. Half-titles present, 4 pages of ads at the end of each title; 1 cm trimmed from bottom of half-title and title of Tales, but an unusually clean copy with only a little occasional spotting or light toning to some fore-edges. Publisher's blue cloth stamped in blind, sympathetic rebacking using most of original spine. First editions of both classics, here Tales has the copyright notice in three lines. Having issued both titles previously with some modest success, the publisher's sought to increase sales by combining the two, issuing them in various orders (sometimes Tales was bound first) and with a variety of ads and cloth bindings. "The Raven" remains perhaps the most famous poem in American literature. As for Tales, it's influence is vast: "... the first important book of detective stories, the first and greatest, the cornerstone of cornerstones ... the highest of all high spots ... contains for the first time in book form all three Dupin stories" (Queen's Quorum 1). While the tales herein were not selected by Poe (and he expressed reservations about the editor "whose taste does not coincide with my own") they are in the end perhaps the single best representation of his broad range and lasting influence. The 1845 Tales contains not only the invention of modern detective fiction, but also his supreme handling of psychological horror, and his contributions to both science fiction and the adventure story. REFERENCE: Grolier, American 55; Heartman & Canny 62-74 PROVENANCE: John Craig (bookplate)

View 1 of Lot 46: Poe, Edgar Allan | Cornerstone of cornerstones

poe, edgar allan | cornerstone of cornerstones

Original Film Posters Online

STRAW DOGS (1971) POSTER, BRITISH SIGNED BY DUSTIN HOFFMAN AND SUSAN GEORGE 30 x 40 in. (76 x 102 cm) This psychological thriller was directed by Sam Peckinpah, and stars Dustin Hoffman, Susan George and Peter Vaughan. A young American man and his English wife move to her father's old isolated farmhouse in Cornwall, where they are viciously bullied by the locals. This poster was signed by Dustin Hoffman at BAFTA, London, and Susan George at the screening of a film at The Barbican cinema, London. It is rare for anyone to have an original film poster signed, as the majority of signatures are on pieces of paper, photographs and video/dvd sleeves. It is unusual to have the film's poster with you when you try to obtain signatures. To view shipping calculator, please click here

straw dogs (1971) poster, british, signed by dustin hoffman and susan george

BARTON FINK (1991) POSTER, US SIGNED BY JOHN TURTURRO AND JOHN GOODMAN 40 x 27 in. (102 x 69 cm) This psychological thriller was written, produced, edited and directed by the Coen brothers. It stars John Turturro as Barton Fink, a young renowned New York playwright, who is lured to Hollywood to write film scripts. His neighbour at the sinister hotel where he stays is Charlie Meadows, played by John Goodman - a cheerful insurance salesman, who tries to help Fink when he suffers from writer's block. During Fink's struggles peculiar events occur, which hinder Fink further from completing his writing. John Turturro signed this poster when he was at the BFI to talk about his new show The Night Of. John Goodman signed the poster after a performance of the West End show American Buffalo. It is rare for anyone to have an original film poster signed, as the majority of signatures are on pieces of paper, photographs and video/dvd sleeves. It is unusual to have the film's poster with you when you try to obtain signatures. To view shipping calculator, please click here

barton fink (1991) poster, us, signed by john turturro and john goodman

The Passion of American Collectors: Property of Barbara and Ira Lipman Freud, Sigmund Autograph letter signed ("Freud"), regarding the authorship of Shakespeare's plays 2 pp. (280 x 225 mm), in German, Vienna, 7 November 1935, to Percy Allen; horizontal and vertical folds, central horizontal fold starting at right margin, minor marginal spotting. Matted and displayed with a translation in elaborate black morocco folder. Black buckram clamshell case. Sigmund Freud denies William Shakespeare's authorship of the plays. ﻿"Lear can only be understood psychologically by assuming [Edward de Vere, Earl of] Oxford is the author and … I believe Edward de Vere to have been the author of all the other genuine Shakespeare plays." Freud began reading Shakespeare at the age of eight and the plays remained important to him throughout his life. Despite his deep admiration for the plays, Freud announced in 1930 that the he no longer believed the man from Stratford could be the author of the plays. Of particular appeal to Freud was that de Vere's father died when he was young and that de Vere's estranged mother remarried quickly a la Hamlet. King Lear, mentioned in this letter, was also one of Freud's favorites; he analyzed the opening scene in "The Theme of Three Caskets" (1913)/ The recipient of this letter is Percy Allen, a fellow Oxfordian. Allen suggested that de Vere had a child by Queen Elizabeth I. This idea Freud finds fantastical.

