Photographs

About Face: The David and Gail Mixer Collection of Photographs

About Face: The David and Gail Mixer Collection of Photographs Gillian Wearing b. 1963 Self Portrait as My Uncle Bryan Gregory chromogenic print, framed to the artist's specifications, a Gorney Bravin label on the reverse overall: 49 by 33 in. (124.5 by 83.8 cm.) Executed in 2003, this print is number 5 from an edition of 6 plus 2 artist's proofs.

View 1 of Lot 31: Self Portrait as My Uncle Bryan Gregory

self portrait as my uncle bryan gregory

the guests at my uncle george's funeral

From the Vault: Property from the Grateful Dead and Friends

Property of Grateful Dead Productions Alton Kelley, Stanley Mouse Cyclops stage backdrop, 1977 Blue stage backdrop (approx. 282.5 x 290’’), with large image of a cyclops’ skull with roses and a feather at center; stage-used with some wear, but bright and intact. The back cover of Terrapin Station, hung behind the Dead at Englishtown, 1977 Mouse and Kelley’s iconic Art Nouveau-influenced posters for the Grateful Dead and numerous other bands helped define the psychedelic concert art of the era. In the Haight-Ashbury heyday, the two artists lived at 715 Ashbury Street—just across the street from the Dead. They worked extensively with the band, and are often credited for creating the Dead’s famous skeleton and rose imagery, as seen in this fantastic example. The present banner, featuring Mouse’s and Kelley’s striking artwork, hung behind the band at their legendary performance in Englishtown, NJ on 3 September, 1977. The one-off show drew a massive crowd: over 125,000 fans came to Raceway Park, completely filling the venue with a sea of Deadheads. A favorite show among fans, both for the band’s phenomenal performance, and for the incredible size of the crowd—and, of course, for swapping the numerous stories of what happened there that day. Setlist: Promised Land They Love Each Other Me and My Uncle Mississippi Half-Step Looks Like Rain Peggy-O New Minglewood Blues Friend of the Devil Music Never Stopped Bertha Good Lovin' Loser Estimated Prophet Eyes of the World Samson and Delilah He's Gone Not Fade Away Truckin' Terrapin Station The image on this backdrop originally appeared on the back cover of the 1977 album Terrapin Station, a significant album for the band. Their ninth studio album, the first on Arista Records, was recorded after a two-year hiatus. At the time, it was somewhat controversial due to its introduction of more symphonic arrangements and soundscapes, as well as its production style. But it has gone on to become an essential album, testifying to the Dead’s endless willingness to explore new musical horizons. A singular piece of a legendary performance

View 1 of Lot 78: Alton Kelley, Stanley Mouse | Englishtown ‘77

alton kelley, stanley mouse | englishtown ‘77

Books, Manuscripts & Objects from Three Important Collections

André Danican Philidor A group of five volumes, comprising: (i) L'Analyze des echecs: Contenant une nouvelle methode pour apprendre en peu de tems à se perfectioner dans ce noble jeu. London [?but Paris], 1749. 8vo (189 x 111 mm), "fruit bowl" title ornament, later calf, spine with raised bands in 6 compartments, marbled endpapers, red edges, green silk ribbon, washed [ESTC N68168: "The imprint is false, probably printed in Paris"]; (ii) Die Kunst im Schachspiel ein Meister zu werden. Strassburg: Amand König, 1754. FIRST GERMAN TRANSLATION, 8vo (162 x 99 mm), folding woodcut of a chessboard, woodcut head- and tail-pieces, contemporary calf, spine gilt with raised bands in 6 compartments, marbled endpapers, original green silk ribbon, title-page repaired twice at margin, spotting to folding plate and last few leaves, erased ownership inscription to endpaper, ribbon detached, extremities rubbed and bumped, spine worn; (iii) Underretning om skak-spil. Viborg: Trykt af C.H. Mangor, 1773. FIRST DANISH TRANSLATION, 8vo (156 x 96 mm), title with engraved border, five engravings of chess boards, engraved head and tail pieces, contemporary calf gilt, covers tooled in blind and gilt, spine with raised bands in 6 compartments, marbled edges and endpapers; extremities slightly rubbed and bumped, lower corners repaired; (iv) Analyse du jeu des échecs; nouvelle édition, considérablement augmentée. London [?but Paris], 1777. LARGE PAPER COPY, large 8vo (230 x 135 mm), engraved frontispiece portrait of the author by Bartolozzi, list of subscribers, contemporary calf gilt with black morocco label to spine bearing the armorial stamp of Prince Frederick Augustus, Duke of York and Albany, marbled endpapers, original pink silk ribbons, transfer of frontispiece onto title page, upper board detached, lower board starting, extremities rubbed, corners worn [ESTC T145116: "The imprint is false; printed in Paris?"] [with, edge-mounted on front endleaves:] Autograph manuscript note signed ("AD Philidor"), responding to three queries by Count Brühl relating to castling, written below Brühl's original questions, in English, with a small number of corrections to Philidor's English in Brühl's hand, 1 page, folio 1795; [also with:] a letter by James E. Vernon (1837–1928), Vicar of Bicknoller, to "Dear Sir", noting the provenance of the Philidor autograph ("...I found it in an old book on Chess which formed part of the library of my great-uncle W. Tassie..."), 2 pages, 28 April 1878 (v) Analysis of the game of chess; a new edition, greatly enlarged. London: P. Elmsley, 1777. 8vo (207 x 127 mm), engraved frontispiece portrait of the author by Bartolozzi, fore-edge painting of a chess game, contemporary tree calf, spine gilt with black morocco gilt-lettered label, publisher's wrappers bound in, light spotting to first and last few leaves, upper joint repaired, lower joint starting, extremities rubbed and bumped, corners worn EARLY EDITIONS OF A LANDMARK CHESS MANUAL by French composer and chess master André Danican Philidor (1726–1795), widely regarded as the best chess player of his age. A chess opening, an endgame position, and a checkmate method are all named after him. His work Analyse du jeu des Échecs was considered to be a huge advance in chess knowledge, hence becoming a standard chess manual for at least a century. First printed in 1749 (ESTC lists 3 issues printed that year), it went through more than 100 editions; German, Danish, and English translations all appeared in the eighteenth century, ensuring the text's widespread influence. The work analysis nine different types of game openings, and includes Philidor's famous phrase "[les pions] sont l'âme des Echecs" ("pawns are the soul of chess"). PROVENANCE: (iv) Frederick Augustus, Duke of York and Albany, armorial device on spine label; John Isaac Marks, armorial bookplate; George Walker, inscription on front endpapers, "...G. Walker. / From his Chess Library..." (v) Ebenezer Maitland (1780–1858), English landowner and politician, bookplate and ownership inscription

View 1 of Lot 56: André Danican Philidor | Early editions of a landmark chess manual, 5 volumes in all

andré danican philidor | early editions of a landmark chess manual, 5 volumes in all

