Modern Day Auction Including Masterpieces from the Lewis Collection

Man Ray 1890 - 1976 Le Pont Dix signed man Ray- and dated 53 (lower right) gouache and brush and ink on card 38.2 by 53.3 cm. 15 by 21 cm. framed: 56 by 69 cm. 22 by 27⅛ in. Executed in 1953. Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work under reference 00680-D-2026 and that it will be included in the Catalogue of Works on Paper of Man Ray, currently in preparation.

le pont dix

A Japanese <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the Steve McQueen film <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>Panavision.</li><li>Unfolded and linen backed.</li><li>This work is presented unframed.</li></ul> This larger format poster is much harder to find. It was printed in two sheets and has been joined together when linen backed.

Japanese Le Mans Movie Poster

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 <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>Rene Ferracci (French, 1927-1982).</li><li>Cinema Center Film.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

French Le Mans Movie Poster

A first-year-of-release French <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">film poster</a> for Steve McQueen's racing classic <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a> featuring a great design by <a href="https://www.sothebys.com/en/search?query=Rene%20Ferracci&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Rene Ferracci</a>.<ul><li>Rene Ferracci (French, 1927-1982).</li><li>Linen backed.</li></ul>

A Japanese <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/search?query=Steve+McQueen&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Steve McQueen</a> film <a href="https://www.sothebys.com/en/search?query=le+mans&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>Towa.</li><li>Advance poster.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>Tom Jung (American, born 1942).</li><li>National General Pictures.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

Le Mans Movie Poster

A Japanese <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film <a href="https://www.sothebys.com/en/search?query=le%20mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>TOWA Co., Ltd.</li><li>Style B, English text.</li><li>Unfolded and linen backed.</li><li>This work is presented unframed.</li></ul>

A Japanese soundtrack tie-in <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>Towa.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

A British <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the Steve McQueen film <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>20th Century Fox.</li><li>Linen backed.</li><li>This work is presented unframed.</li></ul>

British Le Mans Movie Poster

A Czech <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film <a href="https://www.sothebys.com/en/search?query=Le%20Mans&amp;tab=objects" rel="noopener noreferrer" target="_blank">Le Mans</a>.<ul><li>Film USA.</li><li>Produced for the first Czech release, 1973.</li><li>Unfolded and linen backed.</li><li>This work is presented unframed.</li></ul> When the film was released in Czechoslovakia only 500 posters were ever printed for each film. A large amount of these would have been destroyed.

Czech Le Mans Movie Poster

Movie poster for the UK release of Le Mans starring Steve McQueen, 1971.<ul><li>Cinema Center Films.</li><li>Printed by silkscreen.</li><li>Linen backed and unframed.</li></ul>

Le Mans British Movie Poster

Fine Books and Manuscripts, Including Americana. Part 2

Man Ray Les Invendables: Quarante ouevres invendable de Man Ray. Vence, France: Galerie Alphonse Chave, 4 April 1969 8vo (270 x 225mm). Signed "Man Ray" and numbered "9" in pencil to colophon, leaves partially unopened, 8 tipped-in color plates, 5 engravings printed in black; few spots to title page. Original illustrated laid paper with original Japanese vellum wrappers; scattered foxing. [With:] A silver gelatin print (150 x 105 mm) mounted to black sandpaper, signed "Man Ray" in ink and numbered "9/50" in ink atop semi-translucent sticker, with red trademark stamp to verso. First edition, number 9 out of 50 copies, with a signed gelatin silver print. Published to coincide with the exhibition Les Invendables at the Galerie Alphonse Chave in Vence, France, in 1969, this exhibition catalogue contains illustrations such as Metropolis, 1913; Déjeuner sur l'herbe, 1914; Antipolis (les jumelles), 1939; Incubator, 1943; Le Pont dix, 1953; Observatoire, 1914; and Nature morte, 1914. The accompanying untitled silver gelatin print depicts a close-up shot of ambiguous lunar-like surface illuminated from the lower corner. Teasing artists and readers alike in the preface, Man Ray writes: "Les Invendables. Why? Because it is the name that is for sale. Without the signature the painting is worthless. You have to take both." REFERENCES Janus 1973, p. 13; Janus 1981, p. 159

View 1 of Lot 446: Man Ray | "it is the name that is for sale"

man ray | "it is the name that is for sale"

Cassatt, Mary Autograph letter signed to "Cher Monsieur" Lazard, Mesnil-Beaufresne, 3 December 1905 Four page letter on Mesnil-Beaufresne stationery (174 x 260 mm to sight); old mailing fold, a pale spot, and a few ink smudges. In a gilt double-sided frame, with a portrait of Cassatt. Not examined out of frame. Cassatt discusses Lazard's young son, her plans for painting a a mother-child portrait, "Lady avec son bébé," the differences between French and American babies as artist's models, and with an unusual postscript, reading "The water seems to be coming back to us on this side, and I dream of giving public baths, especially for the children." 3 Dec. 1905 MESNIL-BEAUFRESNE FRESNEAUX-MONTCHEVREUIL MESNIL-THÉRIBUS (OISE) "Cher Monsieur, Moi aussi j'ai bien regretté de ne pas avoir eu le plaisir de vous voir pendant la journée que j'ai passée à Paris; je me suis empressé de retourner à la campagne. Car a trois heures de l'après midi il n'y avait pas moyen de distinguer un tableau au Musée du Louvre. Je suis sûr que votre fils doit être à la [?????] à l’heure présent, et il fait la joie de la maison, je le verrai j'espère quand vous reviendrez à Paris. Mais cher monsieur vous ne me devez rien du tout ! Excusez votre pauvre amie si mal réussi ce que je tenais tant à bien faire. Le fait est que j'aurais dû prendre le conseil de ma bonne Mathilde qui me disait de faire une esquisse au pastel de bébé et de sa jolie mère, car c'est par la couleur que je les voyais, et puis après j'aurais pu faire ma petite étude. - Si Madame Lazard veut encore avoir un peu de confiance en moi nous ferions cela quand nous nous reverrons, et alors je pourrai peut être remonter dans mon propre estime, si c'est [??????] cela est pour moi et j'espère que vous voudrez ne pas me parler de payment, car je tiens m’amuser et tâcher de faire ce que j’ai toujours désiré comme le portrait d’une "lady avec son bébé" — Jamais avant je n’ai eu cette chance, en Amérique les enfants sont trop souven eleve au biberon, ce qui n’a rien d’artiste — J’ai eu un mot de Madame Neill me demandant s’il y avait des propriétés à louer de ce côté, hélas ! non, excepté un petit château à 6 kilomètres de Meaux avec un petit parc j’en avais parlé à des amis, et le propriétaire Mr de Lubersac en demande la petite somme de 15,000 frs de location — Il y a des gens qui n’ont pas le sens de la proportion. Vous devez être désolée des horreurs en Russie. Il y a une histoire dans le Temps d'aujourd'hui qui fait frémir. Mille amitiés à Madame Lazard et un baiser à votre fils et croyez cher Monsieur à mes sentiments très amicaux. Mary Cassatt L'eau a l'air de nous revenir de ce côté et je ne rêve que de donner des bains publiques spécialement pour le enfants." PROVENANCE The Kenneth Rendell Gallery

View 1 of Lot 437: Cassatt, Mary | A long, charming letter touching on Cassatt's artwork and her love of children

cassatt, mary | a long, charming letter touching on cassatt's artwork and her love of children