freud, sigmund | freud on the authorship of shakespeare's plays

James Bond on Bond Street

Phyllis Bottome Strange Fruit. London: W. Collins & Sons, 1928 8vo, FROM THE LIBRARY OF IAN FLEMING, FIRST EDITION, PRESENTATION COPY INSCRIBED BY THE AUTHOR ("June 29th 1928 | To Ian | with love from | the writer - | Phyllis") on front free endpaper, original orange cloth, lettered in gilt, collector's red cloth folding case, top edge slightly dust-soiled, binding slightly soiled A collection of short stories of European adventure. Phyllis Bottome (1884-1963) was a British novelist. Her husband, Alban Ernan Forbes Dennis was MI6 Head of Station for Austria, Hungary and Yugoslavia, and Foreign Office mentor to Fleming. In 1924, the couple, both interested in pedagogic psychology, had established a summer school at Kitzbühel in Austria, for English and American young men to practice languages. Fleming attended and it was here that his literary talents were encouraged by Phyllis. "As the evenings drew in that winter, the silver-haired novelist would gather her young men around her... and she would begin to weave a tale. They were expected to contribute thier own embellishments to the story." (Andrew Lycett, Ian Fleming, 1995, p. 34) Writing in 1960 to Phyllis Forbes Dennis, Fleming stated "My life with you both is one of my most cherished memories, and heaven knows where I should be today without Ernan". Fleming specifically credited Phyllis Forbes Dennis with influencing his literary talents. In a letter from 1963 he wrote "Looking back, I am sure that your influence had a great deal to do with the fact that [I] later became [a] successful writer... and I remember clearly writing a rather bizarre short story for you which you criticised kindly and which was in fact the first thing I ever wrote." PROVENANCE: From the library of Ian Fleming; Sotheby's 11 November 2020, lot 96

View 1 of Lot 5: Phyllis Bottome | Strange Fruit, 1928, first edition, presentation copy, from the library of Ian Fleming

phyllis bottome | strange fruit, 1928, first edition, presentation copy, from the library of ian fleming

History of Science & Technology, Including Fossils, Minerals, & Meteorites

Property From The Family Of Richard P. Feynman

Property From The Family Of Richard P. Feynman [Feynman, Richard P.] Funk & Wagnall's Standard Universal Dictionary Of the English Language. Garden City, New York: Garden City Publishing Co., Inc., 1943. 8vo (6 1/4 x 8 1/2 in). Publisher's blue cloth; worn. Ex-Libris of Arline and Richard P. Feynman to front paste-down (with quote by Confucius "Learning without thought is labour lost; thought without learning is perilous.") SIGNED AND INSCRIBED BY FEYNMAN TO FRONT FLY-LEAF IN GREEN INK "ARLINE,/ I THINK YOU'LL ENJOY THIS, BECAUSE THE/ PLOT CHANGES TOO RAPIDLY EVEN FOR ME./ RICHARD/"WITH: REIK, THEODORE. Of Love and Lust. On the Psychoanalysis of Romantic and Sexual Emotions. New York: Farrar, Straus, and Cudahy, 1957. SIGNED "FEYNMAN" IN PENCIL ON FRONT FLY-LEAF, BELOW SANDS (CROSSED OUT IN PENCIL). A sweet gift, presented from Feynman to his first wife Arline, a year after they were married. Arline was known for her love of words, puzzles, and secret codes, so she surely appreciated this gift. The copy of Reik was apparently given to Feynman by Mathew Sands, American physicist and co-author of the Feynman Lectures on Physics. Sands worked with Feynman on the Manhattan Project in Los Alamos, and later joined Feynman at Caltech.

View 1 of Lot 74: Feynman, Richard P. Dictionary Presented To His Wife Arline As A Gift, Inscribed By Him

feynman, richard p. dictionary presented to his wife arline as a gift, inscribed by him