From the Collection of Dan Healy Grateful Dead The Closing of Winterland shirt Size: 70s L: 31’’L x 19.5’’W — Very good The 31 December 1978 Winterland performance was the last concert at San Francisco’s legendary Winterland Arena. New Riders of the Purple Sage and The Blues Brothers opened for the Dead, whose set went on for nearly six hours. The show went through the night and, as it states on the back of the shirt, the audience was treated to a buffet breakfast at dawn. The entire performance was recorded and released as The Closing of Winterland, one of the Dead’s most celebrated live albums. Setlist: Sugar Magnolia Scarlet Begonias Fire on the Mountain Me and My Uncle Big River Friend of the Devil It's All Over Now Stagger Lee From the Heart of Me Sunshine Daydream Samson and Delilah Ramble on Rose I Need a Miracle Terrapin Station Playin' in the Band drums Not Fade Away Around and Around Dark Star The Other One Dark Star Wharf Rat St. Stephen Good Lovin' Casey Jones Johnny B. Goode We Bid You Goodnight

View 1 of Lot 175: Grateful Dead | The final Winterland: “Breakfast served at dawn”

grateful dead | the final winterland: “breakfast served at dawn”

Important Americana

walnut inlaid with curly maple height 13 ⅝ in. by width 14 ¾ in. by depth 9 ¾ in. the back of drawer inscribed on all sides, most notably the back Alan Edgar Morrisson Jany 21 1933/ Made by Tecumseh Benzona Stokely about 1830. My Uncle E.W.C. Dec. 21, 1937, and the bottom This little bureau was my mother’s when she was a little girl. Then my sister, Eva, became owner when she was a little girl. After the death of my sister and parents, it came to me, then to Mildred our baby. Now it’s going to her son, Alan Edgar Morrison. I am the grandfather Edgar W. Cubbison / Given on Jany 21st 1933 Mildred Cubbison buraeau is somewhere between 125 years old and made by my mother’s brother Tecumseh Benzona Stokely ﻿Please note that we have a new registration process and we highly recommend registering early to the sale. If you encounter any difficulty, please contact the Bids Department at bids.newyork@sothebys.com or call +1 (212) 606-7414 for assistance.

View 1 of Lot 128: The Stokely-Cubbison-Morrison Family Miniature Classical Inlaid Chest with Drawers, Mercer, Pennsylvania, circa 1830

the stokely-cubbison-morrison family miniature classical inlaid chest with drawers, mercer, pennsylvania, circa 1830

English Literature, History, Science, Children’s Books and Illustrations

[NELSON, HORATIO LORD--BATTLE OF TRAFALGAR]

[NELSON, HORATIO LORD--BATTLE OF TRAFALGAR] Fragments of flag believed to have flown on HMS Victory comprising two pieces of hand-woven woollen bunting, one red and one white, each c.110 x 90mm [with:] Robert Southey. The Life of Nelson ... in two volumes. John Murray, 1813. Volume 2 only, 8vo, contemporary half calf on marbled boards, inscribed on front pastedown ("...part of the Victory [en]sign torn to pieces over Nelson's Grave & presented to my uncle W H Lunn [?] by one of the crew of that ship. E.T. Stainbank..."), and with a similar inscription on p.272 (where the fragments were previously mounted), with armorial bookplate of E.T. Stainbank The St George's Ensign and Union Jacks that had flown from HMS Victory at Trafalgar were intended to be folded and placed on Nelson's coffin at the culmination of his state funeral at St Paul's Cathedral on 9 January 1806. However, the 48 sailors and marines who formed part of the funeral procession tore numerous fragments off the flags and kept them as mementoes. Similar fragments are found in the National Maritime Museum and elsewhere, and others have appeared at auction in recent years (e.g. Bonhams, 28 September 2004, lot 117; Sotheby's, 17 December 2009, lot 9); Sotheby's, 10 December 2018, lot 6), whilst a much larger piece was also sold in these rooms (17 January 2018, lot 116, £297,000). E.T. Stainbank, early owner of this fragment, may be Edward Taggart Stainbank (1797-1833), master of the merchant ship Mansfield, son of Christopher Stainbank (1773-1860) of Peckham. PROVENANCE: E.T. Stainbank, bookplate and inscription; auction sale at Wallis and Wallis, (longstanding specialist Militaria auctioneers), clipped lot description taped down on front free endpapers, auction house tag loosely inserted

View 1 of Lot 57: HMS VICTORY | Fragment of flag believed to have flown at the Battle of Trafalgar

hms victory | fragment of flag believed to have flown at the battle of trafalgar

From the Collection of Dan Healy Grateful Dead 1978 Winterland Shirt Size: 70s L: 29’’L x 20.5W — Very good The 31 December 1978 Winterland performance was the last concert at San Francisco’s legendary Winterland Arena. New Riders of the Purple Sage and The Blues Brothers opened for the Dead, whose set went on for nearly six hours. The show went through the night, and the audience was treated to a buffet breakfast after the band finished. The entire performance was recorded and released as The Closing of Winterland, one of the Dead’s most celebrated live albums. Setlist: Sugar Magnolia Scarlet Begonias Fire on the Mountain Me and My Uncle Big River Friend of the Devil It's All Over Now Stagger Lee From the Heart of Me Sunshine Daydream Samson and Delilah Ramble on Rose I Need a Miracle Terrapin Station Playin' in the Band drums Not Fade Away Around and Around Dark Star The Other One Dark Star Wharf Rat St. Stephen Good Lovin' Casey Jones Johnny B. Goode We Bid You Goodnight