Man Ray and Paul Éluard Facile. Poemes de Paul Éluard, Photographies de Man Ray. Paris: Editions G.L.M., 24 October 1935 4to (200 x 180 mm). Signed "Man Ray" to half title, 12 black and white heliogravure photographs, 5 original photographs signed "Man Ray" and dated "1939" in pencil, 3 photographs of Nusch Eluard marked "E.A" to verso. Publisher's original glossy pictorial wrappers, with plexiglass boards by Mercher dated 1970 in gilt at lower pastedown, smooth spine with vertical title in silver, black rear endpapers; spine lightly scuffed, primarily to head of spine, wear to edges. Black slipcase. [With:] Original four-page prospectus for Editions G.L.M (250 x 185 mm). One of the most influential photography books of the twentieth century—with poems authored by the artist's longtime friend and presented to his new collaborator. The present copy marks two of Man Ray's significant artistic collaborations and friendships. The poetry of Paul Éluard, longtime friend and fellow founding Surrealist, accompanies 12 heliogravure photographs, all signed by Man Ray. It was through Man Ray and Pablo Picasso that Éluard would meet his wife, Nusch, whose nude figure frames the text in various positions. Numbered 388 of 1,225 copies, signed and inscribed to: "à Serge Béguier / bien amicalement - / Man Ray" After a falling out with Pierre Grassman in the late 1960s, Man Ray began his work with Béguier at the PhotoBac Lab—ushering in a stylistic change in Man Ray's oeuvre with Béguier's use of Agfa paper, in contrast to Grassman's Ilford paper, or gelatin silver prints of Man Ray's earlier works. Facile is inscribed to his printer towards the beginning of their artistic association. The photographs were likely printed by Béguier in 1967–70 and backdated to the date of Man Ray's negatives, as per the artist's norm. The present lot with the original four-page prospectus printed in black in 1935 for Editions G.L.M. REFERENCES Andel, Avant-Garde Page Design, 339; BnF, Des livres rares 194; Castelman, A Century of Artists Books, 137; Coron, De Goya à Max Ernst, 48; G.L.M., 73. De L'Ecotais, Man Ray: Photography and Its Double; Getty, In Focus, Man Ray: Photographs from the J. Paul Getty Museum; Hubert, Surrealism and the Book, 73-83; Krauss and Livingston, L'Amour Fou: Photography and Surrealism; Mélusine, 163-77; Naudet, "The Man Ray Affair," American Photo, July-Aug 1998, 48-52, 92-95; Parr and Badger, The Photobook: A History, Vol. 1, 104-05; Peyré, Peinture et Poésie, p.124; Picaud, Des livres rares depuis l'invention de l'imprimerie, 1941; Roth, 101 Books, 86-87; Schwarz, Man Ray: The Rigour of Imagination; Sinibaldi and Courtier, Regards sur un siècle de photographie à travers le livre, 48; Skira, Man Ray. Album Eluard, 173; The Open Book, 118-9; Perpetual Motif: The Art of Man Ray, 22 PROVENANCE Serge Béguier

View 1 of Lot 445: Man Ray and Paul Éluard | Presentation copy of Facile, with 5 original photographs 

man ray and paul éluard | presentation copy of facile, with 5 original photographs

19th & 20th Century European and British Art Auction

Jean Baptiste Carpeaux French 1827 - 1875 Le Chinois (Bust of a Chinese Man) signed: Bte Carpeaux and stamped: SUSSE FRES EDIT S / PARIS and with the Susse cachet bronzed terracotta 64cm., 25¼in.

View 1 of Lot 519: Le Chinois (Bust of a Chinese Man)

le chinois (bust of a chinese man)

From Meissen to Paris : The Röbbig Collection| Part II

d'après un modèle de J. J. Kändler, portant un manteau à décor d'indianische Blumen sur fond doré, un pantalon lilas, une montre de poche, écrivant un bureau avec pieds en enroulement, la lettre écrite ‘Ma chère’, la base appliquée de fleurs et de feuilles, marque aux épées croisées bleu

d'après un modèle de J. J. Kändler, portant un manteau à décor d'indianische Blumen sur fond doré, un pantalon lilas, une montre de poche, écrivant un bureau avec pieds en enroulement, la lettre écrite ‘Ma chère’, la base appliquée de fleurs et de feuilles, marque aux épées croisées bleu Hauteur 5 ⅜ in; 13,7 cm

View 1 of Lot 386: Figurine représentant un gentilhomme assis à son bureau en porcelaine de Meissen, XVIIIe siècle, le décor XIXe siècle

figurine représentant un gentilhomme assis à son bureau en porcelaine de meissen, xviiie siècle, le décor xixe siècle

The Jay T. Snider Collection of Benjamin Franklin

Benjamin Franklin Autograph letter signed ("BF") to Jacques-Donatien Le Ray de Chaumont ("Cher Ami"), in French, half page on a sheet of laid paper (227 x 181 mm), Passy, on or after 3 July, 1780, addressed to "Monsieur de Chaumont" on the verso, remnants of red wax seal to recto and verso, two tiny chips and a very short tear at the edges, a closed tear next to the seal, none of which affects the text of the letter, a box of sun-toning around the text. Housed in a custom brown leather clamshell case and cloth chemise, with an earlier collector's paper folder laid in, the folder with a manuscript title and an unidentified, likely French, collector's stamp. A letter that reveals much about Franklin—his diplomacy, his pragmatism, and his preference for avoiding direct conflict. Franklin writes to Chaumont in French regarding the June 1780 mutiny on board John Paul Jones's fleet's flagship, the Alliance. The recipient of this letter, Jacques-Donatien Le Ray de Chaumont, was a French merchant who had made his fortune trading in the East Indies. He became one of the American Revolution's biggest supporters, acting as a go-between for Franklin and the French court. A close friend to Franklin, he rented him a portion of his Hôtel de Valentinois in Passy, initially at no cost, commissioned Jean-Baptiste Nini's portrait medallion of the "docteur" (see lot 118), and refitted an old French East Indiaman into a 42-gun frigate for the U.S. Navy, renamed the Bonhomme Richard. The letter, however, deals with a different ship—the frigate Alliance. When completed in 1777 in Salisbury, Massachusetts, it was the finest and fastest warship ever built in America. First named Hancock, it was renamed in honor of the new alliance between the United States and France. Alliance departed Boston in January 1779, captained by the commissioned Frenchman, Pierre Landais, carrying the Marquis de Lafayette back to France. Once arrived, despite Landais's orders to return with supplies to America, Franklin ordered the ship to join John Paul Jones's squadron. Landais obeyed Franklin but, following a nighttime collision of the Alliance and the Bonhomme Richard, as well as a heated argument between their two captains, he soon stopped taking orders from Jones. In September, the squadron took part in the Battle of Flameborough Head, off the coast of Yorkshire. The Alliance kept its distance from the action until, hours after the first shots were fired, while the Bonhomme Richard and the Serapis were lashed together in a death struggle, she began firing indiscriminately into both ships. Soon after, as Bonhomme Richard sank, Jones commandeered the damaged Serapis and set sail for the Dutch Republic. Once the Alliance had returned to France, Franklin relieved Landais of his command and began an enquiry into the captain's conduct. Franklin's letter to John Paul Jones of 15 October 1779, reveals the seriousness of the matter: "I have accordingly written to him this Day acquainting him that he is charged with Disobedience of Orders in the Cruise and Neglect of his Duty in the Engagement... direct him to render himself immediately here, bringing with him such Papers or Testimonies as he may think useful in his Defence. I know not whether he will obey my Orders... it will be necessary, if he should refuse to come, that you should put him under an Arrest, and in that Case as well as if he comes, that you should either appoint some Person to command his Ship or take it upon yourself; for I know of no Person to recommend to you as fit for that Station" (Papers 30:537–538). In the end, Franklin did install Jones as captain of the Alliance. He planned to send the ship to America with arms, uniforms, and other supplies. However, it took months for Jones to ready himself. Landais, on the other hand, travelled to Lorient seeking passage to America, where he planned to acquit himself in a court martial. While there, he met Arthur Lee, the diplomat who had been sidelined after Franklin's arrival in France. Lee was also awaiting passage to the United States. He told Landais that Franklin had no authority to remove his captaincy, since he held a Continental Commission. On 12 or 13 June, with Jones in Paris and Lee at his side, Landais boarded the ship and assumed command. Around 16 June, Le Ray de Chaumont urged Franklin to command Landais to remain in port. On 19 June, he wrote a longer, more urgent letter to Franklin warning him of Arthur Lee's involvement in the affair, and now suggesting that he order the ship out of port - an unpunished mutiny at port set a bad example for the other sailors. However, when Jones arrived in Lorient on 20 June, he found that the Alliance had already weighed anchor. She had sailed to Port Louis, and was now blocked in the harbor by a boom and surrounded by three French warships with orders to fire if she tried to escape. Jones, however, interceded on the Alliance's behalf — he apparently wished to avoid losing the ship and harming Franco-American relations. Captain Landais took command of the frigate Alliance and absconded with it to America, Franklin had originally ordered that the crew not be paid for its trip—he was obviously angry at being so blatantly disobeyed, and he did not want to support mutineers. However, in the present letter, written to Le Ray de Chaumont after the ship has already departed France, Franklin's fury seems to have cooled: "Notre Intention en donnant l’Ordre de ne pas payer leurs Portions a ceux qui avoient signé le Mutinerie, n’etant qu’un Expedient temporaire pour les reclamer; il me semble qu’actuellement il sera mieux de rapeller cette Ordre; parceque il y a en Amerique des Loix pour les punir; & je crois qu’il sera bon de payer les portions de ces gens en France plutôt qu’en Amerique, parceque ils ont nombre des Creanciers à l’Orient qui perdront beaucoup de leur Droits si l’Argent est envoyé en Amerique, & cela causera grand Clameur. Je suis donc d’Avis de payer à Messrs. Puchelberg tout ce qui est dû aux Matelots & aux Officiers du produit des Prises. On evitera par ce moyen nombre de Soupçons & de Censures—" ["As our intention in giving the order to not repay the shares of those who had signed the mutiny agreement was only a temporary expedient to secure their return; it seems to me that it would now be better to revoke this order; this is because, in America, we have laws for punishing them; and I think that it will be good to pay these individuals' shares in France rather than in America, as they have numerous creditors in Lorient who would stand to lose a significant portion of their claims were the funds to be sent to America, and this would cause a great clamor. I am therefore of the opinion to pay Misters Puchelberg the all that is due to the sailors and officers from the profits of the prizes. We will, in this way, avoid much suspicion and censure"; translation by Noah Goldrach.] The Alliance departed soon after. Landais, however, proved to be a disastrous captain, abusing his men and making unsafe decisions. Thinking him insane, his officers mutinied, forcibly relieving him of his command on 11 August. When the Alliance arrived in Boston, naval authorities found Landais guilty and removed him from service. "A beleaguered Franklin decided it was best to let others sort it all out. He had other things in France to deal with" (Isaacson, p. 390). REFERENCES Papers of Benjamin Franklin, ed. Oberg, 32:544–545; Walter Isaacson. Benjamin Franklin: An American Life. (New York: 2003); "Alliance I (Frigate)," in Dictionary of American Naval Fighting Ships, (2015), (https://www.history.navy.mil/research/histories/ship-histories/danfs/a/alliance-i.html)

