Important Prints & Multiples Evening Sale 

Property of THE STANDARD CLUB of Chicago ANDY WARHOL 1928 - 1987 THE MARX BROTHERS (F. & S. II.232) Screenprint in colors, 1980, signed in pencil and inscribed 'AP 15/30', an artist's proof aside from the numbered edition of 200, from Ten Portraits of Jews of the Twentieth Century, on Lenox Museum Board, with the blindstamp of the printer, Rupert Jasen Smith, New York, co-published by Ronald Feldman Fine Arts, Inc., New York, and Jonathan A Editions, Tel Aviv, and with their inkstamp on the verso, framed sheet: 1017 by 813 mm 40 by 32 in

andy warhol | the marx brothers (f. & s. ii.232)

Creating a Stage: The Collection of Marsha and Robin Williams

Insert (sight: 35 x 13 1/2 in.; 89 x 34.3 cm) artwork by Al Hirschfeld; [with] a signed note from Steven Spielberg on his personal stationary: "Robin, Happy Birthday! Love, Steven"; matted and framed. 

a day at the races (1937) movie poster

Prints

Screenprint in colors, 1980, from the Ten Portraits of Jews of the Twentieth Century series, signed in pencil, numbered AP 7/30, an artist's proof aside from the edition of 200, on Lenox Museum Board, framed

the marx brothers (f. &. s. ii. 232)

Old Master, Modern and Contemporary Prints, including Henri Matisse: Master Printmaker, Works from a Private European Collection and Andy Warhol & The Pop Generation

Screenprint in colours, 1980, signed in pencil, numbered 6/200, printed by Rupert Jasen Smith, published by Ronald Feldman Fine Arts, Inc., New York; Jonathan A Editions, Tel Aviv, Israel, on Lenox Museum Board, the full sheet, in good condition apart from a group of fine vertical creases in the lower right corner of sheet with associated pigment loss, two short vertical broken creases at the upper right tip of sheet with associated pigment loss, a half-moon shaped broken crease in the centre image with pigment loss, four horizontal scratch lines in centre of image associated with broken glass, scattered foxing  mainly in the centre of image

ten portraits of jews of the twentieth century: the marx brothers (f. & s. ii. 232)

Screenprint in colors, 1980, signed in pencil and numbered 96/200 (total edition includes 30 artist's proofs), on Lenox Museum Board, from the Ten Portraits of Jews of the Twentieth Century portfolio, the full sheet, in good condition, framed

the marx brothers (f. & s. ii.232)

Contemporary Art Day Auction

the marx brothers (from ten portraits of jews of the twentieth century)

Prints & Multiples

Screenprint in colors, 1980, signed in pencil and numbered 86/200 (total edition includes 30 artist's proofs), from the Ten Portraits of Jews of the Twentieth Century portfolio, on Lenox Museum Board, with the blinstamp of the printer, Rupert Jasen Smith, New York, co-published by Ronald Feldman Fine Arts, Inc., New York, and Jonathan A Editions, Tel Aviv, Israel, and with their inkstamp on the verso, framed 

Original Film Posters

A Day at the Races / Un Jour aux Courses (1937) Poster, Belgian

A Day at the Races / Un Jour aux Courses (1937) Poster, Belgian Unframed: 33 x 23 in. (84 x 58 cm) Framed: 40 x 31 in. (101.6 x 78.8 cm) The design on this stylised Belgian poster truly captures the zany Marx brothers riding a somewhat mischievous horse. This was the seventh Marx Brothers full-length film. It is a mad-cap story about trying to keep a sanatorium open using the hopeful winnings from a horse race, with the help of a vet posing as a doctor, a race horse owner and a handful of friends !

View 1 of Lot 150: A Day at the Races / Un Jour aux Courses (1937) Poster, Belgian

a day at the races / un jour aux courses (1937) poster, belgian

Freddie Mercury: A World of His Own | On Stage

Freddie Mercury Autograph manuscript working lyrics for songs written for the album A Night at the Opera, comprising: i) 'Death on Two Legs', six pages of lyrics including an near-complete draft and early fragments and phrases, and one page of vocal harmonies with additional lyric fragments on the verso, pencil with some blue ballpoint and black fibretip, in total 7 leaves of British Midland Airways stationery with 1974 calendar ii) 'Lazing on a Sunday Afternoon', three pages of lyrics including two near complete drafts and one page of early fragments, and one page of vocal harmonies, in pencil, text on rectos only, in total 4 leaves of British Midland Airways stationery with 1974 calendar iii) 'Seaside Rendezvous', four pages of lyrics including a near complete draft and early fragments, and three pages of vocal harmonies, in pencil with blue ballpoint and black fibretip, text on rectos only, in total 7 leaves of British Midland Airways stationery with 1974 calendar iv) Five pages of early pencil fragments of lyrics relating to 'Death on two Legs', 'Bohemian Rhapsody' ("so you think you can love me then leave me to die/ no baby") and other songs, text on rectos only, in pencil, blue and black ballpoint, on a pad of blank stationery (165 x 122mm), plus seven blank leaves v) Notes on instrumentation to various songs for recording sessions, four pages of additional fragmentary draft lyrics, three pages of doodles and addresses, text on rectos only, seven leaves, plus the unused remains of a pad of British Midland Airways stationery Altogether 31 leaves, plus additional blanks, c.1974 WORKING MANUSCRIPTS FOR QUEEN'S MOST HIGHLY REGARDED ALBUM. “Go into the studio and make the best record you can!” was the injunction the band received from their new manager John Reid in the summer of 1975 before they assembled to record A Night at the Opera. This was their opportunity to build on exceptional successes of previous months: ‘Killer Queen’ had been their first major hit; their third album Sheer Heart Attack had been highly successful; and the subsequent tour had taken in the USA and Japan. They had also finally rid themselves of an unwelcome management contract - 'Death on Two Legs' is Freddie's farewell tirade against Trident - and their new album would be their first release under new management. The album was recorded over four months using a number of different studios, most notably Rockfield Studios in rural Wales. Production was fraught with arguments and tension (the album's title is a tribute to a relaxing evening spent watching the Marx Brothers to decompress). It was produced, once again, by Roy Thomas Baker, who had also left Trident. A Night at the Opera saw Queen continually testing boundaries in the recording studio - Brian May has called the album "our Sgt. Pepper" - to create a unique soundscape of diverse musical styles with complex arrangements. The album contains five songs by Freddie Mercury (most notably, of course, 'Bohemian Rhapsody'), four by Brian May, and one each by Roger Taylor and John Deacon ('You're My Best Friend'). The current group of manuscripts show Freddie Mercury's characteristic working practices as well as his love of variety: they range from vitriolic rock to effervescent music hall. The earliest notes are on pages of plain notepaper, containing fragments for several songs that probably predate the earliest drafts on British Midland stationery. This has early fragments of 'Seaside Rendezvous' and also 'Love of My Life' (for which see lot 146) as well as an early version of 'Death on Two Legs' that gives the song's unmistakable attitude in unworked form: "You suck my blood You bleed my vein Take all my money Wash it down the drain." There are early drafts when he was first feeling his way into the song, with phrases and individual lines that are yet to coalesce into a coherent whole. These are followed by full drafts of the songs which now largely have the shape of the completed songs, although they often include considerable revisions - for example Freddie reworked the final stanza of 'Seaside Rendezvous' after the song was otherwise near completion. He used pencil for these early drafts, with a few scattered later revisions then following in blue ballpoint pen. There are also notes for the arrangement of vocal harmonies, especially for 'Seaside Rendezvous', and a page with ideas about instrumentation for several songs for the album: 'Seaside Rendezvous', for example, would include "Roger's trumpet, tuba, whistle, tap dance, bells, cow-bell, triangle sirens" on one track, and "Freddie's 'Glen Miller' violin" on another. Freddie's justifiable pride in the album is evident: "It's going to be our best album. It really is [...] There were a lot of things we wanted to do on Queen II and Sheer Heart Attack, but there wasn't space enough [...] Guitar-wise and with vocals, we did things we've never done before. Nothing was out of bounds. The backing tracks on this album are far superior. We felt that they were really closely knit and we seemed to feel each other's needs, which is very important for backing tracks. There were so many songs and styles we wanted to do. It makes a change to have short numbers as well as long ones. It's so varied that we were able to go to extremes. Every molecule on that album is us, just the four of us - every iota. There were no session men; not for strings, not for anything." (Freddie Mercury: A Life, in his Own Words, p.68) Propelled by its exceptional hit single, A Night at the Opera was a major commercial hit and even the NME paid its respects to their artistry: "If it's the most expensive album ever made in a British studio, it's also arguably the best." SPECIAL NOTICE No right to reproduce or commercially exploit the copyright or other intellectual property or image rights in any lot is included with the sale of the lot (including but not limited to song lyrics, sketches, drawings and garment designs). Queen Productions Limited, Queen Music Limited and other rights holders reserve all their rights. No right to exhibit in public or reproduce this lot is included with the sale of this lot without the prior written consent of Queen Productions Limited, who shall act in good faith to consider any such requests.

View 1 of Lot 146: Freddie Mercury | Autograph manuscript lyrics for songs on the album 'A Night at the Opera', c.1975

freddie mercury | autograph manuscript lyrics for songs on the album 'a night at the opera', c.1975

A Night at the Opera / Une Nuit a l'Opera (1935) Poster, Belgian

A Night at the Opera / Une Nuit a l'Opera (1935) Poster, Belgian Unframed: 33 x 23 in. (84 x 58 cm) Framed: 35 6/8 x 28 3/4 x 1 3/4 in. (90.5 x 73 x 4.5 cm) This is most definitely one of the most visually stunning Marx Brothers' posters from the 30s. This film stars three out of four of the Marx Brothers and was the first after Zeppo had left the act. After leaving Paramount Pictures, it was the first film that they made for Metro-Goldwyn-Mayer. It was a huge box-office hit and is one of the Marx Brothers' most collectible titles.