View 1 of Lot 174: Grateful Dead | The final Winterland performance

grateful dead | the final winterland performance

Fine Books and Manuscripts, Including Americana. Part 2

Property of a New York Collector Adams, Elizabeth C. Friendship album compiled by John Adams's granddaughter Friendship album comprising 41 accomplished leaves in a bound quarto composition book(255 x 207 mm), compiled by John Adams's granddaughter Elizabeth Coombs Adams, containing a manuscript sentiment signed by John Adams dated 1822, an autograph poem signed by John Quincy Adams dated Quincy, 7 September 1823, and many other sentiments, poems, and reflections by family members and friends; first leaf cropped at top margin, epistolary address from Elizabeth's father torn and repaired at top, leaf with John Adams's signature detached, lightly soiled, and with marginal repair, a wormhole at lower inner margin affecting text on only 3 or 4 leaves. Half red roan over marbled boards, engraved portrait of John Adams affixed to front pastedown by John Quincy Adams (according to Elizabeth's note. "placed here by my uncle J Q A"); worn, repairs to spine and corners. The friendship book of Elizabeth Coombs Adams, granddaughter of John Adams. Elizabeth was the daughter of Adams's youngest son Thomas Boylston and Ann Harrod. She collected these autographs from friends and family between 1822 and 1823 when she was 14 years old. The album includes a sentiment of deeply seated piety and religious devotion from her 87-year-old grandfather: "Virtue and Happiness are so intimately connected and so mutually dependent, that neither can exist without the other. Study therefore and practice the Decalogue and the Sermon on the Mount, and you can never be unhappy in this world or the other. From your affectionate Grandfather, John Adams." Adams's "faith in God and the hereafter remained unshaken. His fundamental creed, which he had reduced to a single sentence: ' He who loves the Workman and his work, and does what he can to preserve and improve it, shall be accepted of Him'" (McCullough, John Adams, p. 650). Earlier in 1820 as one of his last public acts, Adams found himself a delegate to a state convention called to revise the Massachusetts constitution. Adams proposed an amendment guaranteeing complete religious freedom in the commonwealth. If all were equal before the eyes God, so he reasoned that all should be free to worship God according to the practice of their respective faiths. The bill failed to pass. The album also includes verses composed by her uncle John Quincy Adams, signed and dated Quincy, 7 September 1823, written in four eight-line stanzas. The poem begins: "When thou in distant days shalt look | Beloved Maid, this Volume through, | And on the pages of thy Book | Fair Friendship's Record shalt review; | There, when the future shall be past | May bliss uninterrup'd cheer they brow, | While thy never tiring mind shall cast | A thought on him who greets thee now," and concludes: "In Pain and Gladness let thy Mind | See but thy maker's varied power: | To dark affliction's hour resign'd, | Grateful for Pleasure's fleeting hour: | Let Time and Chance then o'er thy days | Had gloom, or radiance, smile or frown, | Thy getting Sun's expiring rays | In cloudless Splendour shall go down." The album also includes two didactic letters composed by Elizabeth's parents, proferring advice on her education and moral comportment. PROVENANCE: Sotheby's New York, 21 June 2007 (undesignated consignor)

View 1 of Lot 1110: Adams, Elizabeth C. | "Study therefore and practice the Decalogue and the Sermon on the Mount"

adams, elizabeth c. | "study therefore and practice the decalogue and the sermon on the mount"

Books, Manuscripts and Music from Medieval to Modern

Carlyle family A group of letters and papers relating to the family of Thomas and Jane Welsh Carlyle, comprising: i) Dr John Welsh. Three military commissions signed by King George III, 1796-99; two medical testimonies, undated; also a biographical note on the Welsh family; docketed and annotated by Thomas Carlyle; worn and soiled, some tears ii) Mary Carlyle Aitken. Series of c.30 autograph letters signed, to Mary Frances Anstruther, providing a lively, detailed and often acerbic account of her life with Thomas Carlyle, from visit by Tennyson ("...He is very pleasant & nice; tells many funny stories, in the Scottish tongue some of them; he may be as vain as a peacock or as many people say he is; but it did not show...", 12 February 1878) to sittings for Millais ("...Millais is going to paint him, too, next month - that is for Millais own glorification. I hope he will make a good portrait perhaps he will; he can paint if he likes...", 11 March 1877) to J.A. Froude's shortcomings as a public speaker ("...he wriggles about very much, bends backwards forwards & both-sideways at impossible angles..."), as well as her own reading of books from Daniel Deronda ("...what a prig...") to Carlyle's Latter Day Pamphlets ("...as if he had pitched out his thoughts without any sorting just as they happened to present themselves..."), as well as art, politics, domestic life and Carlyle's final illness, one letter after Carlyle's death writing with considerable force about Froude's Life, chiefly 8vo, mostly mostly Cheyne Row, c.1874-1884, many with autograph envelopes, one letter torn iii) Miscellaneous correspondence: Grace Welsh (mother of Jane Welsh Carlyle), letter to "Mrs Arthur", 3 pages, docketed by Thomas Carlyle and dated by him 8/9 September 1835; Elizur Wright, American mathematician and abolitionist, autograph letter signed, to Thomas Carlyle, originally accompanying a gift of books, 2 pages, 8vo, 15 April 1844, with a brief endorsement by Thomas Carlyle; Elizabeth, Countess Pepoli, autograph letter signed, to Jane Carlyle, on her illness, written in a shaky hand, 1 page, 16 March 1862, with envelope, and a copy of another letter between the two with a note in the hand of Thomas Carlyle, torn at folds; also with an unrelated transcript of a song by Grace Greenwood ("A Song which none but the Redeemed can sing"), copied 2 December 1869; Thomas Carlyle (nephew of the writer), three letters to his brother Alexander Carlyle (husband of Mary Aitken), 1880s; with five empty envelopes (three addressed to Thomas Carlyle and one annotated by Thomas Carlyle); two envelopes addressed to Mrs Oliphant; photocopies iv) Other papers: manuscript notebook containing transcripts of letters and documents, and other notes, c.195 pages, 8vo, black cloth with paper labels, early 20th century, worn; manuscript notes in an unidentified hand on Europe in the early 18th century, 8 pages, folio, labelled "MS of Joseph Linberg" in pencil on the verso "...We have been to see Mr Erasmus Darwin (whom my uncle considers much cleverer than his celebrated brother)..." (Mary Carlyle Aitken to Mary Frances Anstruther) Mary Carlyle Aitken (1848-95) was Thomas Carlyle's niece. She went to live with Carlyle after the death of his wife, caring for her uncle and latterly acting as his amanuensis. She married a cousin, Alexander Carlyle, in 1880. After Carlyle's death the couple took on Carlyle's literary legacy, presenting a view of Carlyle - and especially his marriage - that was opposed to that presented by Carlyle's own chosen biographer, J.A. Froude (see also lot 263). She also produced an edition of Carlyle's early letters. This lot includes a lively series of letters by her to Mary Frances Anstruther (1819-1913), sister of Lady Ashburton and widow of Philip Anstruther. PROVENANCE: Alexander Carlyle (1843-1931) and Mary Carlyle Aitken (1848-95); thence by direct descent

View 1 of Lot 265: Carlyle family | Correspondence and papers, 19th century

carlyle family | correspondence and papers, 19th century

some restoration and minor chips. Together with a pair of Staffordshire porcellaneous seated figures inscribed My Aunt or My Uncle and a pair of earthenware white mask-molded window rests. Some repair and minor chips. 6 pieces.