View 1 of Lot 122: Benjamin Franklin | Autograph letter to Le Ray de Chaumont, regarding a mutiny on the Frigate"'Alliance," 1780

benjamin franklin | autograph letter to le ray de chaumont, regarding a mutiny on the frigate"'alliance," 1780

De Bry, Theodore, [Le Moyne, Jacques, et al.]

De Bry, Theodore, [Le Moyne, Jacques, et al.] Der Ander Theyl, Der Newlich Erfundenen Lanschafft Americae. Frankfurt: bey Johann Feyrerabendt, in Verlegung Dieterich von Bry, 1591 Folio (340 x 245 mm). Two engraved title pages, with letterpress titles in German printed on separate slips and pasted over the central blanks, engraved arms on dedication leaf, engraved illustration of Noah, double-page engraved map of Florida, and 42 engraved plates after Le Moyne; soiling, staining, intermittent pale spotting, some worming and creasing, occasional losses and tears at edges, mostly minor and many repaired, the paper washed leaving a pale greenish dampstaining around the extreme edges of most leaves (likely caused by the text block’s edges having been stained green), the map with a short marginal tear, a small closed marginal hole, and a long tear in the map adjacent the stub expertly repaired with no losses or infill to the printing, the second engraved title page has been trimmed around the border and laid down on thicker paper, with closed tears and a large loss at the lower corner supplied in facsimile. Near contemporary calf, gilt spine, boards with double gilt-ruled borders; some scuffing and staining, the binding an attractive remboîtage. The rare first edition in German of the second part of De Bry’s Grand Voyages, a seminal early work on Florida and South Carolina, complete with the map and 42 engravings after Le Moyne, the earliest known images of Florida’s indigenous inhabitants. De Bry’s work is among the best accounts of the two failed French Huguenot attempts to establish a colony in the American Southeast. In 1562, the admiral Gaspard de Coligny sent an expedition led by the skilled navigator Jean Ribaut to Florida. They sailed to Port Royal, in South Carolina, and built a fort there that they dubbed Charlefort. Ribaut left thirty men behind and returned to France for additional supplies. Upon his arrival in France, he discovered that the country had fallen into a civil war between Catholics and Huguenots, so he promptly fled to England. Meanwhile, the situation in Charlefort became dire. Their stores depleted, surrounded by a hostile native population, the men mutinied. Soon after, they built a boat and set sail for Europe. After a disastrous trip, starving to death, they were rescued by an English ship. In 1564, with peace restored in France, Coligny sent a second expedition to America. The voyage was initially led by René de Laudonnière, who had survived the first voyage, until Ribault returned and took command of the newly established fort, named Carolina. Botanical artist Jacques le Moyne accompanied the expedition to map and record what he saw. Once the Spanish, who claimed Florida as their own territory, heard about Carolina they attacked the Huguenot “heretics.” Le Moyne narrowly escaped with his life. He made his way to England where he redrew what he could from memory. De Bry, already working on his illustrated compendium of voyages, arrived in England around 1587 and purchased Le Moyne’s drawings. These sketches, of which just one original watercolor survives (the design for plate VIII, now at the New York Public Library), were used as source material for the 42 engravings found in this work. There is a certain amount of artistic license taken in the illustrations, but they are nonetheless historically significant, being the earliest known depictions of the Timuca Indians and their culture. They show the arrival of the French, the creation of Fort Carolina, various meetings between the Europeans and the Timucan tribes, as well as ethnographic and historical scenes. They are replete with details regarding the flora and fauna of the New World, and some illustrations, such as one showing American Indians collecting gold, were clearly intended to induce further colonization. The map, which focuses on the Florida Peninsula and the Carolina coastline, was influential, if not very accurate. Many of its faults lie in the errors of longitude, leading to an eastward slant on the coastline. It also includes a series of oftentimes erroneous inland details, such as a group of large lakes in Florida, and a large inland sea, either Verrazzano’s sea or perhaps the Great Lakes. Other notable features include the locations of American Indian settlements, the first appearance on a map of the Appalachian mountains ("Montes Apalatci"), and a possible Niagara Falls. REFERENCES Burden, The Mapping of North America, 79; Church, A Catalogue of Books relating the Discover and Early History of North and South America, 179; Cumming, The Southeast in Early Maps, 14; Schwartz and Ehrenberg, The Mapping of America, pp. 64-71 PROVENANCE David Schobinger Kuhn (early ownership signature to leaf A2r) — Private collection (Purchased from Richard B. Arkway, Inc., in 2004)

View 1 of Lot 356: De Bry, Theodore  | Rare German language edition of the second part of De Bry’s Great Voyages, a seminal early work on Florida and South Carolina

de bry, theodore | rare german language edition of the second part of de bry’s great voyages, a seminal early work on florida and south carolina

Benjamin Franklin Engraved broadside document signed (“BFranklin,” with paraph) as President of the American Philosophical Society, on laid paper (236 x 357 mm), Philadelphia, 20 January 1786, being Charles C.-J. Le Roux’s certificate of membership in the American Philosophical Society, accomplished in a clerical hand, countersigned by Society Vice Presidents John Ewing, William White, and Samuel Vaughan and by Society Secretaries James Hutchinson, John Foulke, Robert Patterson, and Samuel Magaw, embossed paper seal of the Society suspended from the certificate by original blue silk ribbon; some separations and repair at folds and left platemark. Some light marginal stains. Tipped to a mat board. The membership certificate for Charles C.-J. Le Roux, an educator, inventor, and physicist—and a relatively early French member of the American Philosophical Society: “To all Persons to whom these Presents shall come, Greeting. The American Philosophical Society held at Philadelphia for promoting useful Knowledge, desirous of advancing the Interest of the Society by associating to themselves Men of distinguished Eminence, and of conferring Marks of their Esteem upon Persons of literary Merit have Elected Monsieur Le Roux a Member of the said Philosophical Society, hereby granting unto him all the Rights of Fellowship, with all the Liberties and Privileges thereunto belonging.” The American Philosophical Society was founded by Benjamin Franklin in 1743, but the scholarly society soon lapsed into drowsy inactivity. It was revived in 1767 and two years later merged with the American Society for Promoting Useful Knowledge. Le Roux met Franklin during the latter’s ambassadorship to Paris, and while both were inventors, probably their strongest shared bond was education reform. Le Roux was the founding editor of Journal d’éducation, which he published from 1768 to 1769, reviving the title from 1776 to 1778. He advocated for a pragmatic pedagogy that deemphasized the study of classical languages; this point of view aligned almost exactly with the curriculum Franklin outlined in his Idea of the English School (see lot 55). Le Roux was elected to membership in the APS in 1775; however, the Society did not adopt a membership certificate until 1786, when all living members were entitled to receive one. The present certificate, therefore, is part of the very first issuance. Le Roux spent his entire career in education, rising from a schoolteacher in Amiens to Physicien en l’Université de Paris. He evidently observed M. Le Coeur’s private boarding school in Passy when Franklin’s grandson Benjamin Franklin Bache was a student there. Franklin was invited by the Société Royale de Médecine to observe a demonstration of various swimming experiments and apparatus, including early version of a wetsuit, by Le Roux held at the Bains Chinois on Île Saint-Louis in the Seine on 10 March 1783. Although Franklin was a major advocate of the benefits of swimming, it is not known if Franklin attended Le Roux’s presentation. Franklin’s very first invention, at age 11, was a pair of swimfins for the hands, and he included among the “Letters and Papers on Philosophical Subjects” appended to the 1769 edition of Experiments and Observations on Electricity (see lot 105) a letter to Oliver Neave, encouraging him to learn how to swim and extolling the “enjoyment in so delightful and wholesome an exercise.”