View 1 of Lot 86:  A Night at the Opera / Une Nuit a l'Opera  (1935) Poster, Belgian

a night at the opera / une nuit a l'opera (1935) poster, belgian

Livres & Manuscrits – De Grolier à Godard 

Cortázar, Julio Importante correspondance à Manuel Antín. 50 lettres signées. 1961-1970. 72 pages in-4 ou in-8 (de 290 x 210 à 105 x 203 mm). En espagnol. Les trois premières lettres sont signées "Julio Cortázar", les autres "Julio", une lettre non signée (fin manquante), 49 lettres tapuscrites dont une dizaine avec post-scriptum ou ajouts autographes, quelques petites corrections au stylo ou au crayon, une lettre entièrement autographe ; en espagnol. Exceptionnelle correspondance d’une figure majeure de la littérature argentine, relative aux adaptations cinématographiques de ses récits, dont celles réalisées par son compatriote, l’écrivain et cinéaste Manuel Antín. 2 lettres sont illustrées de dessins. Avec le scénario, tapuscrit, tiré de la nouvelle Circé. La première rencontre entre Cortázar et Antín eut lieu à Paris, en 1961, lors du tournage du film d'Antín , La Cifra impar [Le Chiffre impair], d’après la nouvelle Cartas de Mamá. Ce film, sorti l’année suivante, fut très apprécié par l’auteur qui se réjouit de collaborer avec Antin. Si de nombreuses lettres sont consacrées au cinéma – de L’Âge d’or de Buñuel au Mépris de Godard, de la Soupe au canard des Marx Brothers à Blow up d’Antonioni – elles témoignent surtout d’une grande amitié tissée par-dessus les océans – de Buenos Aires, où réside Antín , à Paris, la ville d’adoption de Cortázar – tout en s’émaillant de précieuses réflexions sur des questions littéraires, artistiques ou politiques, par exemple lorsque Cortázar condamne un capitalisme pourri, ignorant le chemin de l’avenir qui ne sera pas celui de l'URSS, mais pas non plus celui des États-Unis, espère-t-il ardemment. Cette relation épistolaire s’intensifie lorsque les deux amis commencent à travailler ensemble, Antin ayant évoqué l’envie d’adapter la nouvelle de Cortázar "Los buenos servicios", ce qu’approuve l’écrivain le 10 juillet 1962, après avoir vu L’Ange exterminateur de Buñuel. Il décrit l’extraordinaire impression que lui a faite ce film, entre beauté et atrocité, béatitude et torture, tout comme l’a voulu Buñuel, "ese enorme hijo de puta al que estoy apretando contra mi corazon hasta rempérmelo" [gros fils de pute que je serre contre mon cœur jusqu'à ma mort]. Il se dit persuadé qu’Antin lui aussi, est capable de faire du grand cinéma libre, différent du cinéma conformiste et d’Antonioni, du cinéma "astucieux" et de Chabrol ou "psychologique" et de Fellini, qu’il peut faire un film passionnant et "en el fondo, absolutamente fantástica, en el sentido que yo le doy a lo fantástico, es decir lo inmediatemente cotidiano visto bajo una luz de revelación" [dans le sens que je donne au fantastique, c'est-à-dire à l'immédiat quotidien vu sous une lumière de révélation]. Son ami lui ayant également parlé d’adapter un de ses propres écrits, Los Venerables todos (Les Solitaires), Cortázar en pense le plus grand bien. Dans une longue lettre datée du 1er août 1962, il se dit impressionné surtout par l’ambiguïté "casi insoportable" du récit d’Antín, ambiguïté que seuls les Européens ont su créer jusqu’à maintenant, à la différence des idioties archétypales d’Hollywood ("la insalvable idiotez de Hollywood con sus arquetipos reconocibles desde que entran en escena"), une ambiguïté dostoïevskienne, vertigineuse et essentielle. La lenteur du déroulé de l’histoire pourra peut-être poser un problème, pas à lui puisqu’il est un grand admirateur de Dreyer, mais au public contemporain en raison du rythme adopté dans certaines créations du moment, comme dans Jules et Jim de Truffaut. Dans cette même lettre du 1er août, Cortázar approuve l’idée d’un nouveau titre, Anoche en la oscuridad, et le dit à Antín , en français : "Oui, monsieur, c’est une trouvaille". Le 11 avril 1963, il adresse de grands hourras à son cher Manuel en apprenant sa présence à Cannes [Los Venerables todos (Les Solitaires) représenta l’Argentine au festival de Cannes de 1963]. Il espère qu’ils pourront se retrouver à cette occasion à Sestri Levante. Les deux hommes se retrouveront effectivement en Italie, à la fin du mois de mai, débuteront ensemble l’élaboration du scénario de Circé, d’après l’une des nouvelles du recueil Bestiario, échangeant idées et propositions à travers leurs lettres mais également grâce à des enregistrements de cassettes audios. C’est donc à partir du printemps 1963 que la collaboration de l’écrivain et du cinéaste autour de Circé ["la gran puta" ainsi que Cortázar la nomme dans un des enregistrements audios qu’il fait parvenir à Antín ] devient effective. Conscient de la valeur de ses dialogues dans ses récits et romans, Cortázar veut penser qu’ils seront transposables au cinéma, avec l’aide d’Antin puisque tous deux n’ont aucune fausse modestie et sont capables de changer, modifier, recommencer leur travail autant que nécessaire. "Los diálogos suelen salirme bien en las novelas, y a lo mejor ocurre lo mismo en el cine, después que vos me dés un par de lecciones sobre la forma de enfocar la cosa. Lo bueno entre vos y yo es que no tenemos falsos orgullos (ni falsas modestias, que son todavía peores) y que podremos tachar, cambiar, tirar al canasto y recomenzar todo lo que haga falta hasta que nos salga al pelo. Pibe, qué cajita de bombones le vamo a osequiar al respetable !" (31 mars 1963). Le 17 juin, après avoir reçu le script d’Antin écrit après les quelques jours passés ensemble à l’hôtel Balbi de Sestri Levante, Cortázar affirme avoir quasiment terminé les dialogues. Il lui redit ce qu’il pense de l’accueil très mitigé fait à son précédent film, Los Venerables todos, sans doute trop typiquement sud-américain et manquant de clefs pour un public non averti, tout en ayant totalement confiance dans le travail de son ami. Un mois plus tard, le 18 juillet, il commente très précisément et très longuement les propositions du cinéaste pour Circé. Sa première impression est "MAGNIFICA", affirmant que le noyau ("el fuego central") est admirablement réalisé et qu’un grand nombre de choses se sont affinées et ont été "prismatisées", que le personnage de Delia est plus riche et plus complexe, tout en relevant des points de désaccord, notamment sur le style de certains dialogues, la psychologie du personnage de Mario – un adolescent attardé et victime-né selon lui – ou encore celui de Raquel, personnage ajouté par Antin, comme un double de Delia-Circé mais qui devra être mieux exploité et moins vulgaire si l’on veut renforcer la dimension tragique de l’histoire. La fin doit être celle dramatique et insoutenable de suspense qu’ils ont imaginée ensemble à Sestri Levante, souhaitant un climat de perversité victorieuse totale ("un clima de una total perversidad vencedora"). Cortázar reprend donc plusieurs séquences et dialogues, indiquant tout ce qui lui semble trop répétitif, trop évident et contraire à l’atmosphère oppressante et malsaine souhaitée. La lettre se clôt sur une allusion à d’incroyables rumeurs concernant ses transactions financières avec Buñuel, encore plus fantastiques encore que ses romans : "Todo elli mucho mas fantastico que el mas fantastico de mis cuentos". Conscient que la littérature et le cinéma sont deux choses bien différentes, il est satisfait de la façon dont ils arrivent à se comprendre et à trouver des solutions, et comment la hache de guerre à laquelle Antin pouvait s’attendre est remplacée par un calumet de la paix fumant ! En octobre 1963, satisfait du casting, dont la belle Gracelia Borges en qui il a toujours vu sa Delia, il demande des nouvelles du tournage qui se déroule à Buenos Aires. Le 7 janvier 1964, avant les premières projections du film, il prédit à son cher Manuel le succès, certain de l’impact qu’une œuvre difficile et aristocratique peut avoir sur le spectateur, comme Beckett au théâtre, Alain Resnais au cinéma ou Musil en littérature. "Yo creo que en eso está el casi milagro de un Beckett en el teatro y de un Alain Resnais en el cine. Desde luego, ellos y vos le llevan años de evolución estética al público, pero esa distancia, que en otros creadores se convierte en una valla insalvable, y los condena a no ser comprendidos hasta mucho después de muertos, queda sin embargo anulada por ese misterioso ingrediente que conecta y comunica una experiencia estética. Un escritor como Musil, por ejemplo, está tan adelantado a su tiempo como Resnais lo está en materia de cine". Il est sûr, qu’après l’aventure vertigineuse et décevante de Los Venerables todos, le public va enfin pouvoir entrer dans le monde d’Antin, comme il est entré dans le monde d’Orson Welles et de Mizoguchi. Cependant deux mois plus tard, dans la lettre du 16 mars 1964, accusant réception des coupures de presse négatives transmises par Antin, Cortázar se révolte contre le bourbier du conformisme, du Dieu-Patrie et du Foyer et la pudibonderie des critiques qu’il traite de "hijos de perra", comme il se désole des coupes qui ont été faites dans un film de Bergmann [Le Silence, censuré pour pornographie dans certains pays]. Absorbé par les livres, la peinture et son travail, il n’est pas allé souvent au cinéma, ayant trouvé mauvais L’Immortelle de Robbe-Grillet, et ayant eu la plus grosse dispute de sa vie avec sa femme Aurora à propos du Mépris de Godard car, s’il a aimé un certain érotisme froid et sadique, il a trouvé beaucoup trop de remplissage, de sophistication, et aucune justification à ce qu'un gentleman se promène aussi longtemps en robe et un chapeau ! Il avoue que le meilleur film qu’il ait vu depuis six mois, c’est La Soupe au canard des Marx Brothers et que cet aveu vaut bien un double whisky ! Il tente cependant de soutenir son ami qui doit faire face aux reproches qui sont faits à leur film, notamment de tourner le dos à la réalité nationale, bien que depuis qu’il a quitté l’Argentine, il ne la connaît plus guère, et que par ailleurs son point de vue sur le cinéma est celui d’un poète "que ve en el cine el equivalente visual de las metáforas del poema", rêvant d’une narration poétique, avec métaphore, analogies, récurrences et absurdités qui n'en sont pas et souhaitant que petit à petit, on atteigne un cinéma d’une totale liberté créatrice. Plusieurs lettres datées de 1964 et 1965 concernent le nouveau projet d’Antin autour de deux autres nouvelles de Cortázar, L’Idole des Cyclades et Continuité des parcs [du recueil Fin d’un jeu]. Tout aussi détaillées que celles concernant leur travail commun sur Circé, ces lettres reflètent en revanche de plus grands désaccords artistiques. Cortázar pense que L’Idole ne conviendra pas si son ami n’aime pas les solutions fantastiques ou surnaturelles car le récit ne peut pas être réduit à un simple cas pathologique de frustration et de jalousie. Insistant sur la notion de magie et l’importance du surnaturel dans ses histoires, il avoue ses nombreuses réticences et perplexités – partagées par sa femme – sur les scripts que lui fait parvenir Antin, trop axés sur la psychologie. Il dit s’ennuyer devant les films d’Antonioni et de Fellini, qu’il qualifie "pervesemente" de romanciers du cinéma, à l’inverse de Polanski qui a su gérer un double courant, comme Bergman avec À travers le miroir par exemple, qui permet au spectateur sensible de découvrir ce qui se cache derrière la façade. C’est finalement avec l’aide de deux scénaristes argentins, Hector Grossi et Raimundo Calcagno, qu’Antin poursuivra son film, tourné au Pérou et sorti à Buenos Aires, en juillet 1965, sous le titre La Continuidad de los parques. Au printemps 1965, Cortázar a pu voir Intimidad de los parques et exprime de façon franche sa déception, triste et désolé de ne pas aimer cette œuvre très belle mais contenant trop d’éléments confus et incohérents, un film éloigné de ce qu’il a écrit – ce qui ne serait pas très important – mais surtout loin, selon lui, de ce qu’est Antin, en tant que réalisateur et en tant qu’artiste. Mais après avoir dit, à chaud, ce qu’il pensait, il espère qu’ils pourront bientôt se retrouver et mutuellement s’expliquer sur ce qui les sépare sur un plan "exclusivamente estético" (4 mai 1965). Et toujours le cinéma alimente leurs échanges. Le 22 janvier 1966, après avoir vu trois fois Pierrot le fou dont il vante la subtilité et la poésie, il se dit persuadé qu’Antin rencontrera lui aussi le succès, se référant à la célébrité acquise par Godard dont on exhume et encense aujourd’hui les anciens films, passés inaperçus ou censurés à leur sortie. Et à la fin de cette même année, le 8 décembre, alors qu'il s’apprête à partir une nouvelle fois à Cuba, c’est du cinéaste Antonioni dont parle Cortázar et de Blow up, dont il ne sait quasiment rien. Un ami anglais, qui a assisté à la fin du tournage, lui a dit avoir été ébloui, mais sans doute par Vanessa Redgrave, ironise-t-il. Quant à lui, il ira simplement voir le film en payant sa place comme n’importe quel spectateur. Dans toute cette correspondance, il est bien évidemment question des propres activités de Cortázar, de son travail comme traducteur pour l’Unesco (ce qui le conduit assez régulièrement à séjourner à Vienne), de ses écrits, avec l’évocation des fameux "cronopes" (Historias de Cronopios y de Famas). L’écrivain se désole que certains de ses livres soient épuisés, reportant la faute sur les libraires ("unos perfectos cochinos"), parle d’un essai encore inabouti sur une histoire de masques et de perruques. II envoie à Antin une nouvelle "Los pasos en las huellas" [qui ne paraîtra qu’en 1974 dans le recueil Octaedro], expliquant qu’il ne parvient pas à travailler lorsqu’il s’y astreint, mais qu’il peut écrire des choses formidables, en très peu de temps, lorsqu’il s’assoit dans un café, sans idée particulière. Il parle à plusieurs reprises du film El Perseguidor [d’après sa nouvelle L’Homme à l’affut], réalisé par l’argentin Osias Wilensky, de sa fascination pour la révolution cubaine (lettre du 10 décembre 1962) et du séjour qu’il y effectue en janvier suivant, admirable en tous points, ayant ressenti la joie des Cubains de se sentir libres, malgré la présence quotidienne d’une mort possible. Les nouvelles qu’il reçoit de la situation instable en Argentine lui font penser au monde créé par Borges dans le récit Tlön, Uqbar, Orbis Tertius, avec les coups d’État qui s’y succèdent, entre sinistre et carnavalesque ("es entre siniestro y carnavalito", lettre du 10 juillet 1962) et le 8 décembre 1966, quelques mois après le putsch de la junte militaire, il commente le nouveau régime dictatorial qui se met en place : "una entrada definitiva en la etapa conservadora. À plusieurs reprises, il évoque son roman Rayuela [Marelle], sorti en 1963, le plus souvent sous son titre anglais Hopscotch et le tollé international que l’ouvrage a soulevé. Il se confie également sur des sujets plus intimes, à propos de son épouse Aurora Bernárdez, de celle d’Antin, la décoratrice et costumière Ponchi Morpurgo, ou sur la mort de sa grand-mère maternelle, événement qui lui enlève momentanément le désir de se sentir vivant ("las ganas de sentirme vivir"), ce qui est la grande occupation de sa vie, avoue-t-il. On relève le nom de plusieurs artistes, celui de Luis Buñuel donc, "un cronopio descomunal" [un énorme cronope] qui s'est proposé d’adapter la nouvelle de Cortázar Les Ménades, ou ceux de Jorge Luis Borges, Carlos Fuentes, Alejo Carpentier ou encore Nathalie Sarraute qui reçoit le Prix international de littérature en 1964, alors que lui-même était en lice pour le Prix Formentor, Cortázar écrivant de sa main, dans la marge de la lettre datée du 16 mai de cette année-là : "¡¡esas mujeres!!" [Ces femmes !]. Cette extraordinaire correspondance se clôt avec quelques lettres, plus espacées dans le temps après l’intensité de celles échangées pour leur travail en commun, mais toujours en relation avec le cinéma et la littérature. De Vienne le 8 octobre 1965, il se réjouit très affectueusement de la naissance de la fille de Manuel et de sa femme Ponchi, avant d’ironiser sur une proposition du cinéaste Antonioni souhaitant s’inspirer d’une de ses nouvelles, "Las babas del diablo", ce qui lui fera peut-être gagner de l’argent, mais sans savoir du tout ce qui restera de son texte [Blow up de Michelangelo Antonioni, sorti en 1966, est inspiré de cette nouvelle tirée du recueil Les Armes secrètes, paru en français sous le titre Les Fils de la Vierge]. Il évoque également un magnifique voyage qu’il vient de faire en Iran. En 1969, il s’étonne de l’intérêt que susciterait son roman Los Premios [Les Gagnants] pour le cinéma, puis évoque sa séparation avec Aurora, se sentant comme le personnage d’Edgar Allan Poe entré dans le maelström. Enfin, dans la dernière lettre, datée de Saignon dans le Lubéron, le 8 août 1970, Cortázar se désole que le film d’Antin, Don Segundo Sombra, en compétition à Cannes, soit si mal reçu, accusant l’industrie cinématographique et la bêtise du tribunal infernal siégeant sur la Croisette. Deux lettres illustrées de dessins : - Dans la marge de la lettre datée du 5 mai 1962, écrite au retour d’un voyage à Buenos Aires, Cortázar a dessiné une spirale taoïste et inscrit "EL YIN, EL YAN, ÉSO ES EL TAO". - La lettre du 23 avril 1964 est agrémentée du dessin de trois cafards, au feutre noir, et de deux coupures de presse (en français), avec deux lignes autographes se référant au credo esthétique d'Oscar Wilde selon lequel la nature imite l'art ! Le premier entrefilet relate l’histoire d’une femme qui, pour faire une farce de premier avril, a déposé un cafard en plastique dans un verre de vin que le mari boit innocemment avant de devoir se précipiter à l’hôpital. Le second, titré "Baiser à la naphtaline pour se débarrasser de son amant", expose un fait divers s’étant déroulé à Messine (Sicile) : une jeune femme, désireuse de rompre avec son amant, empoisonne celui-ci en lui offrant des chocolats remplis de naphtaline, et déclarant avoir été heureuse de lui avoir donné "le baiser de la mort". Ces deux récits évoquent bien entendu l’histoire de Delia et de ses chocolats empoisonnés. [On joint :] [ANTIN, Manuel]. [Circé]. Tapuscrits. [Juin 1963]. 45 feuillets in-4, numérotés 2 à 46 (manque la première page). Bords effrangés et froissements. Script avec dialogues de l'adaptation cinématographique de Circé dans une des premières versions, élaborée par Antin. À noter (p. 37), la transcription d’une remarque d'Antin lui-même, expliquant qu’à partir de cette page, il s’écarte de ce qui a été discuté entre Cortázar et lui, à Sestri Levante, parce qu’il hésite sur la suite à donner ("No ‘veo’ bien, y por consiquiente tempoco ‘oigo’"), attendant les remarques de Cortázar et lui demandant de ne pas se moquer de ses dons de cinéaste. Dans cette version, le personnage de Raquel n’est pas encore présent alors qu'il le sera dans la version définitive, il est donc très probable qu'il s'agisse d'un des tout premiers scripts composé par Antin, peut-être celui que Cortázar commente abondamment dans ses lettres de l'été 1963 (voir supra). Avec photocopie d’une lettre dactylographiée à Julio Cortázar. Buenos Aires 31 mars 1965. Relative aux réserves émises par l’écrivain sur le film Intimidad de los parques.