two staffordshire pearlware figures of andromachecirca 1820

English Literature, History, Children&#39;s Books and Illustrations

on literary and personal subjects, the first including criticism of the mode of publication of Coleridge's periodical The Friend and suggesting a more logical arrangement of essays according to 'amusement' or more serious matter ("...so as to put the great children who read it in good humour...so that they may be ready with open mouth to swallow a tonic bolus every now & then before they are aware of what is coming..."), agreeing with Coleridge's thesis that "those mad scenes in Jeronymo [The Spanish Tragedy] to be Shakespeares" and commenting sharply that "George Coleridge's conduct exemplifies the precious consequences of substituting faith for good works, & talking about religion till you cease to feel it", the second about the unauthorised publication of his 'Wat Tyler' ("...I have no reason to regret the apparition of my Uncle Wat, since with the recollection of old times, it has brought back some of their feelings also..."), his legal attempts to prevent its publication ("...I learn also that they have procured a man to perjure himself, & swear that I made a free gift of the manuscript...") and angry accusations against publishers ("...I am at issue with the Grand Murray & some of his privy council...I have not heard who was the Resurrection-Man in Uncle Wats affair, it will come out in due time, & may very possibly be traced to the Old Serpent coterie..."), in total 7 pages, 4to and 8vo, address panels, one letter with postal marks, Keswick, 25 [October 1809] and 21 March 1817, seal tears, light soiling

two autograph letters signed ("r.s."), to s.t.coleridge

Americana

The first inscribed in pencil on the reverse: Given to my father by Uncle Ben... P. on his return from imprisonment in 1865. B. Craig Patterson (Drawn by a prisoner); the second inscribed in pencil on the reverse: Mother says these drawings were given to my father W. Patterson by my uncle Capt. Benj. Patterson. It was drawn by one of the prisoners at the Fort. Benj. Patterson 1907

a rare pair of civil war watercolor drawings: officers barracks fort delaware looking from the dining room and officers barracks fort delaware looking to the dining room

English Literature, History, Children's Books and Illustrations

i) ‘The Political “Wall-Flower”’ [25 November 1865], 160 by 205mm., pencil drawing, signed with monogram and date, mounted, framed and glazed; ii) ‘Paradise and the Peri’ [28 February 1874], 200 by 150mm., pencil drawing, signed with monogram and date, mounted; iii) ‘The Latest “Trick”!’ [11 June 1881], 160 by 210mm., pencil drawing, signed with monogram and date, mounted, framed and glazed; iv) Cartoons by Sir John Tenniel. “Punch” Office, [1901], presentation copy inscribed by the artist “To my dear Alice. With ‘Uncle John’s” bestest love and all good wishes. A.D. 1901”, original cloth, disbound, many leaves torn or creased; v) Two volumes containing numerous newspaper clippings regarding the death of John Tenniel, some spotting and browning, worn; vi) Partridge, B. ‘So Say All of Us!’, [12 June 1901], printed illustration, mounted, framed and glazed; together with three other items (10)

collection of material including three original drawings:

English Literature, History, Children's Books &amp; Illustrations

i) ‘The Political “Wall-Flower”’ [25 November 1865], 160 by 205mm., pencil drawing, signed with monogram and date, mounted, framed and glazed; ii) ‘Paradise and the Peri’ [28 February 1874], 200 by 150mm., pencil drawing, signed with monogram and date, mounted; iii) ‘The Latest “Trick”!’ [11 June 1881], 160 by 210mm., pencil drawing, signed with monogram and date, mounted, framed and glazed; iv) Cartoons by Sir John Tenniel. “Punch” Office, [1901], presentation copy inscribed by the artist “To my dear Alice. With ‘Uncle John’s” bestest love and all good wishes. A.D. 1901”, original cloth, disbound, many leaves torn or creased; v) two volumes containing numerous newspaper clippings regarding the death of John Tenniel, some spotting and browning, worn; vi) Partridge, B. ‘So Say All of Us!’, [12 June 1901], printed illustration, mounted, framed and glazed; together with three other items

Fine Chinese Ceramics & Works of Art including Chinese and Japanese Art from The Collection of Frieda and Milton Rosenthal

depicting a scholar with staff crossing a bridge leading to pavilions nestled in craggy mountains wreathed in mist, with an inscription which may be translated: 

depicting a scholar with staff crossing a bridge leading to pavilions nestled in craggy mountains wreathed in mist, with an inscription which may be translated:  for the inspection of my elder Uncle Guogan.  [His] nephew, He Weipu, bearing three seals: zishun shi, and two undeciphered collector's seals, wood box (2)

landscape

Important Furniture, Ceramics, Clocks, Tapestries, Silver & Vertu

the top inlaid with a central trellis and scroll design with a central monogram FP,  the five drawers and sides with conforming inlay, on carved bun feet, the inside of the front of the bottom drawer with a partially incomplete label `.. Chest of Drawers was a Present to my Mother from her Uncle Mr. Henry Davies who died in 1737 before my Mother had completed her tenth year 'D.GM'.

a george ii inlaid cedarwood chest of drawerscirca 1730

Beckett, Samuel. Series of seven autograph letters (4) and postcards (3), all signed ("Sam"), to the Israeli writer Mira Avrech

Beckett, Samuel. Series of seven autograph letters (4) and postcards (3), all signed ("Sam"), to the Israeli writer Mira Avrech referring to her articles on him and on [Rolf] Hochhuth ("...I dread all allusions to my person and habits and quotations from my wild tack but understand you could not do otherwise and also that you used considerable restraint for which I am grateful. What troubled me most was the reference to my poor uncle...The title unfortunate but that no fault of yours..."), to the flop of Hochhuth's Soldiers, his holiday in Sardinia, his seeing an eye specialist in Bern, his not going to Berlin for the TV Endspiel ("...If it were question of an adaptation it would be another matter..."), his future plans for work ("...Time is getting short and there may be a few more drops to be squeezed from the old lemon..."), and other matters, also encouraging her to get herself "a bottle of Johnny Walker Black Label at Rollenhagens and use it in that Europa Centre phoney cut glass"; further letters answering enquiries and alluding, inter alia, to his eye consultation at Bern ("...Banal cataract in both eyes..."), his "Working on French translation of Watt" ("Thankless job"), phone calls, mutual friends, drinking whiskey ("...I too drink my whiskey alone-mostly. Out of an old tumbler...Irish whiskey doesn't mind..."), his "abscess of the lung"' abstention ("...No drink or smoke for over 4 months now...Not much fun..."), world affairs ("...Yes, the earth is crazier than ever and the best thing for all concerned would be 100 atom bombs let fall simultaneously, 50 on each hemisphere..."), travel (to Paris, Berlin, etc.), the difficulty of reading and writing letters ("...depressed and depressing letters are better unwritten, so I wont go on with this..."), and, finally, his state in 1974 ("...I'm all right-more or less. So little time so much to do...") 9 pages in all, 4to and oblong 8vo, written in blue, black and red ink, two of the postcards with images of the veil of the Temple and of a painting in Berlin by Chaim Soutine, seven autograph postmarked envelopes (to addresses in Germany, France and Israel), Paris, Ussy sur Marne and Berlin, 2 November 1967 to 24 August 1974, some degree of wear, splitting and fraying together with a copy of Stern magazine for 9 December 1999 containing an article by Mira Avrech on her conversations with Beckett in Berlin in 1967 (on pages 158-66, including a reduced facsimile of one of the present letters), and also a ten-page photocopied typescript of a translation of this article into English Beckett worked in Berlin in August and September 1967 directing the German production of Endspiel (Endgame) at the Schiller-Theater. "Beckett was not without female companionship in Berlin. Sometime early in September, he met a young woman from Tel Aviv, who was also staying in the same residential block as a guest of the Academy of Cinema and Television. Mira Averech [sic] wrote film scripts and occasional journalism, precisely the kind of occupation that would normally have made Beckett bolt for cover. But he responded to a woman's charm and good looks. And Ms Averech was distinctly attractive. The affair-although she does not actually describe it as such in her article about Beckett [in Globe, February 1990]-began with Beckett offering her his ticket for the premiere of Endspiel, then appearing outside her door one night with a bottle of Johnny Walker and two imitation Waterford crystal glasses. From this developed a relationship which lasted for the remainder of his stay in Berlin. Although they tried to keep it secret, it was known to the Academy staff. They corresponded afterwards for about five years." (James Knowlson, Damned to Fame: The Life of Samuel Beckett, 1996, pp. 553-4).