View 1 of Lot 135: Benjamin Franklin | American Philosophical Society membership certificate for a French colleague of Franklin

benjamin franklin | american philosophical society membership certificate for a french colleague of franklin

La Pérouse, Jean François de Galaup, comte de

La Pérouse, Jean François de Galaup, comte de Voyage de La Pérouse autour du monde...rédigé par M. L.A. Milet-Mureau. Paris: l'Imprimerie de la République, An V [1797] 5 volumes, comprising 4 text volumes in 4to (283 x 217 mm), and the atlas volume in folio (556 x 425 mm). The text with engraved portrait frontispiece in volume one, 4 half-titles, some type-printed tables and musical notation; scattered pale spots, volume I with marginal tear to leaf E2 and 2F3, small loss at corner of leaf 2D4, Vol II, small loss at corner of leaf 2O3, marginal dampstain at lower corner affecting gatherings 4A to the end of the text, Vol III with a tiny marginal hole in leaf 2C3, marginal loss at corner of 3B3, vol. IV with tiny marginal tears in leaves K3-4 and 2M2, altogether a very bright and crisp set. Contemporary diced calf, with edges decorated in gilt, turn-ins in blind, expertly rebacked in red morocco with gilt lettered and decorated spines, all edges sprinkled red, blue silk ribbons; a few spots of wear at extremities, some minor staining to boards, corners restored. The atlas with an engraved allegorical title by Ph. Trière after J.M. Moreau le jeune, 69 numbered copper-engraved plates, 69 copper-engraved plates, comprising 31 charts, maps and plans (1 folding, 20 double-page), and 38 views, costal profiles, and ethnographical or natural history plates; Occasional pale spotting, generally quite mild and in the margins, light even toning to plate 17, 31 and 38. Atlas in early half red morocco, gilt ruled, with gilt lettered and decorated spine, over red cloth boards; staining to spine, corners a bit bumped, boards unevenly faded, with a few small bumps along edges, the hinges reinforced and endpapers renewed. First edition of the official account of the famous but ill-fated voyage—a cornerstone work on Pacific exploration. "La Pérouse's expedition aboard the frigates L'Astrolabe and La Boussole was one of the most important scientific explorations ever undertaken to the Pacific and the west coast of North America. The purpose of the expedition, which took place between 1785 and 1788, was to examine such parts of the region as had not been explored by Captain Cook; to seek for an interoceanic passage; to make scientific observations on the various countries, peoples, and products; to obtain reliable information about the fur trade and the extent of Spanish settlements in California; and to promote the inducements for French enterprise in that quarter. La Pérouse and his men did important geographical research, including visits to Easter Island, Hawaii, Macao, Formosa, the Aleutian Islands, Samoa, Tonga and Australia. The voyage also included the first foreign scientific group ever to visit Alta California. Two of the plates depict a bee-eater and a male and female partridge of California. There are also maps and plans of San Francisco, Monterey, and San Diego. La Pérouse sent dispatches back to France from Kamchatka and Botany Bay. The two ships then set sail from Botany Bay, in 1788, and were never heard from again" (Hill). The French organized expeditions to find La Pérouse, such as that of d'Entrecasteaux (see lot 487), but they were not located until thirty-nine years later, in 1825, when the wrecks of the two frigates were found at Vanikoro in the Santa Cruz group by Peter Dillon. The La Pérouse voyage is notable for its superb mapping of the coast of Alaska, British Columbia, and northern California. Like Cook, cartographically La Pérouse's mapping of this region was still quite incomplete (e.g. entirely missing the strait of Juan de Fuca). Nevertheless, his surveying was still a major advancement over the work of Cook, making it the most accurate survey until Vancouver. This is particularly true of the British Columbian coastline between 49°34' and 57° and of Nootka Sound. Of equal importance are the series of charts that were produced as a result of the expedition's surveys of the Asiatic side of the Pacific. The atlas also contains numerous interesting coastal views, as well as botanical and natural history plates. The text contains a wealth of scientific and ethnographic information. In addition, La Pérouse was the first westerner to safely navigate and chart the Japan Sea and the strait between the island of Sakhalin and the northernmost island of Japan. En route for Australia in 1788, La Pérouse sailed via Samoa. One of the finest narratives of maritime exploration ever written, it deserves a place of high honor among the great travel accounts of the eighteenth century. REFERENCES Anker 276; Cowan 383; Ferguson 251; Forbes 272; Hill 972; Howes L-93; Lada-Mocarski 52; Sabin 38960; Wagner 837-48/199-201; The Zamorano 80, 49

View 1 of Lot 488: La Pérouse, Jean François de Galaup, comte de | First edition account of this important scientific expedition to the Pacific

la pérouse, jean françois de galaup, comte de | first edition account of this important scientific expedition to the pacific

Highlights from Books, Manuscripts & Music, from Medieval to Modern

115 × 165 mm, 211 leaves (f.1 is a numbered blank and f.210 an unnumbered blank), foliated from 1–120, foliation smudged on leaf 121, next leaf foliated 121bis, and then foliation continues 122–209, collation: i6, ii6, iii8 +1, iv8+2, v8, vi8, vii8, viii8, ix8, x8, xi8, xii8, xiii8, xiv8+1, xv8+1, xvi8, xvii8, xviii8, xix8, xx8, xxi8, xxii8, xxiii8, xxiv8, xxv8, xxvi4, xxvii8, xxviii3 (of 4, the last leaf a ruled leaf) [blank leaves: f.14, 27, 31, 105, 119v–120]; written in gothic minuscule in brown ink (calendar written in brown, red and blue ink) with gold, white, and red KL initials, text ruled in red ink, 16 lines per page, rubrics in dark red and some in blue, line fillers in red and blue with white highlights and burnished gold, initials in burnished gold on blue and red grounds with white highlights (1 line high), other initials in grey or pale pink with white highlights on red or gold grounds, sometimes with highlights in liquid gold and floral or insect motifs (2 lines high), 17 larger initials in blue with white highlights on red and gold grounds (2 to 5 lines high), illuminated borders on all pages, a combination of borders on gold grounds or with floral motifs, grotesques and hybrid zoomorphic creatures and blue and gold acanthus leaves, other historiated borders with scenes of forest life and mythical creatures; with 24 calendar illuminations, 40 small miniatures, 21 large miniatures; binding of red morocco, boards decorated with a frame of triple fillet, reinforced at the centre by a new triple fillet with small flower at the corners, decorated spine, double metal clasp issuing from the upper board, gilt edges (17th century); flaking of pigment on first leaf and occasional within borders where a finger might have rested, local small spotting in margins otherwise clean margins and in very good condition.