View 1 of Lot 97: Importante correspondance au réalisateur argentin Manuel Antín (50 lettres), 1961-1970. [Avec :] Circe. Dialogues pour l’adaptation cinématographique [juin 1963].

importante correspondance au réalisateur argentin manuel antín (50 lettres), 1961-1970. [avec :] circe. dialogues pour l’adaptation cinématographique [juin 1963].

The Ricky Jay Collection

Hanlon, William, Edward Hanlon, & George Hanlon

Hanlon, William, Edward Hanlon, & George Hanlon The Hanlons. Le Voyage en Suisse. Elmer & Thall Owners and Managers. The Railroad Disaster Where No One is Hurt——It's Only Done for Fun. Cincinnati & New York: The Strobridge Litho Co, 1900 (N.Y. No. 9049) Color lithograph poster (27 7/8 x 38 1/8 in.; 708 x 970 mm). Three tears at left margin, two into image, tiny restoration to two lower corners. Laid down on linen. A striking tableau from the Hanlon brothers' signature theatrical piece, Le Voyage en Suisse. Born in Manchester, England, the Hanlons were trained by their father in tumbling, juggling, acrobatics, and trapeze. (The Hanlons are credited with the invention of the aerial safety net, but, unfortunately, not until after the oldest of the brothers, Thomas, had suffered a devastating fall.) The brothers began to transition their act to narrative pantomimes that reached their height with Le Voyage en Suisse, which premiered in Paris in 1879 and subsequently toured the world. The plot was simply a vehicle to allow the Hanlons to display their extraordinary gymnastic and juggling abilities, as well as their pioneering stage effects, which included the explosion of a full-size train, as depicted in the present poster. The comedic, knockabout style of the Hanlons influenced nearly all twentieth-century popular entertainments—vaudeville, circus, musical theater, and film—and is clearly recognizable in the work of Georges Méliès, Buster Keaton, and the Marx Brothers.

View 1 of Lot 293: Hanlon, William, Edward Hanlon, & George Hanlon | Perhaps the most influential acrobatic troupe of the nineteenth century

hanlon, william, edward hanlon, & george hanlon | perhaps the most influential acrobatic troupe of the nineteenth century

Fine Books and Manuscripts

Marx, Groucho. Two typed letters signed ("Groucho") to S. J. Perelman, together 2 pages, 4to, single-spaced, Los Angeles and Beverly Hills, 17 June 1948 and 30 August 1966. Perelman had collaborated on the scripts for two Marx Brothers movies in the early 1930s, Monkey Business and Horse Feathers. In his first letter Marx praises a Perelman piece in the New Yorker: "I, like most others, regard myself as a very tough audience and, for some unknown reason, take great pride in it. This is a hell of a thing to be proud of, but frankly there isn't much else. Your piece in the last New Yorker, about the dame with the platinum hair, floored me ... It's a shame that a man of your talent should have to accept miserly assignments from [Harold] Ross [the magazine's editor] ..."  Marx, in his second letter, advises Perelman, if he wants to increase the sales of his books, to "go on the Johnny Carson Show, the Merv Griffin Show, the Jack Douglas Show ... It's not very pleasant work, revealing yourself publicly, but with rare exceptions, this is what writing books has reduced itself to ... this advice hurts me more than it does you ..."

