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

French James Bond Dr No Movie Poster

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

James Bond Dr. No French Movie Poster

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

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

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

Dr. No

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

James Bond: Dr. No

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

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

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

James Bond Dr. No Movie Production Still Photograph

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

James Bond Dr. No Movie Poster

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

James Bond Dr. No Lobby Cards

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

French James Bond Dr. No Movie Poster

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

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

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

James Bond Dr. No German Movie Poster

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

James Bond Dr. No Movie Lobby Card

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

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

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

Fine Books & Manuscripts, Including Americana

Plinius Secundus, Gaius — Philemon Holland, trans.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bibliotheca Brookeriana VIII

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

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

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

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

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

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

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first English edition</a> of the Strange Case of Dr. Jekyll and Mr. Hyde by <a href="https://www.sothebys.com/en/search?query=Robert+Louis+Stevenson&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Robert Louis Stevenson</a>.<ul><li>Robert Louis Stevenson (Scottish).</li><li>London:&nbsp;Longmans, Green and Co,&nbsp;1886.</li><li>Octavo.</li><li>Issue with the “6” in the date on upper wrapper changed by hand from “5,” half-title with list of works on verso, ads for Longman’s Magazine on inner front wrapper, inner back wrapper advertising novels by Whyte-Melville, outer back wrapper advertising The Dynamiter and two works by Bret Harte.</li><li>Quarter brown morocco and marbled boards, preserving front and back wrapper.</li></ul> Stevenson’s dark tale of Victorian hypocrisy. Published one day after the New York edition.

Strange Case of Dr. Jekyll and Mr. Hyde | First English Edition

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

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

A <a href="https://www.sothebys.com/en/search?query=Cat%20in%20The%20Hat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Cat in The Hat</a> <a href="https://www.sothebys.com/en/search?query=production%20cel&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">production cel</a>, paired with a hand-painted background from the special, The Magical Mystery Trip Through Red's Head.<ul><li>Sold as a set of 2: 1 production cel and and 1 hand-painted background.</li><li>Cat in the hat is after the character by Dr. Seuss.</li><li>Depatie-Freleng Studio.</li><li>Background is from Time for Timer's ABC Afterschool special, The Magical Mystery Trip Through Red's Head.</li><li>Screen-grab images are presented to show context and are not part of this item.</li><li>This work is presented unframed.</li></ul>

The Cat In The Hat: Dr Seuss On The Loose Production Cel and The Magical Mystery Trip Through Red's Head Background

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Fine%2520Bindings%2520and%2520Sets" rel="noopener noreferrer" target="_blank">finely bound</a> edition of Annals of The English Stage.<ul><li>Sold as a set of 3 volumes.</li><li>Dr. Doran, F.S.A. (English).</li><li>London:&nbsp;John C. Nimmo,&nbsp;1888.</li><li>Engraved frontispiece and plates, and wood-engraved text illustrations.</li><li>Bound in three-quarters green morocco, all edges gilt, raised bands, marbled endpapers, bound by Sangorski &amp; Sutcliffe for Asprey, spines decoratively tooled and lettered in gilt.</li><li>Bookends are shown for display only and are not included.</li></ul>

Annals of The English Stage

A first edition copy of Dr. Sax.<ul><li>Jack Kerouac (American).</li><li>New York:&nbsp;Grove Press Inc,&nbsp;1959.</li><li>245 pages.</li><li>Octavo.</li><li>Writer Larry McMurtry's copy, with his ownership signature to the front free end paper.</li><li>Bound in gray cloth boards, title in gilt, with dustjacket.</li></ul>

Dr. Sax

A German <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film Obession (Der Wahnsinn des Dr. Clive).<ul><li>Eagle Lion Films.</li><li>Produced for the first German release, 1950.</li><li>This work is presented unframed.</li></ul>

German Obession / Der Wahnsinn des Dr. Clive Movie Poster

Very rare Swedish poster for Reinhardt's A Midsummer Night's Dream.<ul><li>John Mauritz "Moje" Aslund (Swedish, 1904–1968).</li><li>Warner Brothers.</li><li>Fewer than 10 known existing copies.</li><li>Unfolded and linen-backed paper.</li></ul>

En Midsommarnatts Drom / A Midsummer Night's Dream Swedish Movie Poster

Finely bound first edition of H.G. Wells’ science fiction classic.<ul><li>H.G. Wells (English).</li><li>London: Heinemann, 1896.</li><li>Includes an illustrated frontispiece and an advertising leaf for&nbsp;The Time Machine, and 32 pages of publisher’s advertisements.</li><li>Custom full leather binding by The Chelsea Binder of full yellow morocco leather with the cover and spine reproducing the original cloth cover and spine labeling, the original cover and spine are bound-in at the rear of the book, with yellow silk headbands and all edges gilt.&nbsp;</li></ul> Steven Grant provides a wonderful summary, "One of H.G. Wells’ most visionary tales,&nbsp;The Island of Dr. Moreau&nbsp;relates the disturbing tale of Prendick, a shipwrecked naturalist who unwittingly discovers a horrific scientific and social experiment that is creating a blurred race of hideous creatures, half-human and half-beast. Terrifying and spellbinding, Wells’ masterpiece warns of the catastrophe that could result when man recklessly tampers with nature. Eric Vincent’s artwork vividly summons up the nightmarish life in Dr. Moreau’s tortured world."

The Island of Dr. Moreau

A drawing from the animated&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie</a>&nbsp;version of&nbsp;<a href="https://www.sothebys.com/en/search?query=How%20The%20Grinch%20Stole%20Christmas&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">How The Grinch Stole Christmas</a>, depicting The Grinch and Cindy Lou Who.<ul><li>Virgil Ross (American, 1907-1996).</li><li>After Dr. Seuss (American, 1904-1991).</li><li>Warner Brothers Studios, circa 1990s.</li><li>Graphite and colored pencil on paper.</li><li>Signed at the bottom 'Virgil Ross.'</li><li>Untrimmed.</li></ul> This drawing was done to be sold in the Warner Brothers Studio stores sometime around the 1990's. Virgil Ross was an American artist, cartoonist, and animator best known for his work on the Warner Bros. animated shorts.

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