115 × 165 mm, 211 leaves (f.1 is a numbered blank and f.210 an unnumbered blank), foliated from 1–120, foliation smudged on leaf 121, next leaf foliated 121bis, and then foliation continues 122–209, collation: i6, ii6, iii8 +1, iv8+2, v8, vi8, vii8, viii8, ix8, x8, xi8, xii8, xiii8, xiv8+1, xv8+1, xvi8, xvii8, xviii8, xix8, xx8, xxi8, xxii8, xxiii8, xxiv8, xxv8, xxvi4, xxvii8, xxviii3 (of 4, the last leaf a ruled leaf) [blank leaves: f.14, 27, 31, 105, 119v–120]; written in gothic minuscule in brown ink (calendar written in brown, red and blue ink) with gold, white, and red KL initials, text ruled in red ink, 16 lines per page, rubrics in dark red and some in blue, line fillers in red and blue with white highlights and burnished gold, initials in burnished gold on blue and red grounds with white highlights (1 line high), other initials in grey or pale pink with white highlights on red or gold grounds, sometimes with highlights in liquid gold and floral or insect motifs (2 lines high), 17 larger initials in blue with white highlights on red and gold grounds (2 to 5 lines high), illuminated borders on all pages, a combination of borders on gold grounds or with floral motifs, grotesques and hybrid zoomorphic creatures and blue and gold acanthus leaves, other historiated borders with scenes of forest life and mythical creatures; with 24 calendar illuminations, 40 small miniatures, 21 large miniatures; binding of red morocco, boards decorated with a frame of triple fillet, reinforced at the centre by a new triple fillet with small flower at the corners, decorated spine, double metal clasp issuing from the upper board, gilt edges (17th century); flaking of pigment on first leaf and occasional within borders where a finger might have rested, local small spotting in margins otherwise clean margins and in very good condition. A RICH AND UNIQUE BOOK OF HOURS WITH MARVELLOUS MARGINS, MADE FOR A FEMALE OWNER. PROVENANCE Manuscript made for the liturgical use of Paris (Hours of the Virgin for the use of Paris; Office of the Dead for the use of Paris). The calendar also reflects this Parisian use. Additionally, the artists who contributed to the illumination of these Hours are all Parisian, active at the end of the 15th century and the beginning of the 16th century. This manuscript was made for an unidentified (female) patron whose portrait appears prominently on fol.27v. The arms in the lower border, which are supported by two greyhounds, were not executed. The initials “J H” (fol.61) and reversed “H J” (fol.61v) interlaced in the border potentially refer to the initials of the patron or of a couple. On fol.196v we find a wide golden belt with ornate buckles in the border which would have been used to cinch a very fashionable houppelande. Maybe the inclusion of this splendid sartorial item was requested by the patroness. Throughout the manuscript, two animal symbols are particularly prominent, the pelican (a full page is devoted to it on fol. 105v and in the bas-de-page on fol.106), and the butterfly (ff.15, 17, 22v, 31v, 105v, 113v).Handwritten ownership inscription on the verso of the first flyleaf: “B. Combes, priest”.France, private collection. COMMENTARY Likely made for a female noble owner, this manuscript stands out due to its distinct and attractive decoration that features identifiable forest animals alongside fantastical and whimsical creatures. The recurring motif of the pelican feeding its young by piercing its own breast is a striking symbol that might hint at the devotion and selflessness of the owner. At first glance, the manuscript reveals the distinct personality of its first owner. The Book of Hours was likely made for a noble woman who enjoyed hunting in the sheer endless forests of 15th-century France. The ethereal-looking patron, in her sombre yet sumptuous dark-red fur-lined garb and black French hood, is depicted kneeling before her prie-dieu on fol.27v. While her coat of arms was never filled in — maybe it was intended as a costly and highly personalised wedding gift for a union that did not come to pass? — the shield is supported by two greyhounds that hint at a fondness for the hunt and embody the loyalty of their owner. The border decoration features countless woodland animals such as boar, hawks, owls, and songbirds, which offer a highly symbolic backdrop to the prayers contained within by encapsulating the circle of life in its beautiful margins. ILLUMINATION The elegant miniatures in the manuscript are attributable to three distinct artists: the Master of Jean d’Albret, the Master of the Chronique Scandaleuse, and the Master of Petrarch’s Triumphs, who created the portrait of the hitherto unidentified patroness. Bringing together three renowned artists of this calibre makes it likely that this commission was executed for a noble patroness of the highest rank and influence and shows her distinguished taste. With its 21 large miniatures, the manuscript is a stellar example of the deluxe Book of Hours created in Paris for distinguished patrons and patronesses at the royal court and its surroundings. Noteworthy is the number of identifiable birds, particularly birds of prey such as owls, falcons, and hawks. While these are typical motifs in many Books of Hours, taken together with the depiction of greyhounds (veltri), their strong presence hints at a partiality for hunting on the side of the patroness. Hunting and hawking, often on horseback with birds of prey and a pack of dogs, was one of the most popular pastimes of the high nobility and was enjoyed by both men and women, among them Mary of Burgundy, Isabeau of Bavaria, and Margaret of York, who were also influential bibliophiles in their own right. The manuscript contains an impressive number of 24 calendar miniatures, 16 small miniatures that illustrate the text, and 21 large full-page illuminations. The Hours of the Cross are introduced by two miniatures, one showing the pelican feeding its young by drawing blood from its own chest (f.106), placed opposite the Crucifixion scene. In Western Christian iconography, the pelican is inextricably linked with the sacrifice of Christ. While being a popular and widespread motif, it is usually used in combination with other scenes from the life of Christ, rather than being presented in isolation. By placing the pelican on the left and the crucified Christ on the right, the artist created an emotive and dramatic opening that invites the viewer to contemplate and meditate on the immutable circle of life. Juxtaposed is the pathos of the scene through the inclusion of two frolicking butterflies at the foot of the page. This captivating manuscript is the result of a collaboration between several renowned Parisian artists. It is artistically linked to a group of manuscripts decorated in a similar fashion and including animal scenes at the foot of the page or in the borders (e.g. Écouen, musée de la Renaissance, MS ecl. 1251; Oxford, Bodleian Library, Rawl. Liturg. e. 36; Yale University, Beinecke Library, MS 411) and is connected to the production of Parisian printed books of the last quarter of the 15th century by the printers Du Pré, Le Rouge, and Vérard. The mise-en-page with its architectural frames, niches, and compartmentalised spaces is indebted to the layout of printed books between 1490–1500. This particular layout in printed Books of Hours allows the artist to create additional scenes around the text or central illumination, and to thematically link them as needed. Striking examples are Saint John on the island of Patmos with the beast of the Apocalypse (fol.15), which references the woodcut of the Hours printed by Du Pré 1487/1488 (Paris, BnF, Rés. Vélins 1643), or the Tree of Jesse (fol.31v), which is found in several Parisian editions of the years 1480–1490. The main part of the illuminations of these Hours can be attributed to the Master of Jean d’Albret, active in Paris from about 1490 to 1510, working on both manuscripts and printed books. His hand can be traced in multiple works by the printer Antoine Vérard. Together they created sophisticated copies for high-profile patrons, including noble women such as Anne de Beaujeu, French princess and regent, the eldest daughter of Louis XI and Charlotte of Savoy. A significant portion of the miniatures was done by the Master of the Chronique Scandaleuse, an anonymous illuminator active in Paris at the end of the 15th and the beginning of the 16th century. Much like the Master of Jean d’Albret, he worked for a distinguished noble clientele, also cooperating with Antoine Vérard, most notably on incunabula for King Charles VIII and Anne of Brittany. The very fine illumination of the patroness on fol.27v was done by a third artist, known as the Master of the Triumphs of Petrarch, who collaborated on numerous occasions with the workshop of Jean Pichore, sometimes being confused with the latter (Zöhl 2004). He was also active for the bibliophile Cardinal Georges d’Amboise, who played a vital role in introducing Italian Renaissance works to France and amassed a vast collection in his numerous castles. LIST OF MINIATURES Calendar: The small miniatures of the calendar are attributable to the Master of Jean d’Albret. Small Miniatures: f.17, Saint Luke writing before his symbol, the ox (small miniature) [Master of Jean d’Albret]. At the bottom of the page: a scene of woodland life with a deer, a butterfly, and a quadruped.f.19, Saint Matthew writing before his symbol, the angel (small