From the Vault: Property from the Grateful Dead and Friends

Property of Strider Shurtliff Owsley “Bear” Stanley The last remnants of Owsley’s clandestine LSD lab Glass beaker, glass bottle with red and green stripes, glass bottle with “Champion Concentrated Embalming Fluid” printed label, Pyrex beaker, glass rods, metal stem, two thermometers; worn from use. The alchemist Owsley “Bear” Stanley, who transformed not only the Dead’s sound, but American consciousness The tools of the trade, belonging to the man “most responsible for psychedlicizing the United States” (Jarnow 16). Stanley was the Dead’s audio engineer, longtime friend, and perhaps the most notable LSD chemist in the 1960s. He was able to produce extremely large quantities of very pure LSD out of his home laboratory in Point Richmond, California: “Without him, there simply wouldn’t have been enough acid for the psychedelic scene of the Bay Area in the sixties to have ignited” (McNally 118). He gave away large amounts of his LSD, and it was distributed widely—reaching far beyond San Francisco. While there were others, “no chemist will be as influential on the unfolding story of LSD in the United States as Owsley Stanley” (Jarnow 17). Born in Kentucky in 1935, Bear was the son of a prominent political family. He was a highly intelligent, domineering personality—“a man who combined brilliance and charisma with social dysfunction, a genius who would fascinate the Grateful Dead, but at the same time a southern aristocrat … a man isolated from others by intelligence and personality to the point of extreme elitism, so that while he was not genteel, he remained gentry” (McNally 117). Although he did not graduate from high school, he briefly studied engineering at the University of Virginia; but his glimpse into the life of an engineer left him cold, and he dropped out after a year. He ultimately joined the Air Force, where he worked as an electronic specialist for 18 months, before being discharged. Bear briefly enrolled at the University of California, Berkeley, in 1963, where he was exposed to the world of psychedelics. After trying the original Sandoz LSD, he quickly became determined to learn how to synthesize it himself. Although he soon dropped out, he used his Berkeley lab to order 500 grams of lysergic acid monohydrate—he then produced a staggering 300,000 doses of LSD in his home laboratory. Stanley was “a savant with an obsession for quality,” but his rigor was influenced by spiritual concerns as much as scientific ones (Jarnow 17). He was well versed in theosophical thinking, and it informed his approach to chemistry: “Since LSD itself modulated the mind, Owsley assumed that it was profoundly sensitive to the atmosphere in which it was made, and he approached making it as an alchemical act, with a fanatical concern for purity of both heart and chemistry. His standards were so exacting that he rejected a significant proportion of his yield” (McNally 118). It’s estimated that in the two years that Stanley synthesized LSD, he produced at least 1.25 million hits. His doses spread widely, transforming the psychological and musical landscape of the 1960s. He likely produced the LSD that the Beatles took for the first time, bringing psychedelic influence to the world, and forever altering popular music. The items featured here are the last remnants of that transformational moment—the tools from Stanley’s original set up, which helped to reshape consciousness in the twentieth century. By 1966, LSD was a topic of national conversation, and it wouldn’t be long before it was declared illegal—and Stanley was already under watch by the police, who had busted his laboratory multiple times hoping to find methamphetamine. In 1967, another drug, STP, became widely distributed in the Bay Area—particularly in the Haight-Ashbury, the epicenter of the hippie movement. It was more dangerous, due to its slow onset and the extremely high doses that were being circulated at the time—the combination of which led many people to take multiple doses, and ultimately to the emergency room. While LSD was not yet criminalized, the police raided Stanley’s lab in late 1967, in an attempt to crack down on STP. They found 350,000 doses of LSD and 1,500 doses of STP, and Stanley was sentenced to three years in federal prison. Upon his release in 1972, he rejoined the Dead, no longer as their “alchemist” but as their sound engineer, ultimately becoming the driving force behind the legendary Wall of Sound. An iconic and unrepeatable piece of the American psychedelic movement REFERENCE Jarnow, Jesse, Heads; McNally, Dennis, A Long Strange Trip Photograph © Amalie R. Rothschild. To purchase a print, or view more of Amalie R. Rothschild’s work, visit www.amalierrothschild.com and www.morrisonhotelgallery.com. PROVENANCE Owsley Stanley — Ram Rod. "Big" Steve Parish notes: “1970 or ‘71 I was at Ram Rod’s place and Owsley showed up with this cardboard box with what he said was all that was left of his original set up. He gave it to Ram Rod. Every once in awhile we would pull it out and look at it over the years, or show it off at a party. A really great piece of history in that box.”

View 1 of Lot 2: Owsley "Bear" Stanley | The alchemist's tools

owsley "bear" stanley | the alchemist's tools

Dostoevsky, Fyodor Crime and Punishment. New York: Thomas Y. Crowell, [1886] 8vo. Portrait frontispiece of the author, one-page publisher's advertisement at end, with this work listed first and priced $1.50. Publisher's tan cloth stamped in maroon and gilt; skillful restoration work to head and foot of spine, a truly fine copy. Collector's clamshell box. First American edition, an unusually fine copy of a scarce book commonly found in worn and frayed condition. “Pain and suffering are always inevitable for a large intelligence and a deep heart. The really great men must, I think, have great sadness on earth.” Crime and Punishment is considered Dostoevsky's great psychological masterwork that examines poverty and how far it can push a man. There is no priority between this and the first English edition (Vizitelly, London) which carries the same translation and is printed from the same setting. Though uncredited in the book, the translation was made by Frederick Whishaw, a Russian-born British novelist, poet and musician. He translated a number of works by Dostoevsky in the 1880s which were published by Henry Vizetelly in London and Crowell in New York. See Maurice Beebe and Christopher Newton, “Dostoevsky in English: A Selected Checklist of Criticism and Translations.” Modern Fiction Studies, vol. 4, no. 3, 1958, pp. 271–291. Crowell's American edition seems to be so scarce that it eluded their census of editions. Indeed, it so scarce that WorldCat/OCLC locates only nine copies in institutions (U of Chicago, U of Illinois, Mississippi, Mohawk Valley, NY Public, U of New Mexico, U of Sci & Tec, Virginia, and VMI), and these include imperfect, defective, and rebound copies. Either of the first editions in English are scarce at best, and exponentially so in this condition. Line, Bibliography of Russian Literature in English Translation to 1945. PROVENANCE: Joseph (ownership inscription)

View 1 of Lot 1070: Dostoevsky, Fyodor | Crime and Punishment, an unusually fine copy

Results for "American Psycho"