Marx, Groucho. Two typed letters signed ("Groucho") to S. J. Perelman, together 2 pages, 4to, single-spaced, Los Angeles and Beverly Hills, 17 June 1948 and 30 August 1966. Perelman had collaborated on the scripts for two Marx Brothers movies in the early 1930s, Monkey Business and Horse Feathers. In his first letter Marx praises a Perelman piece in the New Yorker: "I, like most others, regard myself as a very tough audience and, for some unknown reason, take great pride in it. This is a hell of a thing to be proud of, but frankly there isn't much else. Your piece in the last New Yorker, about the dame with the platinum hair, floored me ... It's a shame that a man of your talent should have to accept miserly assignments from [Harold] Ross [the magazine's editor] ..."  Marx, in his second letter, advises Perelman, if he wants to increase the sales of his books, to "go on the Johnny Carson Show, the Merv Griffin Show, the Jack Douglas Show ... It's not very pleasant work, revealing yourself publicly, but with rare exceptions, this is what writing books has reduced itself to ... this advice hurts me more than it does you ..." Allen, Fred. Typed letter signed ("F. Allen") to Perelman, 1 page, 8vo, single-spaced, n.p., 22 November [1948?]. The author of the mordant Treadmill to Oblivion praises a Perelman piece in Holiday magazine and encloses a news-clipping advertisement for "Wick's Adjustable Fancy Hat Bands." Wodehouse, P. G. Three typed letters signed ("P. G. Wodehouse") to Perelman, together 3 pages, 8vo and 4to, single-spaced, Remsenburg, Long Island, 16 August 1954 to 5 October 1958. 16 August 1954: "... I am a fervent admirer of your stuff and was very flattered when Somerset Maugham in his The Vagrant Mood bracketed us together. I love your current New Yorker series ... My private opinion is that nobody reads anything in the New Yorker these days except your contributions."  14 January 1957 (thanking him for a copy of the just-published The Road to Miltown): "... I don't think even you have ever done anything better than these, but I can't say for certain, as I still have half the book to read ..." 5 October 1958: "What heaven getting twenty-eight years of S.J.P. in one handy volume [The Most of S. J. Perelman] ... Thanks a thousand (1000) times for sending me this superb book. It has come, however, at rather a bad time, as I am trying to think out a plot for a new novel and was concentrating beautifully till it arrived. I now find myself sneaking off to the book shelf and hoiking down The Most of S. J. Perelman when I ought to be at my desk trying to figure out why the hell Bertie Wooster's Aunt Dahlia should have engaged Sir Roderick Glossop (incognito) as her butler, an absolutely essential item of my story ..."

humorists

After Lanse the marx brothers; charlie chaplin, two reproductions, both signed and in pencil, the larger 61 by 45.5 cm.; 24 by 18 in.; together with a print of Laurel and Hardie, by Hirschfeld, signed and numbered in pencil. (3)

after lanse

Bibliothèque R & B.L. Dada-Surréalisme La Chasse

Édition originale ornée de nombreuses reproductions photographiques.

Édition originale ornée de nombreuses reproductions photographiques.UN DES 28 PREMIERS EXEMPLAIRES SUR VERGÉ DE MONTVAL, celui-ci un des 8 HC, contenant UNE EAU-FORTE ORIGINALE DE PICASSO AVEC COLLAGE DE DEUX PLUMES D’OISEAU, L’UNE VERTE ET L’AUTRE ROUGE (les eaux-fortes pour ces 20 exemplaires sont toutes différentes), signée par l’artiste au bas de la justification du tirage.EXEMPLAIRE DE PAUL ELUARD portant son ex-libris dessiné par Max Ernst avec la devise « Après-moi le sommeil », UNIQUE PAR LA COMPOSITION DES PIÈCES ORIGINALES AJOUTÉES :1 - 12 PHOTOGRAPHIES ORIGINALES montées sur 6 feuilles de papier Montval, portraits individuels ou en groupe, d’écrivains et artistes surréalistes français ou étrangers : Queneau, Naville, Breton, Chirico, Eluard, Soupault, Desnos, Aragon, Tzara, Rigaut, Toyen, Dalí, Penrose, Mesens, Scutenaire, Nougé, Magritte, Picasso et Dora Maar (prenant un bain de mer), Max Ernst, Gala, Delteil, Miró, Arp, Benjamin Péret, etc. à différentes époques de leur vie, les premières datant de leur prime jeunesse (l’une d’entre elles porte LES SIGNATURES AUTOGRAPHES DE BRETON, ELUARD, TZARA ET PÉRET).La première photographie, non signée, est de Man Ray (1924, Bureau de recherches).La quatrième photographie a été prise à l’Exposition Internationale du Surréalisme de 1936 à Londres.TOUTES LES PHOTOGRAPHIES SONT LÉGENDÉES PAR PAUL ELUARD.2 - LE CONTRAT ORIGINAL ENTRE BRETON, HUGNET ET GILBERT LÉLY pour cet ouvrage rédigé par Gilbert Lély, signé par les trois écrivains, donnant le droit de publication à G. Lély. 2 pages in-8 (repliées) sur papier timbré, 29 mars 1934 (déchirure en long, restaurée).3 - UN BROUILLON AUTOGRAPHE D’UN POÈME EN PROSE D’ANDRÉ BRETON, vers manuscrits d’André Breton numérotés de 1 à 1 page in-4 (repliée) numérotée 409 à l’encre.4 - UN DOCUMENT DE LA MAIN D’ANDRÉ BRETON donnant les détails des objets, peintures et écrits présentés par les surréalistes à une exposition.5 - UN DOCUMENT DE LA MAIN D’ANDRÉ BRETON : liste de titres divers dont ceux des ouvrages d’Eluard et des siens.6 - UNE LETTRE AUTOGRAPHE SIGNÉE AU CRAYON DE MAX ERNST À PAUL ELUARD (3.II.1930, du Grand Hôtel Littré à Paris).7 - UN POÈME AUTOGRAPHE SIGNÉ, SUR PAPIER ROUGE SANG, DE RENÉ CHAR INTITULÉ Dépendance de l’adieu, publié en 1935 chez G.L.M., 1 page in-4 (repliée).8 - UN POÈME EN PROSE AUTOGRAPHE SIGNÉ DE RENÉ CHAR : Au Coeur du lance-pierre, Barcelone 20-8-30. 1 page.9 - UN POÈME AUTOGRAPHE DE RENÉ CHAR, Poème scolaire, 8 mai 31, 3 h 20, 1 page.10 - 1 CARTE POSTALE DE VALENTINE HUGO, avec post-scriptum de Jean Hugo, À PAUL ELUARD (vieilles vues de Chaville), datée vendredi 11 octobre 1935, sur 2 cartes postales.11 - UN ARTICLE AUTOGRAPHE SIGNÉ DE RENÉ CREVEL ADRESSÉ À ANDRÉ BRETON, 2 pages in-4 écrites sur un feuillet rectoverso, sur le pacifisme, l’impérialisme… (repliées).12 - 8 PAGES DE MANUSCRIT ET DE DESSINS ORIGINAUX DE SALVADOR DALÍ, sur 5 feuillets. « Le point de vu surrealiste », illustré de dessins au crayon (p. 1, repliée) ; « Surrealist woman romance » scenario de Salvador Dalí Marx Brothers avec de très nombreux dessins originaux à l’encre (1p. 1/2 sur un feuillet recto-verso replié) ; très nombreux dessins (têtes, cheval,…) sur le brouillon d’une lettre à « monsieur Noailles » (1 page repliée) ; notes quasiment illisibles au crayon avec dessin d’un jeune homme au crayon, au dos magnifique dessin à l’encre (2 pages sur 1 f. replié) ; dernier feuillet avec notes recto-verso et dessins à l’encre de nus, village de bord de mer, profil, femme avec chapeau, etc.13 - POÈME AUTOGRAPHE EN PROSE DE PAUL ELUARD (Les Dessous d’une Vie ou la pyramide humaine, copie par Eluard, 1 page repliée).14 - POÈME AUTOGRAPHE DE PAUL ELUARD : A La Flamme des fouets (Capitale de la Douleur, 1 page repliée).15 - UN QUATRAIN AUTOGRAPHE DE PAUL ELUARD : « Trois chevaux aigus/Sauf vers le Nord/Trois routes perdues/Sauf vers l’aurore ».Un grand nombre d’exemplaires furent saisis à la frontière belge et l’ouvrage fut interdit en France.16 - POÈME AUTOGRAPHE SIGNÉ DE PAUL ELUARD : L’Or et l’eau froide, 1 page in-4 (repliée).17 - POÈME AUTOGRAPHE DE PAUL ELUARD : Nulle rupture. : La lumière et la conscience m’accablent d’autant de mystères, de misères que la nuit et les rêves. 56 vers sur 2 pages grand in-4 (repliées).18 - CORRECTION AUTOGRAPHE DE LA MAIN D’ELUARD à un poème du livre « Tout séduit », un vers ajouté, p. 84.19 - UNE LETTRE AUTOGRAPHE SIGNÉE DE DELVAUX À PAUL ELUARD, 2 pages, Bruxelles, 12.4.1942 pour le remercier de l’envoi d’un livre et lui dire son admiration pour sa poésie « j’aime énormément votre poésie où on sent un homme ».20 - UNE LONGUE ET INTÉRESSANTE LETTRE LITTÉRAIRE SIGNÉE DE LOUIS SCUTENAIRE, ÉGALEMENT PAR IRÈNE HAMOIR, À PAUL ELUARD, datée du 30 avril 1942 pour le remercier de l’envoi du second Livre ouvert. Il regrette de le voir si peu et ce à cause de la guerre, lui témoigne son amitié et son admiration, il travaille à un ouvrage sur Mag[ritte] (2 pages sur un f. in-4 replié).21 - ÉBAUCHE D’UN POÈME MANUSCRIT DE TRISTAN TZARA AU CRAYON. (3 pages sur 2 feuillets).22 - UN POÈME AUTOGRAPHE SIGNÉ PAR RENÉ CHAR ET PAUL ELUARD ÉCRIT EN COLLABORATION : Paliers, quelques ratures, de la main de Char (1 page in-4, repliée).23 - UNE BELLE LETTRE AUTOGRAPHE SIGNÉE DE MIRÓ À PAUL ELUARD (Varengeville sur mer, 24 juillet 1935, 1 page in-4 repliée). Il le remercie de l’envoi de son livre (…) La lecture de vos poèmes est toujours pour moi une fête et un bel arc-en-ciel sur une pluie d’hirondelles…24 - MANUSCRIT AUTOGRAPHE SIGNÉ DE MAGRITTE : Le Fil d’Ariane (1 page in-4).25 - UNE LETTRE AUTOGRAPHE SIGNÉE DE SOUPAULT À FERNAND DIVOIRE (1 page repliée).26 - LE PROSPECTUS DE L’OUVRAGE (se lisant par transparence)EXEMPLAIRE EXCEPTIONNEL.REMARQUABLE RELIURE DE PAUL BONET, décrite dans ses Carnets, n° 1093, avec ce commentaire « alors que la recherche m’est trop souvent pénible, je retrouve la joie pour décorer ces livres qui me sont proches ».

petite anthologie poétique du surréalisme. introduction par g. hugnet. paris, éditions jeanne bucher, 1934. in-8, bandes multicolores de box de tons vifs : vert, rouge, citron, bleu ardoise, inégalement disposées, sur lesquelles vient se projeter un motif mosaïqué de veau blanc et noir, dos plat orné de même, doublure de box bleu ardoise et garde de box citron pour le premier plat, et rouge et vert pour le second, tranches dorées sur témoins, couverture et dos conservés, chemise, étui (paul bonet, 1955).