miniature) [Master of the Chronique Scandaleuse ?].f.21, Saint Mark writing before his symbol, the lion (small miniature) [Master of Jean d’Albret]. At the bottom of the page: a forest scene with deer, an owl in a tree, and a bird seizing a fly; outer border: wasp (?) and butterfly.f.28, Pietà illustrating the prayer O intemerata (small miniature) [Master of Jean d’Albret] – Right border and bottom of the page: ], with a forest scene in the margins including a quadruped creature and a boar drinking from a stream.f.201r, Trinity (small miniature) [Master of the Chronique Scandaleuse].f.201v, Saint Michael (small miniature) [Master of the Chronique Scandaleuse]..202v, Saint John the Baptist (small miniature) [Master of the Chronique Scandaleuse].f.203r, Saints Peter and Paul (small miniature) [Master of the Chronique Scandaleuse].f.203v, Saint Lawrence (small miniature) [Master of the Chronique Scandaleuse].f.204v, Saint Nicholas and the miracle of the three children (small miniature) [Master of the Chronique Scandaleuse].f.205r, Saint Anne (small miniature) [Master of the Chronique Scandaleuse].f.206r, Saint Mary Magdalene (small miniature) [Master of the Chronique Scandaleuse].f.206v, Saint Catherine (small miniature) [Master of the Chronique Scandaleuse].f.207v, Saint Geneviève (small miniature) [Master of the Chronique Scandaleuse].f.208r, Saint Catherine (small miniature) [Master of the Chronique Scandaleuse] – Right border and bottom of the page: forest scene, with young boar hiding in the trees; dog pursuing a rabbit.f.208v, Saint Barbara (small miniature) [Master of the Chronique Scandaleuse]. – Left border and bottom of the page: forest scene, with bird in a tree and hybrid creature. Large miniatures: f.14v, Birth of Eve [Master of Jean d’Albret] – At the bottom of the page: two birds and a fox.f.15r, Saint John on the island of Patmos [Master of Jean d’Albret]. – At the bottom of the page: scene of rural life, a bird seizing a butterfly, under the eyes of a frog.f.22v, Virgin and Child [Master of Jean d’Albret] – At the bottom of the page: forest scene, with two dogs pursuing a fox (?). – In the initial O, a butterfly.f.27v, Patron of the manuscript, in prayer [Master of the Triumphs of Petrarch]: in the lower margin, supported by two white greyhounds with red collars, a shield left blank.f.31v, Tree of Jesse (large miniature) [Master of Jean d’Albret] – At the bottom of the page: forest scene, with butterfly and frog.f.32r, Annunciation (large miniature) [Master of Jean d’Albret].f.58v, Visitation [Master of Jean d’Albret] – Left border and bottom of the page: forest scene, wild beast and wild man (?) threatening a boar with a stick.f.71v, Nativity [Master of Jean d’Albret]. – Left border and bottom of the page: forest scene, bird, nest in a tree and confrontation between a bird and a boar.f.78r, Announcement to the shepherds [Master of Jean d’Albret].f.83r, Adoration of the Magi [Master of Jean d’Albret].f.87v, Presentation in the Temple [Master of Jean d’Albret].f.92r, Flight into Egypt [Master of Jean d’Albret].f.99v, Coronation of the Virgin [Master of Jean d’Albret].f.105v, The Mystical Pelican nourishing its young [Master of Jean d’Albret (?)] – Left border and bottom of the page: forest scene, with two butterflies.f.106, Crucifixion [Master of Jean d’Albret] – Bottom of the page: forest scene, bird pursuing two frogs and mystical pelican in a tree.f.113v, Pentecost [Master of Jean d’Albret] – Bottom of the page: forest scene, with combat between a butterfly and a bird.f.120v, David and Goliath [Master of Jean d’Albret] – Left border and bottom of the page: forest scene, with bird in a tree; confrontation between a dog and a bird.f.121r, David and Bathsheba [Master of Jean d’Albret].f. 140r, Job [Master of Jean d’Albret] – Left border and bottom of the page: forest scene, with dog hunting a rabbit, a rabbit emerging from its burrow, a bird seizing a snake.f. 192r, Virgin and Child [Master of the Chronique Scandaleuse] – Bottom of the page: forest scene, with an owl seizing a field mouse and a bird seizing a fly or insect.f. 197r, Trinity [Master of Jean d’Albret] – Bottom of the page: forest scene, with two birds in a tree and bird of prey attacking rabbit burrows. The manuscript is adorned with a variety of borders. The first type, on a white ground, is reserved for the text and decorates the outer margin of all pages. It is composed of large acanthus leaves in blue and gold surrounded by foliage and flowers in bright colours on red stems on white and gold grounds and enlivened with fantastic creatures (f.18, 20, 23, 30, 128). A second type of border is executed on gold grounds. It adorns almost all the pages with large miniatures, which are placed at the beginning of all large sections of the manuscript. The decoration is composed of red stems, with green leaves, bearing white, pink, red, and blue flowers. From f.32r onward, acanthus leaves and, occasionally, insects, birds and fantastic creatures can be spotted. The third type of border is the most intriguing and adds to the symbolism that permeates the whole manuscript. In the small space that the margins allow, the artists created densely populated forest scenes inhabited by insects, birds, bears, hounds, and fantastical creatures. Gold touches illuminate the foliage like warm sunlight. The borders are treated as if they are the backdrop of large paintings and gives the page an unexpected depth and dimension. But darkness lurks in the depth of the forest as life and death, triumph and defeat meet on the pages when the hunter becomes the prey. We discover a hunting dog catching a pheasant (f.4v), a bird snatching a fish (f.5r), a bird seizing an enormous butterfly (f.15r), a bird of prey devouring a dead songbird (f.8r), and a wild boar being killed (f.13r). A more humorous take on the theme is offered in form of a bird attacking an enormous snail (f.12v). Human presence is seemingly absent in this forest teeming with life. However, we can spot monkeys, which are often interpreted as a stand in for human folly, painted in brown and red their fur heightened with gold, often in comical situations and postures; flushing out an animal hiding behind a tree (f.9r), riding a bear (f.10v), hunting, holding a sparrowhawk in his right paw (f.11v). ff.2r–13v, Parisian calendar, written in French;f.14, blank;ff.15r–22r, Gospel pericopes;ff.22r–26v, Obsecro te (masculine use);ff.28r–30v, O intemerata;ff.30v–104v, Hours of the Virgin, for the use of Paris, matins (ff.30v–58); lauds (ff.58v–71); prime (ff.71v–77v), with antiphon, Benedicta tu and capitulum, Felix namque; terce (ff.78r–82v); sext (ff.83r–87r); none (ff.87v–91r), with antiphon, Sicut lilium and capitulum, Per te dei; vespers (ff.91v–99r); compline (ff.99r–104v);f.105r, blank leaf;ff.105v–113r, Hours of the Cross;ff.113r–119r, Hours of the Holy Spirit;ff.119v–120r, blanks;ff.120v–139v, Penitential Psalms, with litanies (ff.134r–138v);ff.140r–190v, Office of the Dead according to the use of Paris;ff.191r–196v, Prayer to the Virgin: Doulce dame de misericorde, mere de piété, fontaine de tous les biens.ff.197r–201r, Prayer to the Holy Trinity: Doulx Dieu, doul[x] père, sainte Trinité, ung Dieu, beau sire Dieu.ff.201r–209v, Suffrages. De Sancta Trinitate (ff.201r–201v), De sancto Michaele (ff.201v–202r), De sancto Johanne Baptista (ff.202r–202v), De sanctis Petro et Paulo (ff.203r–203v), De sancto Laurencio (ff.203v–204r); De sancto Nicolao (ff.204r–205r), De sancta Anna (ff.205r–205v), De beata Maria Magdalena (ff.205v–206v), De sancta Katherina (ff.206v–207r), De sancta Genovefa (f.207v), De sancta Katherina (ff.208–208v), De sancta Barbe (ff.208v–209v).ff. 210–210v, blank. We thank Ariane Adeline for her excellent research into this manuscript. LITERATURE Almond, Richard. Medieval Hunting. Stroud: Sutton Publishing, 2003. Briggs, Sarah. “Catherine Caged: Birds in the Margins of the Hours of Catherine of Cleves.” Bowdoin Journal of Art (2015): n.p. Cummins, John. The Hound and the Hawk: The Art of Medieval Hunting. London: Weidenfeld and Nicolson, 1988. Delaunay, Isabelle. “Les Heures d’Écouen du Musée national de la Renaissance: Échanges entre manuscrits et imprimés autour de 1500.” Revue du Louvre et des musées de France 43, no. 4 (1993): 11–24. Delaunay, Isabelle. “La production en série dans les livres d’heures parisiens vers 1480–1500.” Rivista d’arte, 5th ser., 7 (2017): 279–290. Delaunay, Isabelle. Échanges artistiques entre livres d’heures manuscrits et imprimés produits à Paris vers 1480–1500. 3 vols. PhD diss., Université Paris IV–Sorbonne, 2000. Oggins, Robin S. The Kings and Their Hawks: Falconry in Medieval England. New Haven: Yale University Press, 2004. Orth, Myra D. “What Goes Around: Borders and Frames in French Manuscripts.” Journal of the Walters Art Gallery 54 (1996): 1–22. Perdrizet, Paul. Le calendrier parisien à la fin du Moyen Âge d’après le bréviaire et les livres d’heures. Paris: Publications de la Faculté des Lettres de l’Université de Strasbourg, 1933. Randall, Lilian M. C. Images in the Margins of Gothic Manuscripts. Berkeley: University of California Press, 1966. Winn, Mary Beth. Antoine Vérard: Parisian Publisher, 1485–1512. Geneva: Droz, 1997. Winn, Mary Beth. “Printing and Reading the Book of Hours: Lessons from the Borders.” Bulletin of the John Rylands Library 81, no. 3 (1999): 177–204. Zöhl, Caroline. Jean Pichore: Buchmaler, Graphiker und Verleger in Paris um 1500. Turnhout: Brepols, 2004.