beckett, samuel. series of seven autograph letters (4) and postcards (3), all signed ("sam"), to the israeli writer mira avrech

Robert de Balkany, Rue de Varenne, Paris – Day sale

surmonté d'une pendule, le cadran signé Masson / A PARIS, sommée d'un Amour guerrier ; la partie supérieure en doucine regainée de cuir fauve et ouvrant à quatre tiroirs, la partie médiane à rideaux coulissants, et la partie inférieure ouvrant à deux vantaux ; avec une étiquette manuscrite au dos Bought by Andrew Cockerell my uncle. Left to me by his sister M. T. Cockerell (auntsi) in 1914. B. Henderson, 1924. ; (le cadran et le mouvement de la fin du XIXe siècle)

cartonnier en placage de bois de rose et bronze doré  d'époque louis xv, estampillé n. petit

The Library of an English Bibliophile, Part VI

the kiltartan wonder book. new york: e.p. dutton, [1915]

Day's End and other stories, 1928, SIGNED; Catherine Foster, 1929, SPECIAL AUTHOR'S EDITION LIMITED TO 50 COPIES SIGNED BY BATES; Seven Tales and Alexander, the Scholartis Press, 1929, LIMITED TO 1000 COPIES, SIGNED BY THE AUTHOR; Charlotte's Row, 1931; The Woman who had Imagination, 1934; Something Short and Sweet, 1937; My Uncle Silas, 1939, drawings by Edward Ardizzone; The Season and the Gardener, Cambridge, 1940; Thirty-one Selected Tales, 1947; The Purple Plain, 1947, PRESENTATION COPY INSCRIBED BY THE AUTHOR (``Frank Harris, remembering pleasant days 1/47...''); Edward Garnett, 1950, AUTOGRAPH LETTER SIGNED BY THE AUTHOR LOOSELY INSERTED; Colonel Julian, 1951; Love for Lydia, 1951, SIGNED BY THE AUTHOR; The Country of White Clover, 1952, SIGNED; Oh! to be in England, 1963, SIGNED BY THE AUTHOR; The Fabulous Mrs V., 1964; The Wild Cherry Tree, 1968, SIGNED; FIRST EDITIONS, original cloth bindings, DUST-JACKETS; The Seekers, John and Edward Bumpus, 1926, glassine wrapper; Flowers and Faces, the Golden Cockerel Press, 1935, LIMITED TO 325 COPIES, engravings by John Nash, original quarter green morocco, patterned boards; 8vo, chiefly Jonathan Cape except where stated, together with 56 FURTHER VOLUMES BY BATES, chiefly first editions, many in dust-jackets (75) This lot contains 1 item(s).

bates, h.e. a collection of 75 works, nearly all first editions:

The Tale of Benjamin Bunny, inscribed by Greene ``For the kitten from Dilly. Aug. 1. 1927. `Twiddle Widdle Widdle, Mrs Tittlemouse' ''

The Tale of Benjamin Bunny, inscribed by Greene ``For the kitten from Dilly. Aug. 1. 1927. `Twiddle Widdle Widdle, Mrs Tittlemouse' ''The Tale of The Flopsy Bunnies, ``For Puss after 3 Years, in utter thankfulness. [star] March 17, 1925 -- March 17, 1928''The Tale of Peter Rabbit, ``In love & adoration & worship & admiration & gratitude. To Poss. from Wufth. Easter. 1928''The Tailor of Gloucester, ``Because I love you better than ever in my life before. June 22. `28 V.G. from G.G.''The Tale of Mrs. Tiggy-Winkle, ``For my dear love in place of an adored tooth. Aug. 13. '28''The Tale of Two Bad Mice, ``A Valentine. For the finest & most beautiful love that anyone has ever had. Feb. 14. 1929''The Tale of Mrs. Tittlemouse, ``Possina, Pussina, Missed & adored Possina, welcome home I've missed you so much. Your worshipping lover, Feb. 20, 1929''Appley Dapply's Nursery Rhymes, ``For my dearest love with all the love & wonder & gratitude in the world [star] Oct. 15. 1929''The Tale of Mr. Tod, ``For Cat from a devoted Slave. Aug. 1. 1930. `My uncle Bouncer has displayed a lamentable want of discretion for his years' cf. P.27''; another copy, inscribed ``To the Adored Cat-Love-Heart from a devoted Admirer Jan. 10. 1930''The Tale of Jemima Puddle-Duck, ``For Sophie Canstang on her birthday with all the love in the world. `Let us have a dinner party all to ourselves' cf. P.52. [star] August 1. 1930''The Tale of Pigling Bland, ``For Pussina because she had rather a sad day. Oct. 11. 1930. [star beneath]''The Story of Miss Moppet, inscribed on two pages ``This is like you, utterly comic'', and ``This is like you, utterly adorable''The Tale of Squirrel Nutkin, ``For Ch. Pussina Minnow of Wuffles, a Welcome Home present from an adoring and pining Tyge [star beneath]''together with copies of The Tale of Ginger & Pickles (uninscribed) and Cecily Parsley's Nursery Rhymes (disbound), and a later reprint of The Tale of Timmy Tiptoesvarious dates (not first editions), the set preserved in specially-made red cloth pull-off box, all copies well-read and well-thumbed, covers worn, lacking back-strips This lot contains 1 item(s).

greene, graham--potter, beatrix. fifteen works all intimately inscribed by graham greene (``...possina, pussina, missed & adored possina...'' etc) ,to his wife vivien in the first three years of their marriage:

English Literature, History, Science, Childrens Books and Illustrations

folio, INSCRIBED BY KING CHARLES I AND READ BY HIM DURING HIS FINAL IMPRISONMENT, FIRST COLLECTED EDITION, second issue, cancel title within woodcut border (McKerrow and Ferguson 212), cancel title page for the Second Part of the Faerie Queene (dated 1613), The Shepheards Calendar, Mother Hubberds Tale, and Colin Clouts Come Home Again [etc.] all with separate title pages and registers, numerous woodcut vignettes, cartouches, devices, and tailpieces, INSCRIBED BY CHARLES I ON THE FRONT FREE ENDPAPERS ("Dum spiro Spero [While I breathe I hope]. | CR"), with various additional inscriptions by Sir Thomas Herbert and other family members, notably recording Herbert's acquisition of the book ("The guift of my Uncle, Doctor Ambrose Ayckrayde. | 1628 | Herbert", partially erased, on the front paste-down), and with his monogram and mottos ("En Bon Tans" on the title page and "Pawb yn y Arver" on the colophon), also inscribed by other family members ("Liber Adeliza Herbert 1637" and "Henry Herbert" [? Henry Herbert, 2nd Bt, 1639-1687] on front endpapers), and with other notes including a quotation from Horace ("Omne tulit punctum Qui miscuit utile Dulci, Ars Poetica, 343), one textual correction (not in Charles I's hand) on p.319 of FQ, with a faded inscription on the upper cover in a later hand ("This book is for [Tho.] Herbert Esqr. Groom of the Bedchamber to the King in the Isle of Wyght with a [bracelet?]"), contemporary calf, fillet gilt border, later red lettering piece, housed in a brown morocco collector's folding box by Sangorski and Sutcliffe, a few tears including to [FQ] A2 and [Calendar] D1, occasional scattered marks and browning, binding worn with upper cover nearly detached

the faerie queen: the shepheards calendar: together with the other works of england's arch-poet. h[umphrey] l[ownes] for mathew lownes, 1611 [i.e. 1612 or 1613]

Thomas Carlyle--Edward Fitzgerald 14 autograph letters signed (mostly “E. Fitzgerald”), to Elizabeth Carlyle Aitken ("Dear Miss Aitken", later "Dear Mrs Carlyle") asking for news of her uncle Thomas Carlyle (“le Senor Tio”), discussing Readings in Crabbe and other works, congratulating her on the publication of a book, thanking her for a bequest and praising the way she handled Carlyle's estate (“…I think you feel yourself strangely surrounded by those things which have lost their own owner…”), later letters referring to her dispute with Froude over posthumous publications and explaining to whom he has lent Carlyle's letters to him, written with shaky handwriting as a result of Fitzgerald's infirmities, in purple, red, and black ink, 58 pages, 8vo, Little Grange, Woodbridge, Suffolk, 9 January 1878 to 7 February 1883, nicks and tears, some dust staining “…At any rate, please to make my kindest remembrance to your Uncle – dating from close on 40 years ago. I need not say that I hope he does not think I forget him, in spite of all these intervals of enquiry – I think he must know that I do not. I have nothing to tell of myself – only the same old story, which need not be re-told, and which never was worth the telling at all…” (3 June 1880) Edward Fitzgerald (1809-83), best known as the translator of the Rubaiyat of Omar Khayyam, was a longstanding friend of Thomas Carlyle. They had met in 1842 and remained in regular contact for the remainder of their lives. By the time of these letters Fitzgerald was living in retirement in Suffolk and Carlyle's ill-health and especially his tremor made writing difficult, so Fitzgerald was writing to his niece and live-in helper Mary Aitken (later Carlyle, following her marriage to her cousin Alexander Carlyle). The final letters in this series touch on the Froude Controversy over Carlyle's legacy. PROVENANCE: Alexander Carlyle (1843-1931) and Mary Carlyle Aitken (1848-95); thence by direct descent

View 1 of Lot 264: Thomas Carlyle--Edward Fitzgerald | 14 autograph letters signed, to Mary Carlyle Aitken, 1878-83

thomas carlyle--edward fitzgerald | 14 autograph letters signed, to mary carlyle aitken, 1878-83

Appears to retain original finials, drops, and brass hardware plates.  Inscribed on side of drawer in lower case: This chest of drawers was made for Helen Lewis Birdseye / my great-grandmother by her Uncle Eli Lewis in 1784. / She was born in 1761 + died in 1856. / Her husband Thaddeus Birdseye / was born in 1753 + died in 1800. / Helen Curtis Webster / Original written in pencil. Traced in ink / for preservation in 1946. / Dorothy Webster Carter.

the lewis family very fine queen anne carved cherrywood bonnet-top high chest of drawers, eli lewis, stratford, connecticutdated 1784

Important Modern Literature from the Library of an American Filmmaker

Kerouac, Jack The Dharma Bums. New York: The Viking Press, 1958 8vo. Light dampstaining to a few leaves, with associated light cockling to some sheets. Original black cloth; covers slightly bowed and soiled from dampstaining. Pictorial dust jacket; rubbed. In a quarter black morocco slipcase. First edition. A remarkable presentation copy, inscribed not only to the author’s mother, Gabrielle “Gabe” Kerouac, but also to her two cats on the front free endpaper: “To Ma–& Timmy–& Tyke / A third adventure to pay for the house, the cat food, the brandy & the peaceful sleep / From Dharma Bum Jack / Ti Jean XXXX / Ma, you're on pages 132, 133, 148 / Little Paul on pages 140 / Big Paul 143-144.” The two Pauls referred to in the inscription are Paul Blake, husband of Kerouac's sister Caroline, and his son. Kerouac’s inscription references his hopes that sales of The Dharma Bums would allow him to pay off the mortgage on his Northport home, “thinking this would make it easier for him and his mother to sell the Long Island house and move to Florida.” The novel was published on the 2nd of October, and by the end of the month he was disappointed that the novel had not made The New York Times best-seller list. He soon advised his agent Sterling Lord to make moves to place a forthcoming book for a large advance. At this same time, with his mother away visiting his sister Caroline, Kerouac wrote to Allen Ginsberg and described his “harried” existence at home without Mémêre (see Selected Letters 1957-1969, p. 181). “Gabe had only a fifth-grade education but she had narrative and descriptive powers. Sometimes Jack even compared her storytelling to Dostoevsky’s. As she built up the picture of Jack’s selfless little mother valiantly holding down the fort at home, weaving a rag rug for his return like Penelope waiting for Odysseus, Gabe had an excellent instinct for when to bring in the pathos in case he was enjoying himself too much...” (Joyce Johnson, The Voice is All: The Lonely Victory of Jack Kerouac, NY: Viking, 2012, p. 248). Gabrielle Kerouac’s Catholicism was central to Kerouac’s development, but so too were her flaws. And she often reminded him of the promise he had made to his father that he would care for her. It was a promise that he kept, despite his incessant travel, as he always returned home to memere. He and his wife Stella were living with her in St. Petersburg, Florida when he died in 1969. In the last letter included in his Selected Letters, sent to his nephew Paul (mentioned in the inscription here), Kerouac wrote: “This is Uncle Jack. I’ve turned over my entire estate, real, personal, and mixed, to Mémêre, and if she dies before me, it is then turned to you, and if I die thereafter, it all goes to you… Mémêre is saying: ‘The last letter I wrote you I asked you for a reply and you still haven’t replied. I’m very proud of you, my little blond boy, because of your work for your country… I love you, and I’m lonely. I’d like to see you because it makes me renew the instincts I had with your Ma.’ [Signed] Jack (& Mémêre).” In life, death, and all of his literary works, Jack Kerouac was indelibly tied to his mother and family. One of Gabrielle’s letters to Jack illuminates the nature of their bond: “Honey, I'm still not able to realize that you have left me for good. I keep searching the Boulevard looking out the window for hours thinking I'll see you come walking and waving to me. I dare say I miss you a lot now and more so now that I know you don't belong to me anymore but that's life and sooner or later I'll get used to the idea. I hope you will be very happy, Honey, and that nothing will ever stop you from being a great Man. With the help of your new Mother and a good Wife you should become a great writer” (Women of the Beat Generation). Very rare inscribed. No other inscribed copy of the first edition of The Dharma Bums has appeared at auction, according to records. A copy of the first English edition inscribed to Lucien Carr and his wife Cessa was sold in these rooms in 2003, and Christie’s New York sold a copy in 2005 signed (but not inscribed to an individual) by Kerouac and a cast of other Beat figures. These are the only loosely related comparables found in the auction records since the book’s publication. A more biographically poignant association hardly can be imaged. REFERENCE: Charters A4a PROVENANCE: Gabrielle Kerouac (presentation inscription) — Roger Rechler (Christie’s New York, 11 October 2002, lot 181)