1. king gustav of sweden (1858-1950), signed 'gustav' and dated 1890.2. princess elisabeth of anhalt-dessau (1857-1933), signed 'elisabeth ...' and dated 1928, by r. knefel, neusterlitz.3. princess victoria of baden (1862-1930), queen of sweden, signed 'vicky', by a. marx, frankfurt am main.4. grand duke michail michailowich of russia (1861-1929), signed 'georges' and dated 1896, by h. rentz & f. schrader, saint petersburg.5. 'the claremont trio', the children wearing caps of the royal yacht victoria and albert, inscribed 'frohe weihnachten wünscht dir das clairmont trio' and dated 1891, by heath, plymouth.6. princess charlotte of württemberg, princess zu schaumburg-lippe, later queen of württemberg (1864-1946), with her dog piff, signed 'charlotte, piff' and dated 1887 friedrichshafen.7. erbgroßherzogin elisabeth von oldenburg, princess of prussia (1857-1895), signed 'elisabeth' and dated 1893, by f. titzenthaler, oldenburg gr.8. the twins duchess elsa (1876-1936) and duchess olga (1876-1932) of württemberg, and their mother, duchess vera constantinova (1854-1912) daughter of grand duke constantin of russia; the photo taken in moscow and signed 'elsa, olga' inscribed moskau 1896 (coronation of emperor nicholas ii) .9.-11. ernst duke of sachsen -altenburg (1826-1908), inscribed (9) 'in dankbaren erinnerung an freiburg 28/5 1889, ernst von sachsen altenburg'; (10) 'fideliter et constanter dein vreuer freund ... '; (11) 'dein alte freund ernst v. sachsen altenburg' 12. karl egon furst zu fürstenburg (1820-1892), inscribed and dated 1890.13. louise, duchess of fife, princess of great britain (1867-1931) with her child, signed 'louise', by w & d downey, london.14. fürstin alexandra von schwarzburg, princess of anhalt (1868-1958), signed 'alix' and dated 1900, by ad. hartmann, dessau. (framed) 15. duke ulrich of württemberg (1877-1944), dated 1898, son of duke phillip and archduchess marie therese of austria, and his brother...16. duke robert of württemberg (1873-1947) in 1900 he married archduchess marla immakulata of austria, inscribed 'reiterfest stuttgart am 28. october 1898 ...', by h. brandseph, stuttgart.

Books, Manuscripts and Music from Medieval to Modern

Giuseppe Mazzini Important collection of 10 letters signed, to patriots in Italy, including Benedetto Cairoli, Rosario Bagnasco, Ippolito Giderzolli and Federico Ballazzi about Garibaldi, the Monarchy and the need to remove the Papacy, in which Mazzini urges the patriots to free Rome and Venice, advising against allowing Garibaldi's present activities to dictate where to promote military action, since Garibaldi will invariably head to the centre of the fighting wherever it takes place: he also explains some of his most important political philosophies; namely that, as the emancipation of Rome must be the work of the entire nation, a Republic must replace the Monarchy, in which Italians have the duty to replace the hypocrisy of the Papacy with Liberty, Conscience and Truth 27 pp, mostly 4to, 2 Aug 1859 to 6 May 1863 (where dated) [with] later transcripts This is an important collection of unpublished letters, encapsulating some of Mazzini's most important philosophies, his hatred of the Monarchy and the Papacy, and his attitude to Garibaldi. Most of the political letters appear to date from around 1860-1862: for example, the letter to Libertini of 3 April 1862 (in Opere, ed. L. Salvatorelli, I, 806). He emphasizes the need for patriots to keep to a consistent plan, rather than be directed solely by the campaigns of Garibaldi. The anti-Monarchist attitude shown in this collection is typical of Mazzini but by the 1850s Mazzini had to contend with Cavour's lead to unite Italy under the crown of Piedmont. He battled unsuccessfully against the monarchist movement, declaring that the emancipation of Italy was a national duty. To achieve unity, the Nation had to be in charge of its own forces and means. Toynbee rated Mazzini as "The true teacher of our age", and Michael Biddiss notes that his views eventually lead to far greater successes than did those of Marx. Similarly modern was his anti-clericalism, and especially his grievances against the Papacy for its complicity in the evils perpetrated in Italy. In this collection he urges his brothers that the duty of all Italians was to plant the Banner of Liberty of Conscience and Thought over the ruins of the Papal power, and to declare to the Pope "resign and disappear, you are no more than a usurper: in us resides Life and Religion". PROVENANCE: Sotheby's, London, 26 April 1990, lot 417

View 1 of Lot 342: Giuseppe Mazzini | Collection of ten letters signed, to Italian patriots, 1859-63

giuseppe mazzini | collection of ten letters signed, to italian patriots, 1859-63

Bibliotheca Brookeriana: A Renaissance Library. Magnificent Books and Bindings

Colonna, Francesco. Hypnerotomachie, ou Discours du songe de Poliphile, deduisant comme Amour le combat à l’occasion de Polia. Soubz la fiction de quoy l’aucteur monstrant que toutes choses terrestres ne sont que vanité, traicte de plusieurs matieres profitables, & dignes de memoire. Nouvellement traduict de langage Italien en François. Paris: Louis Blaublom (Cyaneus) for Jacques I Kerver, 20 August 1546

Colonna, Francesco. Hypnerotomachie, ou Discours du songe de Poliphile, deduisant comme Amour le combat à l’occasion de Polia. Soubz la fiction de quoy l’aucteur monstrant que toutes choses terrestres ne sont que vanité, traicte de plusieurs matieres profitables, & dignes de memoire. Nouvellement traduict de langage Italien en François. Paris: Louis Blaublom (Cyaneus) for Jacques I Kerver, 20 August 1546 First edition of the first French translation of this famous archaeological-architectural romance, lavishly illustrated with woodcuts based on those designed for the first edition (Venice, 1499; see lots 381 & 382 in the sale of Bibliotheca Brookeriana, 12 October 2023), and fourteen new subjects. It is often considered one of the most beautiful books of the French Renaissance. The genesis of the translation (in fact, a condensed adaptation) is obscure. The editor, Jean Martin (ca. 1507–1553), claims in his dedicatory letter to Henri de Lenoncourt, that it was made by a “Gentilhomme vertueux, & de bon savoir,” adding, in the book’s preface, that he had needed to give it only finishing touches. Jacques Gohory, in a bitter preface to the second edition, published after Martin’s death by Kerver (1554; reprinted 1561), identifies the translator as “a knight from Malta, a cultured and talented man,” and insists that the translation was in his hands before Martin’s, who botched the job (Duché-Gavet, “Jacques Gohory’s copy of the Poliphile (1546): A first analysis of his handwritten marginalia,” in Marginal Notes: Social Reading and the Literal Margins [2000], pp. 21–40). Some modern critics doubt the existence of this Eques Meltensis, and credit Martin with crafting the entire book; others persist in uncovering his identity: the Lyonese humanist, Jean de Vauzelles (or his brother George), are the latest contenders. Martin, a self-styled “studieux d’architecture”, most certainly shaped the book. He was working, almost simultaneously, on French translations of the treatises on architecture by Serlio, Vitruvius, and Alberti, and he explicates here much architectural terminology, adds printed glosses and scholia in the margins (found on twenty-eight pages, and absent in the original), and strips from the text many non-architectural descriptions. New woodcuts of buildings and formal gardens are incorporated, and architectural or antique elements are placed in some others. The book nourished antiquarian fantasies and became a sort of model book for designers of ephemeral architecture and garden art. The blocks were cut by multiple cutters (Mortimer recognized four hands), one of whom might be Jean Goujon, the illustrator of Martin’s translation of Vitruvius (1547). A preparatory drawing for the title-block is associated with the Fontainebleau designer Luca Penni. This copy was bound for Marcus Fugger (1529–1597), the eldest son of Anton Fugger, head of the powerful textile trading, banking, and mining family based in Augsburg. Marcus matriculated in June 1546 at the Collegium Trilingue in Louvain, and began there to build a library, acquiring books both new and second-hand, sometimes inscribing on the pastedown of the upper cover his name or initials MF, a date, the adage O.R.V.E. (Omnium Rerum Vicissitudo Est, from Terentius Afer’s Eunuchus), and a drawing of the family arms. A few years later, Marcus was buying heavily in Paris, commissioning (until about 1552) large numbers of standard bindings, in brown calf, these simply decorated, often with the small tool of a hand holding a branch, upon which perches a bird, or a crowned double-headed eagle (for reproductions of three such bindings, see Hobson & Culot, Italian and French 16th-century Bookbindings, no. 41). He also commissioned exquisite bindings from the royal binder, Gomar Estienne (see lot 33), from Claude de Picques, and from a shop known as “Wotton Binder C”. He habitually wrote his name (“Marx Fugg.,” “Marcus Fugger,” or similar) on the paste-down of the upper cover, and some of his luxury bindings are tooled in gold with the letters O.R.V.E. and his initials. After his father’s death, in 1560, Marcus became leader of the firm, and thereafter his book purchases dwindled. Folio (331 x 214 mm). Roman type, with some italic including shoulder-notes, 45 lines plus headline. collation: ã*6 A-Z6 Aa-Bb6 CC8: 164 leaves. Woodcut title-border signed with Jacques Kerver’s initials and the turtle symbol of Louis Blaubom, 181 woodcut illustrations (including 13 full-page), variously attributed to Jean Cousin and Jean Goujon, 10-line woodcut floriated initials, Kerver’s woodcut device on Cc8v. (Occasional very light marginal spotting, marginal restoration to upper fore-edge corner of Aa6.) binding: Parisian tan calf over pasteboards (339 x 224 mm), ca. 1550, by Wotton Binder C, gilt fillets around sides, double gilt fillets framing an interlaced rectangle and lozenge with loops at angles of rectangle, gilt quatrefoils at outer angles, central cartouche composed of circles of an open leaf and tendrils, with azured stirrup tool at first sides, in center “DISCOURS. / DV. SONGE. DE. / POLIPHILE.,” spine with 6 full and 2 half bands, gilt quatrefoil in each compartment, gilt edges. (Corners, joints, and second spine compartment restored.) Black morocco folding-case. provenance: Marcus Fugger (signature “Marcus Fuggerus” on front pastedown), by descent to — Philipp Fugger (1567–1601), by descent to — Marcus Philipp Fugger (1598–1620), by descent to — Marquard Fugger, Graf von Kirchberg und Weissenhorn (1596–1655) — Öttingen-Wallerstein, family library at Schloss Maihingen (armorial ink-stamp on title-page — Eugen Wolfgang Karl Friedrich Joseph Notger, Fürst zu Öttingen-Öttingen und Öttingen-Wallerstein (1885–1969; Karl & Faber, Munich, 6–7 November 1933, lot 170) — Raphaël Esmerian (1903–1976; Antoine & Étienne Ader, Jean-Louis Picard, Jacques Tajan & Claude Guérin with Georges Blaizot, 6 June 1972, lot 50), purchased by — unidentified owner (FF 116,000) — Fernand Pouillon (1912–1986; Ader Picard Tajan & Claude Guérin, Monte Carlo, 1 July 1986, lot 172) — François Ragazzoni (Tajan, Paris, 13 May 2003, lot 9) — Livio Ambrogio (bookplate). acquisition: Purchased from Stéphane Clavreuil Rare Books, London, 2019. references: BP16 112393; USTC 12610; P. Renouard, ILP, IV: no. 160; Mortimer, French, no. 145; for the binding see: Foot, “Thomas Wotton and his binders,” in The Henry Davis Gift: … Volume I: Studies in the History of Bookbinding (London, 1978), p. 153 (Appendix V: Bindings by Wotton’s binder III [Wotton’s binder C] for other collectors, no. 23); for the translator of this edition see: Elsa Kammerer, Jean de Vauzelles et le creuset lyonnais: un humaniste catholique au service de Marguerite de Navarre entre France, Italie et Allemagne (1520–1550) (Geneva 2013), pp.399–403.