View 1 of Lot 4: The Pelican Hours, Book of Hours (Use of Paris), in Latin, on vellum, illuminated by the Master of Jean d’Albret, the Master of the Chronique Scandaleuse, and the Master of the Triumphs of Petrarch (France, Paris), c.1490–1500

the pelican hours, book of hours (use of paris), in latin, on vellum, illuminated by the master of jean d’albret, the master of the chronique scandaleuse, and the master of the triumphs of petrarch (france, paris), c.1490–1500

Pierre-André Gargas Union souveraine et conciliatrice, De toutes les Nations d'Europe, & de celles qui sont connues. Ou Projet de Paix générale et perpétuelle. La Haye [Avignon?], 1785 12mo (160 x 92 mm). Half title, woodcut headpieces, tailpieces, and other ornaments in text, contemporary ink dedicatory inscription on leaf C7v, to "son excelence Monseigneur le Ministre Plenipotentiaire de l'infant duc de Parme"; a pale stain and a paper repair to the half title; tiny loss at corner of leaf A5, small hole (paper flaw?) in leaf C4 affecting one word on the verso of the leaf, the inscription on leaf C7 shaved, a small yellow stain at lower corners of final two leaves, otherwise a bright copy. Modern dark brown morocco spine, vellum corners, marbled paper boards, smooth spine with gilt decorations, black morocco spine-label, edges stained yellow; a tiny white stain on front board, very mild rubbing along bottom edge. The only known copy of Pierre-André Gargas's revised plan to establish a union of nations to ensure perpetual peace in Europe, dedicated to Benjamin Franklin. This treatise uses the term United Nations, anticipating the U.N. by over a century and a half. Pierre-André Gargas (1728–1801), a Provençale landowner, was accused of murder, dispossessed of his land, and condemned to twenty years as a galley slave on charges that he always denied. While serving his sentence in a hulk moored off the coast of Toulon, he was somehow able to write a book on phonetic spelling, Alfabet qonciliateur de l’ortografe. . . (Marseille: Jean Mossy, 1773), and draft a manuscript for a short work on establishing perpetual peace in Europe. After sending the manuscript to a number of luminaries, including Voltaire, he sent a copy to Benjamin Franklin. It was accompanied by a note where he begged the famous American diplomat for "the kindness, Monsieur, of having them printed, announced, and distributed to the public as far as it would be possible for you to do so" (Gargas to Benjamin Franklin, 14 February 1779, as translated by Ellen R. Cohn). After his release, Gargas made his way on foot to Paris to visit Franklin at his home in Passy on the outskirts of Paris, at the Hôtel de Valentinois. Despite the ex-prisoner's ragged appearance, Franklin welcomed him, discussed the project, likely gave his own input, and printed the pamphlet, which is titled Concilateur de toutes les nations d’Europe, ou Projet de paix perpetuelle entre tous les souverains de l’Europe et leurs voisins (Passy: Benjamin Franklin, 1782). The major points of the plan were to freeze Europe's borders and settle international disputes through a Perpetual Congress (which in this later version of the text is called the United Nations). The congress would be made up of one delegate from each nation. The president of the delegates would be chosen through a system of hierarchy determined by each sovereign's age, with hereditary sovereigns given precedence over elected ones. He also suggests turning Europe's standing armies into a massive public works force, tasked with building infrastructure and engaging in community services. Gargas's intention was to distribute his work freely to Europe's rulers and diplomats, though he evidently did not get much traction for his improbable ideas. For Franklin, however, embroiled in negotiations with England, the idea of universal peace must have been particularly enticing. In a letter to the British politician David Hartley, 10 July 1782, he wrote: "There is methinks a point that has been too little considered in treaties, the means of making them durable. An honest peasant from the mountains of Provence, brought me the other day a manuscript he had written on the subject, and which he could not procure permission to print. It appeared to me to have much good sense in it, and therefore I got some copies to be struck off for him to distribute where he may think fit. I send you one enclosed. This man aims at no profit from his pamphlet or his project, asks for nothing, expects nothing, and does not even desire to be known... such was his zeal for peace and the hope of forwarding and securing it by communicating his ideas to great men here. His rustic and poor appearance has prevented his access to them or his obtaining their attention; but he does not seem yet to be discouraged. I honour much of the character of this veritable philosophe" (Papers 37:607–608). Having received little notice in Paris outside of Franklin and his circle, Gargas returned south to his home in Theze where, a year later, he decided to print a revised and enlarged version his plan. He wrote to Franklin on 2 May 1783 to ask permission to dedicate the work to him. At that time, dedications functioned as endorsements, and Franklin would often decline them. However, this time he accepted. In August 1785, the present work, Union souveraine, was published, probably in Avignon, under a false imprint without a privilege du roi. The previous pamphlet had been printed on Franklin's diplomatically immune press, but that was not the case here. As it turned out, Franklin never received his copy of the book. According to Cohn, the 300 copies that Gargas intended for him were seized in transit by the censors, and, in any event, Franklin was halfway across the Atlantic when the package was sent. Gargas set off himself for Paris to hand-deliver his Union Souveraine to the king, the royal family, his nine state ministers, and twenty-nine foreign ambassadors. This example, personally addressed to the minister plenipotentiary of the Duchy of Parma, was one of the copies intended for a foreign diplomat. The only other copy of this text that has been traced is a set of page proofs, held at the Archives Nationales in Paris. A few years later, in 1787, Franklin sent Gargas a copy of his own proposal for a national union, The Constitution. Franklin personally inscribed it to "M. Gargas, who propos'd the Union of the States of Europe." However, just as the Union Souveraine never reached Franklin, The Constitution never made it to Gargas—Franklin sent it to his close friend and banker, Ferdinand Grand, who never forwarded it. REFERENCES Ellen R. Cohn, "'he Printer and the 'Peasant': Benjamin Franklin and Pierre-André Gargaz, Two Philosophers in Search of Peace," in Early American Studies: An Interdisciplinary Journal, Vol. 8, No. 1 (Winter 2010), pp. 146-172 PROVENANCE Giquello, 1 June, 2017 lot 61 (undesignated consignor)

View 1 of Lot 133: Pierre-André Gargas | Union souveraine et conciliatrice.

pierre-andré gargas | union souveraine et conciliatrice.