View 1 of Lot 56: Kerouac, Jack | The Dharma Bums, inscribed to his mother and her two cats 

kerouac, jack | the dharma bums, inscribed to his mother and her two cats

Hip Hop

WU-TANG CLAN "UNCLE" RALPH MCDANIEL'S PERSONAL LEATHER WU-TANG CLAN "PARENTAL ADVISORY" JACKET, CA. 1993-94 Leather jacket with large brown leather Wu-Tang logo to back, white leather Wu-Tang logo at left breast, and embroidered "Parental Advisory Explicit Rap" patches sewn to front and back of jacket. Back patch partially detached, wear to fabric cuffs. "Uncle" Ralph McDaniels is famous for co-creating and hosting the first ever Hip Hop music video tv show, Video Music Box, launched on WNYC-TV in New York City in 1983. He has over 400 credits as music video director to his name, including for NAS, Big Daddy Kane, Biz Markie, Gang Starr, and of course the Wu-Tang Clan, directing the video for their ground-breaking smash hit C.R.E.A.M. in 1994. The Wu-Tang clan had a small number of leather jackets made for group members and a select group of close friends, with this jacket being given to "Uncle" Ralph by The RZA. PROVENANCE: Courtesy "Uncle" Ralph McDaniels

"uncle" ralph mcdaniels' original leather wu-tang clan parental advisory jacket, ca 1993

Fine Books and Manuscripts including Property from the Eric C. Caren Collection

[FITZGERALD, F. SCOTT] — WILLA CATHER My Ántonia. Boston and New York: Houghton Mifflin Company, 1918 8vo. Illustrations by W.T. Bendan; a few marginal pencil marks. Original brown cloth, cover and spine stamped in taupe, inscribed by Fitzgerald on the front free endpaper; extremities just rubbed, edges toned, upper joint starting. Lacking jacket. First edition, second state with illustrations printed on text paper, inscribed by Fitzgerald: "Dear Aunt A. | This is a rarely | beautiful book, I | think. Hope you'll | like it | Scott" This copy of My Ántonia was presumably given to Fitzgerald's maternal aunt, Annabel McQuillan. It was McQuillan who paid for him to attend the exclusive Newman School near Hackensack, New Jersey. It was during Fitzgerald's tenure at the Newman School that he began to pay more attention to his studies, publishing several stories in the student newspaper, and set his sights on Princeton University. Fitzgerald was greatly influenced by Willa Cather, consciously emulating her style and techniques, and prior to the publication of The Great Gatsby, he wrote to his literary idol, stating: "As one of your greatest admirers—an admirer particularly of My Ántonia, A Lost Lady, Paul's Case and Scandal I want to write and explain an instance of apparent plagiarism..." Fitzgerald had been concerned that a line in Gatsby echoed one of Cather's in A Lost Lady, though he had written his masterpiece before reading the latter. On 28 April 1925, Cather generously replied: "My dear Mr. Fitzgerald: I had read and hugely enjoyed your book before I got your letter, and I honestly had not thought of 'A Lost Lady' when I read that passage to which you now call my attention... I suppose everybody who has ever been swept away by personal charm tries in some way to express his wonder that the effect is so much greater than the cause,—and in the end we all fall back upon an old device and write about the effect and not the lovely creature who produced it. After all, the only thing one can tell about beauty, is just how hard one was hit by it. Isn’t that so?" Fitzgerald was greatly excited by this response, even waking Christian Gausse, a Dean at Princeton, at one o'clock in the morning to tell him of it. It is unclear when the present volume passed back into Fitzgerald's possession, but he gave it to Arthur Musgrave, along with others (see lots XXX) at some point in the 1930s, when the two men became friends. A remarkable association copy, linking two of American literature's most prolific figures PROVENANCE: Arthur Musgrave

[fitzgerald, f. scott] — willa cather | my ántonia. boston and new york: houghton mifflin company, 1918