View 1 of Lot 26: Francesco Colonna, Hypnerotomachie, Paris, 1546, Parisian calf by Wotton Binder C for Marcus Fugger

francesco colonna, hypnerotomachie, paris, 1546, parisian calf by wotton binder c for marcus fugger

Bibliotheca Brookeriana VIII

COLONNA, FRANCESCO. Hypnerotomachie, ou Discours du songe de Poliphile, deduisant comme Amour le combat à l’occasion de Polia. Soubz la fiction de quoy l’aucteur monstrant que toutes choses terrestres ne sont que vanité, traicte de plusieurs matieres profitables, & dignes de memoire. Nouvellement traduict de langage Italien en François. Paris: Louis Blaublom (Cyaneus) for Jacques I Kerver, 20 August 1546

COLONNA, FRANCESCO. Hypnerotomachie, ou Discours du songe de Poliphile, deduisant comme Amour le combat à l’occasion de Polia. Soubz la fiction de quoy l’aucteur monstrant que toutes choses terrestres ne sont que vanité, traicte de plusieurs matieres profitables, & dignes de memoire. Nouvellement traduict de langage Italien en François. Paris: Louis Blaublom (Cyaneus) for Jacques I Kerver, 20 August 1546 First edition of the first French translation of this famous archaeological-architectural romance, lavishly illustrated with woodcuts based on those designed for the first edition (Venice, 1499; see lots 381 and 382 in the sale of Bibliotheca Brookeriana, 12 October 2023), and fourteen new subjects. It is often considered one of the most beautiful books of the French Renaissance. The genesis of the translation (in fact, a condensed adaptation) is obscure. The editor, Jean Martin (ca. 1507–1553), claims in his dedicatory letter to Henri de Lenoncourt, that it was made by a “Gentilhomme vertueux, & de bon savoir,” adding, in the book’s preface, that he had needed to give it only finishing touches. Jacques Gohory, in a bitter preface to the second edition, published after Martin’s death by Kerver (1554; reprinted 1561), identifies the translator as “a knight from Malta, a cultured and talented man,” and insists that the translation was in his hands before Martin’s, who botched the job (Duché-Gavet, “Jacques Gohory’s copy of the Poliphile (1546): A first analysis of his handwritten marginalia,” in Marginal Notes: Social Reading and the Literal Margins [2000], pp. 21–40). Some modern critics doubt the existence of this Eques Meltensis, and credit Martin with crafting the entire book; others persist in uncovering his identity: the Lyonese humanist, Jean de Vauzelles (or his brother George), are the latest contenders. Martin, a self-styled “studieux d’architecture”, most certainly shaped the book. He was working, almost simultaneously, on French translations of the treatises on architecture by Serlio, Vitruvius, and Alberti, and he explicates here much architectural terminology, adds printed glosses and scholia in the margins (found on twenty-eight pages, and absent in the original), and strips from the text many non-architectural descriptions. New woodcuts of buildings and formal gardens are incorporated, and architectural or antique elements are placed in some others. The book nourished antiquarian fantasies and became a sort of model book for designers of ephemeral architecture and garden art. The blocks were cut by multiple cutters (Mortimer recognized four hands), one of whom might be Jean Goujon, the illustrator of Martin’s translation of Vitruvius (1547). A preparatory drawing for the title-block is associated with the Fontainebleau designer Luca Penni. This copy was bound for Marcus Fugger (1529–1597), the eldest son of Anton Fugger, head of the powerful textile trading, banking, and mining family based in Augsburg. Marcus matriculated in June 1546 at the Collegium Trilingue in Louvain, and began there to build a library, acquiring books both new and second-hand, sometimes inscribing on the pastedown of the upper cover his name or initials MF, a date, the adage O.R.V.E. (Omnium Rerum Vicissitudo Est, from Terentius Afer’s Eunuchus), and a drawing of the family arms. A few years later, Marcus was buying heavily in Paris, commissioning (until about 1552) large numbers of standard bindings, in brown calf, these simply decorated, often with the small tool of a hand holding a branch, upon which perches a bird, or a crowned double-headed eagle (for reproductions of three such bindings, see Hobson & Culot, Italian and French 16th-century Bookbindings, no. 41). He also commissioned exquisite bindings from the royal binder, Gomar Estienne, from Claude de Picques, and from a shop known as “Wotton Binder C”. He habitually wrote his name (“Marx Fugg.,” “Marcus Fugger,” or similar) on the paste-down of the upper cover, and some of his luxury bindings are tooled in gold with the letters O.R.V.E. and his initials. After his father’s death, in 1560, Marcus became leader of the firm, and thereafter his book purchases dwindled. Folio (331 x 214 mm). Roman type, with some italic including shoulder-notes, 45 lines plus headline. Collation: ã*6 A-Z6 Aa-Bb6 CC8: 164 leaves. Woodcut title-border signed with Jacques Kerver’s initials and the turtle symbol of Louis Blaubom, 181 woodcut illustrations (including 13 full-page), variously attributed to Jean Cousin and Jean Goujon, 10-line woodcut floriated initials, Kerver’s woodcut device on Cc8v. (Occasional very light marginal spotting, marginal restoration to upper fore-edge corner of Aa6.) Binding: Parisian tan calf over pasteboards (339 x 224 mm), ca. 1550, by Wotton Binder C, gilt fillets around sides, double gilt fillets framing an interlaced rectangle and lozenge with loops at angles of rectangle, gilt quatrefoils at outer angles, central cartouche composed of circles of an open leaf and tendrils, with azured stirrup tool at first sides, in center “DISCOURS. / DV. SONGE. DE. / POLIPHILE.,” spine with 6 full and 2 half bands, gilt quatrefoil in each compartment, gilt edges. (Corners, joints, and second spine compartment restored.) Black morocco folding-case. Provenance: Marcus Fugger (signature “Marcus Fuggerus” on front pastedown), by descent to — Philipp Fugger (1567–1601), by descent to — Marcus Philipp Fugger (1598–1620), by descent to — Marquard Fugger, Graf von Kirchberg und Weissenhorn (1596–1655) — Öttingen-Wallerstein, family library at Schloss Maihingen (armorial ink-stamp on title-page — Eugen Wolfgang Karl Friedrich Joseph Notger, Fürst zu Öttingen-Öttingen und Öttingen-Wallerstein (1885–1969; Karl & Faber, Munich, 6–7 November 1933, lot 170) — Raphaël Esmerian (1903–1976; Antoine & Étienne Ader, Jean-Louis Picard, Jacques Tajan & Claude Guérin with Georges Blaizot, 6 June 1972, lot 50), purchased by — unidentified owner (FF 116,000) — Fernand Pouillon (1912–1986; Ader Picard Tajan & Claude Guérin, Monte Carlo, 1 July 1986, lot 172) — François Ragazzoni (Tajan, Paris, 13 May 2003, lot 9) — Livio Ambrogio (bookplate). Acquisition: Purchased from Stéphane Clavreuil Rare Books, London, 2019. References: BP16 112393; USTC 12610; P. Renouard, ILP, IV: no. 160; Mortimer, French, no. 145; for the binding see: Foot, “Thomas Wotton and his binders,” in The Henry Davis Gift: … Volume I: Studies in the History of Bookbinding (London, 1978), p. 153 (Appendix V: Bindings by Wotton’s binder III [Wotton’s binder C] for other collectors, no. 23); for the translator of this edition see: Elsa Kammerer, Jean de Vauzelles et le creuset lyonnais: un humaniste catholique au service de Marguerite de Navarre entre France, Italie et Allemagne (1520–1550) (Geneva 2013), pp.399–403

View 1 of Lot 90: Francesco Colonna, Hypnerotomachie, Paris, 1546, Parisian calf by Wotton Binder C for Marcus Fugger

Important Judaica

SEFER HA-MITSVOT (BOOK OF THE COMMANDMENTS) AND MISHNEH TORAH (HALAKHIC CODE), RABBI MOSES MAIMONIDES, VENICE: MARCO ANTONIO GIUSTINIANI, 1550-1551