(Benjamin Franklin) A Narrative of the Late Massacres, in Lancaster County, of a Number of Indians, Friends of this Province, by Persons Unknown. With some Observations on the Same. [Philadelphia:] Printed [by B. Franklin and D. Hall], in the year M,DCC,LXIV (1764) Demy 8vo (198 x 120 mm). Some very light browning to gathering B, scattered spotting. Nineteenth-century tree calf by M. Wood, covers with gilt frame of French fillet and dentelle-roll, spine gilt in six compartments with labels in second and third, marbled endpapers, gilt edges, a number of blank leaves bound at end; front joint worn, other extremities rubbed. First edition. “This account of the murder of twenty harmless Indians—7 men, 5 women, 8 children—at Conestogoe by the ‘Paxton Boys’ was written by Benjamin Franklin in an effort to persuade many Pennsylvanians terrified by marauding bands of hostile Indians and in part sympathetic with what the Paxton Boys had done to see the action for the lawless, unChristian massacre it was” (Miller). The terror on the western frontier of Pennsylvania was precipitated by Pontiac’s War, a three-year conflict begun in 1763 when a wide confederation of Indian peoples who had lived under French rule refused to accept the sovereignty of the British in what had been the Great Lakes region of New France after the French and Indian War. Warriors from more than a dozen tribes (including Ottawas, Ojibwes, Miamis, Weas, Kickapoos, Lenape, Shawnees, and Wyandots) captured British forts in Michigan, Indiana, and Ohio territories, as well as in Pennsylvania. The Paxton Boys were a vigilante group who believed that the Pennsylvania government was not doing enough to protect the frontier. In December 1763, fueled by rumors of a raiding party seen at Conestoga Town, the mob vented their rage in a massacre of Susquehannock and Moravian Lenape people living peacefully near the Pennsylvania frontier settlers. Franklin’s anonymous text justifies Thomas Field’s later assessment that the Narrative of the Late Massacre “is another story of the method in which the cowards of the frontiers revenged upon innocent and helpless old men, and young children, the outrages of Indian warriors whom they dared not meet” (p. 288). Franklin introduces the victims by name, describing them as “the Remains of a Tribe of the Six Nations, settled at Conestogoe, and thence called Conestogoe Indians. … [T]here they have lived many Years in Friendship with their White Neighbours, who loved them for their peaceable inoffensive Behaviour.” The Paxton Boys, by contrast, are termed “barbarous Men who committed the atrocious Fact, in Defiance of Government, of all Laws human and divine, and to the eternal Disgrace of their Country and Colour.” Leonard Labaree describes the Narrative as “a stirring evocation of humanitarian sentiments and impulses and of the principles of morality and justice. Seldom in his life did Franklin, the rationalist, appeal so little to the reader’s head and so strongly and so warmly to his heart” (Papers 11:42–69). But, in fact, some of Franklin’s most convincing arguments are logical and not emotional: “There are some (I am ashamed to hear it) who would extenuate the enormous Wickedness of these Actions, by saying, ‘The Inhabitants of the Frontiers are exasperated with the Murder of their Relations, by the Enemy Indians, in the present War.’ It is possible; but though this might justify their going out into the Woods, to seek for those Enemies, and avenge upon them those Murders; it can never justify their turning in to the Heart of the Country, to murder their Friends. “If an Indian injures me, does it follow that I may revenge that Injury on all Indians? It is well known that Indians are of different Tribes, Nations and Languages, as well as the White People. In Europe, if the French, who are White-People, should injure the Dutch, are they to revenge it on the English, because they too are White People? The only Crime of these poor Wretches seems to have been, that they had a reddish brown Skin, and black Hair; and some People of that Sort, it seems, had murdered some of our Relations. If it be right to kill Men for such a Reason, then, should any Man, with a freckled Face and red Hair, kill a Wife or Child of mine, it would be right for me to revenge it, by killing all the freckled red-haired Men, Women and Children, I could afterwards any where meet with” (pp. 12–13). Franklin himself seemed surprised by the influence of his pamphlet. On 11 February 1764 he wrote to Richard Jackson, member of Parliament and agent for Pennsylvania and Connecticut, “In my last I mention’d to you the Rioting on our Frontiers, in which 20 peaceable Indians were kill’d, who had long liv’d quietly among us. The Spirit of killing all Indians, Friends and Foes, spread amazingly thro’ the whole Country: The Action was almost universally approved of by the common People; and the Rioters thence receiv’d such Encouragement, that they projected coming down to this City, 1000 in Number, arm’d, to destroy 140 Moravian and Quaker Indians, under Protection of the Government. To check this Spirit, and strengthen the Hands of the Government by changing the Sentiments of the Populace, I wrote the enclos’d Pamphlet, which we had only time to circulate in this City and Neighbourhood, before we heard that the Insurgents were on their March from all Parts. It would perhaps be Vanity in me to imagine so slight a thing could have any extraordinary Effect. But however that may be, there was a sudden and very remarkable Change; and above 1000 of our Citizens took Arms to support the Government in the Protection of those poor Wretches. Near 500 of the Rioters had rendezvous’d at Germantown, and many more were expected; but the Fighting Face we put on made them more willing to hear Reason, and the Gentlemen sent out by the Governor and Council to discourse with them, found it no very difficult Matter to persuade them to disperse and go home quietly. They came from all Parts of our Frontier, and were armed with Rifle Guns and Tomhawks” (Papers 11:76–78). Although Evans, Hildeburn, and Paul Leicester Ford assign the printing of the Narrative to Anthony Armbruster, Miller does not hesitate to ascribe the pamphlet to the Franklin-Hall press: “Franklin would normally make use of his own printing house in publishing a pamphlet in Philadelphia, and would certainly turn to his partner David Hall for assistance in such an emergency as the publication of this piece presented. The type evidence in no way contradicts this attribution to the Franklin press, but does refute that made by Hildeburn to the press of Anthony Armbruster, who owned no Caslon fonts.” REFERENCES Miller 807; ESTC W17009; Evans 9667; Hildeburn 1992; Field 1116; Sabin 25557; Streeter sale 2:968; Vail 556 PROVENANCE P. Collinson (signature, now faded, at foot of title-page; probably Franklin’s friend and frequent correspondent Peter Collinson, an English merchant and naturalist) — Wilberforce Eames (signature on front binder’s blank, but not traced in the sale of his Americana Library, Anderson, 17 May 1905) — Herman Le Roy Edgar (armorial bookplate; Anderson, 22 November 1920, lot 224) — G. A. Baker & Company, 29 April 1941, lot 75 (undesignated consignor; with Streeter’s note on front free endpaper, “bought by L[athrop]. C. H[arper], for me at Baker sale, April 29 1941”) — Thomas W. Streeter (booklabel; Parke-Bernet, 20 April 1967, lot 968) — Laird U. Park Jr. (Sotheby’s New York, 29 November 2000, lot 121)

View 1 of Lot 92: (Benjamin Franklin) | The most important Paxton Boys pamphlet, with distinguished provenance

(benjamin franklin) | the most important paxton boys pamphlet, with distinguished provenance

Bernard, Jean Frederic — Bernard Picart (illustrator)

Bernard, Jean Frederic — Bernard Picart (illustrator) The Religious ceremonies and customs of the several nations of the known world..., London: (I-III), Nicholas Prevost, 1731; (IV-VI), Claude du Bosc, 1735–1737 7 parts in 6 volumes (383 x 245 mm). Profusely illustrated; first 20 leaves, vol VI, with slight worming at top edge affecting only the blank upper margin, but overall a fresh copy. Uniformly bound in three-quarter calf over marbled boards; some boards loose or detached, worn. First English-language edition of the book that changed Europe. In the early 18th century, in the very first decades of the intellectual movement known as the Enlightenment, two men produced a multi-volume work that made readers—in French, English, Dutch and German—see religion in a new way. Bernard Picart (1673-1733) was one of the most prolific and talented engravers of his age. Jean Frederic Bernard (1683-1744) was a French-language bookseller and publisher of Huguenot background based in Amsterdam. Together they prepared thousands of pages and hundreds of engravings that sought to capture the ritual and ceremonial life of all the known religions of the world. Cérémonies et coutumes religieuses de tous les peuples du monde, or simply "Picart" as it was often subsequently known, broke with all the previous models. It attempted to present all religions, even those of the "idolatrous peoples," as even-handedly as possible. It argued for religious toleration by showing the ill effects of fanaticism, wherever it could be found, and by praising those religions, such as Islam, that offered toleration to others. At a time of widespread anti-Semitism, it offered one of the most sympathetic portraits then available of European Jewry. Its translation into English removed some of the more radical comments about religion found in the original French text, though the Dutch one did not, and these translations, along with an abridgment in German, meant that the book and especially Picart's images became the standard means of portraying many of the world's religions until well into the nineteenth century. REFERENCES Hunt, Jacob, and Mijnhardt, The Book that Changed Europe: Picart and Bernard's Religious Ceremonies of the World (Cambridge: Harvard University Press), 2010 PROVENANCE Chauntry House Library, Newark, Nottinghamshire (ex libris on each front board) — John A. Irving (ex libris inside each front board)

View 1 of Lot 460: Bernard, Jean Frederic — Bernard Picart (ill.) | The Religious ceremonies and customs of the several nations of the known world...

bernard, jean frederic — bernard picart (ill.) | the religious ceremonies and customs of the several nations of the known world...

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

Mark Twain [Samuel Langhorne Clemens] Two volumes: (i) The Adventures of Tom Sawyer. Hartford: The American Publishing Company, 1876 FIRST EDITION, 8vo (213 x 164 mm), second printing, issue A, frontispiece and 159 wood-engraved text illustrations by True Williams and others, half-title, 4 pages of publisher's advertisements at end, publisher's decorative blue cloth stamped in gilt and black, light peach endpapers, front free endpaper cut out, extremities bumped First American edition, second printing, issue B of text with points: printed on laid paper, versos of half-title and preface not blank, p. XII mispaginated XVI. (ii) The Adventures of Huckleberry Finn (Tom Sawyer's Comrade). New York: Charles L. Webster and Company, 1885 FIRST EDITION, 8vo (215 x 167 mm), frontispiece and 173 text illustrations by E.W. Kemble, half title, photogravure plate of a portrait bust of Clemens by Karl Gerhardt (BAL state 2), publisher's pictorial green cloth, stamped in gilt and black, light peach endpapers, plain edges, housed in green cloth slipcase, very occasional spotting, hinges starting, binding slightly worn, boards marked First edition, early issue of one of the Great American Novels. First editions of Adventures of Huckleberry Finn present a welter of issue points, and copies are usually described as being "early" or "later" issues, as an absolute priority of issue has been impossible to establish. The points of this copy are as follows: frontispiece is "Heliotype," tipped in, cloth not visible on table; title-page is tipped in, dated 1885, with 1884 copyright on verso; p. 13, has "Him and another Man" listed at p. 88; p. 57 reads "with the was"; p. 59, has "le" for "let"; p. 143., has "Co" for "Col."; p. 155 set with larger font of second 5; p. 283, the leaf is a cancel and the engraving has been corrected. "All modern American literature comes from one book by Mark Twain called Huckleberry Finn." Ernest Hemingway, The Green Hills of Africa, 1935. The UK first edition of Huckleberry Finn was issued six months before this first American edition, in red cloth. The American edition was issued in green and blue cloth, with a small number bound in leather, in February 1885. Green cloth is most frequently seen. LITERATURE: (i) BAL 3369; Grolier, American 79; Johnson, p. 27; (ii) BAL 3415; Grolier, American 87; Johnson 43–50

View 1 of Lot 141: Mark Twain | The Adventures of Tom Sawyer, Hartford, 1876, and The Adventures of Huckleberry Finn, New York, 1885, first editions

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