SEFER HA-MITSVOT (BOOK OF THE COMMANDMENTS) AND MISHNEH TORAH (HALAKHIC CODE), RABBI MOSES MAIMONIDES, VENICE: MARCO ANTONIO GIUSTINIANI, 1550-1551 2 parts in 3 volumes: Vol. 1 (Sefer ha-mitsvot and Sefer madda-Sefer zemannim): 272 folios (15 5/8 x 10 in.; 397 x 256 mm) (collation: i4, i-v8, vi6, i2, ii-xxviii8, xxix4) on paper; Vol. 2 (Sefer nashim-Sefer tohorah): 311 of 313 folios (15 5/8 x 10 1/4 in.; 395 x 259 mm) (collation: xxix4, xxx-xxxviii8, xxxix6 [xxxix2,7 lacking], xl-xlviii8, xlix6, l-lxvi8, lxvii5) on paper; Vol. 3 (Sefer nezikin-Sefer shofetim): 239 folios (15 1/2 x 10 1/4 in.; 395 x 261 mm) (collation: lxvii3, lxviii-xcvi8, i4) on paper. Two elaborate architectural title pages; decorative initial word panels on 1:[1r], 2v, 10r, [36v], 77r, 2:229r, 315v, 394r, 421v, 452v, 479v, 491v, 3:534v, 586v, 655r, 733v; printer’s mark featuring an image of the Temple in Jerusalem on 1:[1v], 24v, 2:title page, [390v], 3:[768v], [772r]; printed diagrams on 1:52r-v, 54v. All volumes bound in modern tan blind-tooled leather, slightly worn around edges; spines in five compartments with raised bands; title, place, and date lettered in gilt on spines; stained paper edges; modern paper flyleaves and pastedowns. ﻿A near-complete, well-preserved copy of a controversial edition of Maimonides’ magnum opus. Rabbi Moses Maimonides (Rambam; 1038-1204) began writing the Mishneh torah in about 1170 in response to the persecutions visited upon Jewish communities in Europe and elsewhere and the resulting decline in halakhic knowledge. The work set out to organize all the halakhic material scattered throughout the Mishnah, Tosefta, midrashim, and Jerusalem and Babylonian Talmuds into fourteen synthetic books (emphatically not commentaries), which were then subdivided into eighty-three treatises comprising a total of 982 chapters. This included even those laws no longer applicable in the post-Temple era, as well as those observed only in the Land of Israel—a major innovation when compared with previous halakhic compendia. Rambam titled his project Mishneh torah (lit., Repetition of the Torah), “because a person will first read the Written Torah [Bible] and later read this, and in that way he will know the entire Oral Torah without having to consult any other book in between.” Following its initial publication ca. 1180, the Mishneh torah would go on to exercise enormous influence on Jewish thought and practice, especially after Rabbis Jacob ben Asher (ca. 1270-1340) and Joseph Caro (1488-1575) elected to use it as one of the pillars upon which they structured their own vastly important halakhic codes, the Arba‘ah turim and Shulhan arukh, respectively. The Mishneh torah was first printed circa 1473-1475 in Italy (probably Rome), then in other cities in Italy, the Iberian Peninsula, and Turkey. In 1524, the master Venetian printer Daniel Bomberg produced a beautiful, well-edited Mishneh torah in two large volumes as part of his entrepreneurial program to issue new editions of some of the most important Jewish texts: the Rabbinic Bible, the two Talmuds, and the halakhic compendia of Rabbis Isaac Alfasi, Moses of Coucy, Jacob ben Asher, and, of course, Maimonides. He intended to repeat the feat starting in 1546, but due in part to fierce competition from a rival Venetian printer, Marco Antonio Giustiniani, his hopes were frustrated and his publishing house shuttered in 1549. In 1550, the new printing firm established by Alvise Bragadini came out with a Mishneh torah to which Maimonides’ treatise enumerating the 613 biblical commandments, known as Sefer ha-mitsvot, was appended for the first time (based on the Constantinople, ca. 1510-1525 edition). The Mishneh torah text largely mirrored, page-by-page, that of the aforementioned 1524 edition but was further edited and glossed by one of the most prominent Ashkenazic rabbis living in Italy at the time, Rabbi Meir Katzenellenbogen (Maharam of Padua; 1482-1565), and his son, Rabbi Samuel Judah (1521-1597). Giustiniani’s workers apparently got wind of the production of the Bragadini edition and, not to be upstaged, quickly printed their own (better edited) Sefer ha-mitsvot-cum-Mishneh torah, with a pirated version of some of Maharam of Padua’s glosses tacked on at the end. Strongly-worded introductions in Giustiniani’s two volumes cast aspersions on Maharam’s editorial work and scholarship, while a response by Bragadini toward the end of his second volume defended Maharam and his son and accused Giustiniani of trying to put him out of business and capture the market. It seems that Maharam had made a significant investment in the Bragadini edition, and so he turned to his relative, the great halakhist Rabbi Moses Isserles (Rema; ca. 1520/1530-1572), seeking an injunction against the distribution of Giustiniani’s Mishneh torah. Rema famously ruled in Maharam’s favor, using the opportunity to compose one of the first extensive treatments of the topic of copyright in halakhic literature. Rema concluded his responsum, dated 4 Elul [5]310 (August 16, 1550), with a severe set of curses and bans against anyone “in our country” who would buy Giustiniani’s Mishneh torah instead of Bragadini’s. While it is unclear whether this particular dispute between the publishers led directly to the burning of the Talmud in Rome in early September 1553, it is not unlikely that their mutual animosity over the printing of the Mishneh torah set the stage for a future quarrel that did in fact precipitate that infamous event and its disastrous aftermath. The present lot is a well-preserved copy of Giustiniani’s Mishneh torah, bound in three volumes. Significantly, it was owned by a member of the well-known Italian Foa family, some of whose members became printers of Hebrew books in Sabbioneta, Amsterdam, Venice, and Pisa. It also came into the possession of another important figure associated with the Italian book trade, the German Jewish antiquarian bookseller and publisher Leo Samuele Olschki (1861-1940). Provenance Leonis S. Olschki Bibliopolae Florentini (1:ex libris on pastedown of upper board) Samson Meir Padua (1:[1], 3:534r, [772v]) “God’s is the land and its fullness [Ps. 24:1]. Jehiel Foa, may his Rock and Redeemer keep him, purchased this Maimuni [Mishneh torah], together with the rest of its volumes, at full price in Carpi [?] following the division that the brothers Foa divided amongst themselves. May God grant him the merit to meditate upon it – he, his descendants, and his descendants’ descendants, for all time, amen, so may it be His will. II Adar [5]312 [1552].” (1:[1], 3:534r) “This arrived in my portion, I, Gerson ben Abraham of Padua, and I have written this so that no man come [from] outside for this, my book. Therefore, I have inscribed my name in the year 54…” (1:[1], 3:534r) Literature Meir Benayahu, Haskamah u-reshut bi-defusei venetsi’ah: ha-sefer ha-ivri me-et hava’ato li-defus ve-ad tseto le-or (Jerusalem: Ben-Zvi Institute; Mossad Harav Kook, 1971), 21-27. Jacob I. Dienstag, “Mishneh torah le-ha-rambam: bibliyyogerafyah shel hotsa’ot,” in Charles Berlin (ed.), Studies in Jewish Bibliography[,] History and Literature in honor of I. Edward Kiev (New York: Ktav Publishing House, Inc., 1971), 21-108, at pp. 35-38 (no. 9). A.M. Habermann, Ha-madpis cornelio adel kind u-beno daniyyel u-reshimat ha-sefarim she-nidpesu al yedeihem (Jerusalem: Rubin Mass, 1980), 50-60 (no. 60). Marvin J. Heller, “Sibling Rivalry: Simultaneous Editions of Hebrew Books,” Quntres 2,1 (Winter 2011): 22-36, at pp. 22-26. Moses Isserles, She’elot u-teshuvot (Krakow: Menahem Nahum Meisels, 1640), [18a]-22a (no. 10). Neil W. Netanel, From Maimonides to Microsoft: The Jewish Law of Copyright Since the Birth of Print (New York: Oxford University Press, 2016), 71-116. Neil W. Netanel, “Maharam of Padua v. Giustiniani: The Sixteenth-Century Origins of the Jewish Law of Copyright,” Houston Law Review 44,4 (2007): 821-870. Isaiah Sonne, “Tiyyulim be-historiyyah u-bibliyyogerafyah,” in Saul Lieberman (ed.), Sefer ha-yovel li-kevod alexander marx li-melot lo shiv‘im shanah (New York: The Jewish Theological Seminary of America, 1950), 209-236 (Hebrew section), at pp. 211-216. Yaakov S. Spiegel, “Mashehu al mishneh torah la-rambam mahadurot bragadin ve-yustinian,” Kiryat sefer 47,3 (June 1972): 493-501. Vinograd, Venice 409

sefer ha-mitsvot (book of the commandments) and mishneh torah (halakhic code), rabbi moses maimonides, venice: marco antonio giustiniani, 1550-1551

The Halpern Judaica Collection: Tradition and Treasure | Part I

Job, Five Scrolls, Daniel, and Ezra-Nehemiah with Commentaries, [Naples: Joseph ben Jacob Ashkenazi Gunzenhauser, 1487]

Job, Five Scrolls, Daniel, and Ezra-Nehemiah with Commentaries, [Naples: Joseph ben Jacob Ashkenazi Gunzenhauser, 1487] In about 1486, a German Jewish immigrant named Joseph Gunzenhauser (d. 1490) entered into a printing partnership in Naples, a center of the contemporary book trade. The following year, his press issued three works in rapid succession: Psalms with the commentary of Rabbi David Kimhi (Radak), Proverbs with the commentary of Rabbi Immanuel ben Solomon of Rome, and the present title, containing the rest of the books of the Ketuvim (Hagiographa) with one commentary each (some printed here for the first time): Job with that of Rabbi Levi ben Gerson (Ralbag or Gersonides), Lamentations with that of Rabbi Joseph Kara, and the Song of Songs, Ruth, Ecclesiastes, Esther, Daniel, Ezra-Nehemiah, and I-II Chronicles with that of (or attributed to) Rashi. In doing so, Gunzenhauser brought to a close a process, set in motion in Bologna in 1482 and continued in Soncino in 1486, of printing each book of the Hebrew Bible with at least one commentary. The illustrated initial word panel that opens the book of Job in the present volume was most likely the work of Gunzenhauser’s brother-in-law, Moses ben Isaac. It is identical with others that appear in works printed at the Gunzenhauser press, including the 1489 Hovot ha-levavot, which mentions Moses ben Isaac in a lengthy epigraph. Gunzenhauser the businessman arranged each book to fit into a whole number of quires, thus facilitating their separation into distinct volumes, as has occurred here: Chronicles had apparently already been removed by the time the book was cataloged and signed by Giovanni Bernardo De Rossi (1742-1831), the great Italian Christian Hebraist scholar and bookseller whose collection of Hebrew manuscripts and early printed books today forms an integral part of the Biblioteca Palatina in Parma. Provenance [Giovanni Bernardo] De Rossi (front flyleaf) Physical Description 110 folios (10 1/2 x 7 3/4 in.; 265 x 196 mm) (collation: i-vi8, i8, i10, i-iv8, v12) on paper (ff. 49r, 56v, 66v, 110v blank); modern foliation in pencil in upper-outer corner of rectos; first three signatures numbered 29, 30, 31 in pen; cantillation signs added in pen on ff. 5r-13r; marginalia, corrections, and strikethroughs added in a premodern Italian hand in pen on ff. 6v-7r, 8v-9v, 12v, 16r, 74v; modern marginal pencil notation of the start of Nehemiah on f. 100r. Enlarged initial word panels filled with scrollwork on ff. 2r, 49v. Slight scattered staining; some dampstaining; small holes in outer margins of ff. 1, 110; tape repairs in lower margins of ff. 1, 66, 91, in gutter at head of ff. 2-4, and in upper margins of ff. 43, 110; tears in lower margins of ff. 27, 79-80 and in outer edge of f. 93; minor worming in upper-outer edges of ff. 42-48, in gutter at head of ff. 74-110, and in gutter at foot of ff. 102-110. Nineteenth-century(?) pink leather over board, scratched and worn around edges; gilt-tooled spine, slightly wormed, headband exposed, and upper and lower joints starting; title, place, and date in gilt on annexed blue lettering piece; nineteenth-century paper flyleaves and pastedowns. Literature Aron Freimann and Moses Marx, Otsar li-melekhet ha-defus ha-ivri ha-rishonah ba-meʼah ha-hamesh esreh (Jerusalem: The Universitas-Booksellers, 1968), 130-131 (A59). Frederick R. Goff, Incunabula in America Libraries: A Third Census of Fifteenth-Century Books Recorded in North American Collections (Milwood, NY: Kraus International Publications, 1989), 318 (Heb-26). Shimon Iakerson, Catalogue of Hebrew Incunabula from the Collection of the Library of the Jewish Theological Seminary of America, vol. 1 (New York; Jerusalem: The Jewish Theological Seminary of America, 2004), 181-185 (no. 46). Adri K. Offenberg with C. Moed-Van Walraven, Hebrew Incunabula in Public Collections: A First International Census (Nieuwkoop: De Graaf Publishers, 1990), 60-61 (no. 46). Vinograd, Naples 2 Isaac Yudlov and G. J. Ormann, Sefer ginzei yisraʼel: sefarim, hoverot, va-alonim me-osef dr. yisraʼel mehlman, asher be-beit ha-sefarim ha-leʼummi ve-ha-universitaʼi (Jerusalem: JNUL, 1984), 22 (no. 24). Isaac Yudlov, “Te‘udah bi-devar mekhirat sifrei inkunabulah be-napoli ba-me’ah ha-hamesh-esreh,” Asufot 10 (1997): 71-109, esp. p. 80 (no. 3).

View 1 of Lot 141: Job, Five Scrolls, Daniel, and Ezra-Nehemiah with Commentaries, [Naples: Joseph ben Jacob Ashkenazi Gunzenhauser, 1487]

job, five scrolls, daniel, and ezra-nehemiah with commentaries, [naples: joseph ben jacob ashkenazi gunzenhauser, 1487]

History in Manuscript: Letters and Documents from a Distinguished Collection

Giuseppe Mazzini Important collection of 10 letters signed, to patriots in Italy, including Benedetto Cairoli, Rosario Bagnasco, Ippolito Giderzolli and Federico Ballazzi about Garibaldi, the Monarchy and the need to remove the Papacy, in which Mazzini urges the patriots to free Rome and Venice, advising against allowing Garibaldi's present activities to dictate where to promote military action, since Garibaldi will invariably head to the centre of the fighting wherever it takes place: he also explains some of his most important political philosophies; namely that, as the emancipation of Rome must be the work of the entire nation, a Republic must replace the Monarchy, in which Italians have the duty to replace the hypocrisy of the Papacy with Liberty, Conscience and Truth 27 pp, mostly 4to, 2 Aug 1859 to 6 May 1863 (where dated) [with:] later transcripts This is an important collection of unpublished letters, encapsulating some of Mazzini's most important philosophies, his hatred of the Monarchy and the Papacy, and his attitude to Garibaldi. Most of the political letters appear to date from around 1860-1862: for example, the letter to Libertini of 3 April 1862 (in Opere, ed. L. Salvatorelli, I, 806). He emphasizes the need for patriots to keep to a consistent plan, rather than be directed solely by the campaigns of Garibaldi. The anti-Monarchist attitude shown in this collection is typical of Mazzini but by the 1850's Mazzini had to contend with Cavour's lead to unite Italy under the crown of Piedmont. He battled unsuccessfully against the monarchist movement, declaring that the emancipation of Italy was a national duty. To achieve unity, the Nation had to be in charge of its own forces and means. Toynbee rated Mazzini as "The true teacher of our age", and Michael Biddiss notes that his views eventually lead to far greater successes than did those of Marx. Similarly modern was his anti-clericalism, and especially his grievances against the Papacy for its complicity in the evils perpetrated in Italy. In this collection he urges his brothers that the duty of all Italians was to plant the Banner of Liberty of Conscience and Thought over the ruins of the Papal power, and to declare to the Pope "resign and disappear, you are no more than a usurper: in us resides Life and Religion". PROVENANCE: Sotheby's, London, 26 April 1990, lot 417

View 1 of Lot 96: Giuseppe Mazzini | Collection of ten letters signed, to Italian patriots, 1859-63

The Halpern Judaica Collection: Tradition and Treasure | Part III

A beautifully written exemplar representing a largely unknown Jewish rite.

A beautifully written exemplar representing a largely unknown Jewish rite. With the expulsion of the Jews from France in 1306 and then again (after their subsequent readmission) about ninety years later, in 1394, many settled in the Piedmont region of Northern Italy. In general, these exiles were too few in number to establish their own independent communities, and so they adopted the customs of the local (usually Ashkenazic) Jews among whom they settled. However, in three specific towns—Asti, Fossano, and Moncalvo, collectively known by the Hebrew acronym Apam—the French transplants were able to maintain their ancestral rite, at least vis-à-vis the liturgy of the High Holidays (during the rest of the year, they prayed according to the Ashkenazic minhag of nearby Turin). As a result, nussah Apam, the usage of these three Piedmontese communities, became the only rite to preserve the special liturgical customs and poetry of medieval French Jewry into the modern period. Probably because the total Jewish population of these towns, at their peak, did not exceed several hundred souls, their unique rite was never printed and survives today exclusively in manuscript form (though individual liturgical poems have been published by scholars). The present lot is a complete manuscript mahzor for Rosh Hashanah and Yom Kippur according to nussah Apam that was likely created for use by a cantor, given its folio size and contents. Some of its more interesting features include: the recitation of the she-heheyyanu blessing on the second day of Rosh Hashanah prior to the sounding of the shofar only in cases where the first day was the Sabbath; the sounding of sixty (rather than one hundred) shofar blasts total; the reading of the poem Attah konanta olam be-rov hesed, by Yosei ben Yosei, in recounting the sacrificial service practiced on Yom Kippur in the ancient Holy Temple during musaf; plus several alternate texts of nishmat, yishtabbah, aleinu, kol nidrei, and many of the piyyutim and selihot. This volume was expertly copied by the calligraphic hand of a member of the Katzigin (occasionally spelled Ketzigin or Chezighin; in Italian: Clava) family, whose constituents settled and at times rose to prominence in various Piedmontese communities, including Carmagnola, Casale Monferrato, and Turin. Jacob Joshua Katzigin is known to have created at least one other manuscript: a volume containing the ma‘ariv service together with sefirat ha-omer (Asti, 1795; see New York, Columbia University Library Ms. X 893 J 7293). The present mahzor later made its way into the hands of two brothers, Emiglio Abram and Moise Montalcini of Asti (see also Turin, Archivio Ebraico Terracini Ms. 1489), before being acquired by the great bibliophile, librarian, and bookseller Aron Freimann of Frankfurt am Main. Provenance 1. Emiglio Abram Montalcini (f. i) 2. Moses ben Joshua Hai (Moise di Salvador Vita) Montalcini, Adar 5579 (1819) (f. i, rear flyleaf) 3. Aron Freimann, Frankfurt am Main (Markon, p. 90) Physical Description 128 folios (16 3/4 x 10 3/8 in.; 423 x 262 mm) (collation: i10, ii-vii12, viii11 [viii2 canceled], ix12, x11 [x12 canceled?], xi12) on paper (including 5 blanks); original foliation in pen in Hebrew characters in upper-outer corner of rectos; written in elegant Italian square (text body) and semi-cursive (some rubrics) scripts in dark brown ink; ruled in blind; justification of lines via dilation or contraction of final letters, abbreviation, insertion of space fillers, and use of anticipatory letters; most liturgical texts vocalized; Tetragrammaton formed as two yodin followed by a wavy parentheses; headers throughout; horizontal catchwords at foot; intermittent strikethroughs, corrections, and insertions in primary and subsequent hands; pen trials on blanks. Enlarged incipits (see especially ff. 50r, 52v); some headers placed within decorative panels; numerous letters charmingly flourished; stichographic and ornamental layouts of many piyyutim and other texts; floral motifs on ff. 5v, 52v. Slight scattered staining and smudging; minor thumbing and dog-earing; occasional short tears in lower edges; episodic abrasion of letters; ink biting, especially in latter half of volume; gutter strengthened at foot of ff. 83-84; short tear in outer edge of f. 105. Original(?) gilt-tooled brown leather over board, bumped, scratched, worn, and wormed; heavily worn along gilt-tooled spine; headband exposed; upper joints starting; upper brass clasp intact and catching on fore-edge, lower clasp partially lost; paper edges stained red; original(?) paper rear flyleaf and marbled pastedowns. Literature Elia S. Artom, “Il registro di un circoncisore Astigiano (sec. XVIII-XIX),” La Rassegna Mensile di Israel 16,6-8 (June-August 1950): 173-187, at pp. 185-186 (no. 149). Yom Tov Assis, “Nusah APaM: A Medieval Liturgical Survivor,” in Jeffrey R. Woolf (ed.), Ebrei Piemontesi: The Jews of Piedmont (New York: Yeshiva University Museum, 2008), 49-53. Daniel Goldschmidt, “Leket shikhhah u-pe’ah le-mahazor apam,” Kiryat sefer 30 (1955): 118-136, 264-278. Rori Mancino, Comunità ebraica di Alessandria: Archivio Storico (1794-1998) (Turin, 2005), 62. Isaak Markon, “Ma’amar al mahazor minhag apam,” in Salo W. Baron and Alexander Marx (eds.), Jewish Studies in Memory of George A. Kohut, 1874-1933 (New York: The Alexander Kohut Memorial Foundation, 1935), 89-101. Maria Luisa Giribaldi Sardi, “La sinagoga,” in Asti: Guida alla sinagoga, al museo e al cimitero (Venice: Marsilio, 1999), 17-21, at p. 21. Alberto Somekh, “‘E gioisca in Te Israele che ama il Tuo Nome’: Ancora sul Minhag di Asti, Fossano e Moncalvo e alcuni suoi manoscritti,” in Luciano Allegra, Agnese Cuccia, and Sarah Kaminski (eds.), Vita ebraica a Fossano dal Cinquecento al Novecento (Fossano: Fondazione Federico Sacco, 2010), 255-279.

View 1 of Lot 83: Mahzor (Festival Prayer Book) for Rosh Hashanah and Yom Kippur According to the Rite of Asti, Fossano, and Moncalvo, Scribe: Jacob Joshua Katzigin of Asti, [Piedmont], 1800

mahzor (festival prayer book) for rosh hashanah and yom kippur according to the rite of asti, fossano, and moncalvo, scribe: jacob joshua katzigin of asti, [piedmont], 1800

1. signed photo  of Alfonso XIII King of Spain (1886-1941), dated 30.March 1928, by Kavlak, Madrid

1. signed photo  of Alfonso XIII King of Spain (1886-1941), dated 30.March 1928, by Kavlak, Madrid 2. signed photo of Maria Raineria Archduchess of Austria (1878-1968), inscribed ‘In treuer Erinnerung’ and dated May 1900, by Adèle, Vienna; in that year she married Robert Duke of Wurttemberg (1873-1947) 3. signed photo of Elisabeth Fürstin zu Windisch-Graetz, Archduchess of Austria (1883-1963) with her baby son Prince Franz Joseph, born 22.3.1904, inscribed, signed and dated 1905, atelier J.F. Langhans, Prague. She was the only child of Crown Prince Rudolf of Austria. 4. a large photo of Mathilde Gräfin Trani, Princess of Bourbon-Sicily, Duchess in Bavaria (1843-1925), atelier J.Jungmann, Baden-Baden 5. signed photo of Gyula Count Andrássy, inscribed  ‘ehrfurchtsvoll’, atelier Székely, Vienna 6. the young Louis II Prince of Monaco (1870-1949), circa  6 years old, atelier Adèle, Vienna 7. the sisters Infanta Maria d alas Mercedes (1880-1904) and Infanta Maria Teresa (1882-1912) of Spain, daughters of Alfonso XII King of Spain, atelier Valentin, Madrid 8. a and b: two portraits of Friedrich August Hereditary Prince, later Grand Duke of Oldenburg (1852-1931)  with his bride and later 2nd wife, Elisabeth Duchess zu Mecklenburg, atelier Th. Prümm, Berlin, 1896 9. Sophia Queen of Sweden, Princess of Nassau (1839-1913), atelier Flormann, Stockholm, circa 1900 10. the Bavarian King Maximilian II (1811-1864) and his consort, Queen Marie, Princess of Prussia (1825-1889) 11. Franz Joseph Emperor of Austria with his son, Crown Prince Rudolf, circa 5 years old, in Austrian costume, atelier Angerer, circa 1863 12. Ludwig Victor Archduke of Austria (1842-1919), the unmarried brother of Emperor Franz Joseph, atelier Levitsky, Paris, circa 1865 13. Georg V King of Hanover (1819-1878), atelier Eugen Lulver, circa 1860 14. a & b: two photos from inside the church in Assisi at the wedding in 1930 of Boris III King of Bulgaria (1894-1943) and Joanna Princess of Savoy, daughter of Victor Emanuel III King of Italy, Instituto Nationale L.U.C.E. (not signed), they are the parents of the present Bulgarian Prime Minister, Simeon Sakskoburggotski (Simeon II King of Bulgaria) 15. Prince, later German Emperor Wilhelm II in the costume of ‘der große Kurfürst’, dated 14.3.1885 16. a small photo album containing twenty interesting photographs of the German Emperor Wilhelm II leading excavations on the Greek island of Corfu in April 1911. The Kaiser purchased the Villa Achilleion, which was built by the late Empress Elisabeth (Sisi) of Austria. From 1908 till 1914 he spent nearly every Easter there. 1911 remains of an archaic temple was found which Wilhelm II (on some photos seen with his only daughter, Princess Victoria Luise) is inspecting 17. Karl King of Wurttemberg (1823-1891) with his consort, Queen Olga, Grand Duchess of Russia (1822-1892) and their niece, Grand Duchess Vera Constantinova(1854-1912), who in 1874 married Eugen Duke of Wurttemberg (1846-1877) 18. Rudolf Count Wrybna-Kaunitz-Rietberg-Questenberg  und Freudenthal (1864-1927) who in 1891 married secondly Elvira Princess of Bavaria (1868-1943), atelier Arthur Marx, München  

Results for "Marx Brothers"