Fine Manuscript and Printed Americana

(TEXAS) A SIGNIFICANT ARCHIVE OF LETTERS DEALING WITH THE ESTATE AND FAMILY OF JOHN MCMULLEN, IRISH EMPRESARIO AND CO-FOUNDER OF THE MCMULLEN-MCGLOIN COLONY IN TEXAS Approximately 42 letters, mostly autograph letters signed by Jacob Waelder in San Antonio, Texas, to John McMullen ("Friend McMullen") in Mauch Chunk (present-day Jim Thorpe), Pennsylvania, 12 December 1834 to 22 February 1869, totaling approximately 105 pages on a variety of blue and white papers (various sizes), a few accompanied by original envelopes (stamps clipped away), also accompanied by a few fragmentary letters; a very few letters with short tears or fold separations, but generally fine condition. John McMullen was born in Ireland in 1785 and came to the United States as a young man, living first in Maryland and then Georgia. In 1810 he married a widow, Esther Espada Cummings, and was a successful merchant in Savannah for more than a decade. But in the 1820s, the couple moved to Matamoros, Mexico. Perhaps tutored by his wife, McMullen quickly became fluent in Spanish after the move. McMullen’s business success continued, and in 1828 he was granted an empresario contract by the Mexican government to establish a colony in Texas. Mexico required landholders to be Roman Catholics, so McMullen, Catholic Irish emigrant, was a qualified candidate. He travelled to New York and Philadelphia the next year with his partner, James McGloin (who had married McMullen’s step-daughter) to recruit Irish colonists. The two men returned to Texas later that year with several hundred colonists to settle a vast area of land between the Nueces and Medina rivers; the town of San Patricio was established in 1831 as part of the colony. In the foment of the Texas Revolution, McMullen was elected a delegate to the Consultation of 1835 and appointed to the General Council of the provisional government of Texas. Because of its proximity to Mexico, San Patricio suffered greatly during the Revolution, even though most of its residents opposed the war. McMullen found himself unpopular, if not reviled, and after his property had been vandalized and his cattle driven off, he sold out his parcels to McGloin and moved to San Antonio about 1838, where he again worked as a merchant. His wife died in San Antonio in 1846, and on 21 January 1853, McMullen was murdered at his home, perhaps during an attempted burglary, perhaps by an assassin. The crime was never solved, but one tradition is that the assailant was a boy he had adopted at the age of nine in 1833, who was baptized as José Antonio de Jesus in San Fernando Cathedral in San Antonio. His nephew and namesake, John McMullen, son of Neal, his late brother, travelled to Texas from Pennsylvania to claim the estate for himself and his siblings. An eventual settlement was reached between John McMullen, who had become administrator of the estate, and the grandchildren of his wife, represented by John J. McGloin, one of the grandsons of Esther McMullen and the administrator of her half of the community property. The estate was divided equally among the respective heirs. Most of the correspondence here is written to John McMullen by Jacob Waelder, a lawyer and newspaper publisher from Pennsylvania (though born in Germany), who moved to San Antonio in 1852. Presumably John McMullen the nephew knew Waelder from Pennsylvania and trusted him to look after his interests in Texas. The earliest piece of correspondence in the lot is the first four pages only of a letter written to Empresario John McMullen by an unknown colonist at San Patricio, 12 December 1834, commenting on the local elections and complaining that promised land grants have not been made. Next are two letters written from San Antonio to John McMullen the nephew of the Empresario on 3 April 1853, shortly after his uncle's death. One is from Edward Miles, the first administrator of McMullen's estate. Miles provides a highly detailed narrative of McMullen's final days and death. "Since Sept last I resided in one of your uncle John McMullen's houses and within a few feet of his residence. … the old man lived entirely alone in the rear part of a two story building … and he had neighbors all around him—one of these a Negro woman named 'Jane' lived in a small house in the rear of your uncle's & in passing to get water out of the River very early on the morning of the 21st of Janry (ult) saw a hole through the wall in the rear of the house where your uncle lived and 'mistrusted' something. She called Elizabeth's (who was up at the time) attention to the hole who called me and said Oh Mr. Miles there is a great hole in the wall of 'Pa''s house and I am sure he has been murdered and Robbed." Miles describes breaking in the door and trying to wake McMullen, to no avail. His narrative continues, "The Mayor had handbills posted offering a reward for the Murderer—many persons were questioned—a great many enquiries were put on foot and some arrests were made, yet so far the affair is involved in Darkness, in mystery—his trunks had been broken open & pillaged or ransacked $68 in Silver was found in the Table Drawer—my own opinion is that the Murder's object was money & I believe that in this he failed. Some think that the object was for papers—the old man was constantly improving his property, and was always hard run for money." After a dramatic peroration in which he claims the scene of the murder was worse than anything he had seen on the battlefield during the Texas Revolution, Miles describes the holdings of McMullen's estate: "I am the administrator—the Estate is possessed of some fine property in this City & I presume that he has some valuable Lands—my Inventory is not yet considered complete, but I have given Bonds for $23.000. … Half of his Estate is claimed by the McGloins as Community property on the side of his deceased wife. …" The final page of this letter bears a note of warning to John McMullen, signed by his brothers James and Anthony, and written from Philadelphia on 12 May 1853: "We think it looks very strange that this Edward Miles lived Next Door to unkles And unkel said He lived out on a farm. John Place No Confidence in Edward Miles. …" John McMullen acted on this warning and had himself made executor of his uncle's estate. The second letter from 3 April is from the San Antonio attorneys Hewitt & Newton; it provides an overview of the McMullen estate and concludes by noting "that the poor old Gentleman was most basely & fowly murdered & that the perpetrators of the dastardly & cowardly act has not yet been discovered." The bulk of the remaining correspondence, beginning with a letter of 9 June 1854, comprises letters to McMullen from his San Antonio lawyer Jacob Waelder, describing the unwinding of the estate, including much information on McMullen's land holdings, and ultimate disposition of the properties between the McMullens and McGloins. LITERATURE: cf. “John (Juan) McMullen: Irish Empresario & Co-founder of the McMullen & McGloin Colony,” reprinted with permission from San Patricio de Hibernia by Rachel Bluntzer Hebert (Eakin Press, 1981) (http://www.tamu.edu/faculty/ccbn/dewitt/irishmcmullen.htm)

[texas]. a significant archive of letters dealing with the estate and family of john mcmullen, irish empresario

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

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

The Passion of American Collectors: Property of Barbara and Ira Lipman Spalding, Albert G. America's National Game: Historic Facts Concerning the Beginning, Evolution, Development and Popularity of Base Ball, with Personal Reminiscences of its Vicissitudes, its Victories and its Votaries. New York: American Sports Publishing Company, 1911 Thick 8vo (195 x 132 mm). Additional frontispiece portrait of Spalding, numerous full-page photographic illustrations, 2 folding photographic plates, half-title; portrait of Spalding with light diagonal crease. Publisher's blue cloth, front cover and spine gilt-lettered, front cover with gilt vignette of Uncle Sam clutching a baseball bat; spine a little darkened, tiny loss to upper fore-edge corner of front free endpaper, inner hinges cracked but secure, slightest rubbing to corners and head and foot of spine, withal a bright, near-fine copy. Half blue morocco slipcase. First edition; presentation copy inscribed and signed by the author on the front free endpaper: "To J. F. Gray with my compliments A. G. Spalding New York, Oct. 26. 1911." Albert Spalding was a highly successful pitcher and batsman during the early years of professional baseball (he popularized the use of a glove for fielders) and the co-founder of the eponymous sporting goods concern. His America's National Game, was the first scholarly history of baseball.

spalding, albert g. | presentation copy of albert spalding's pioneering history of baseball, inscribed and signed by the author

Thomas Jefferson Autograph letter signed ("Th: Jefferson") as Vice President, to Richard Richardson, an overseer at Monticello, lamenting the death of enslaved person Jupiter Evans and giving directions for the management of Monticello One and half pages (247 x 199 mm) on a single leaf of laid paper (watermarked 1794), Philadelphia, 10 February 1800; mounting remnant at left margin verso, small repair at lower left corner not affecting text, a couple very short fold separations or marginal tears, pinholes at intersecting folds. Half brown morocco folding-case, chemise. "I am sincerely concerned for the death of Jupiter. …" A significant letter, revealing Jefferson's distress at the loss of his longtime enslaved servant and companion Jupiter, who had died after insisting on making a journey from Monticello to Fredericksburg despite Jefferson's efforts to dissuade him. Written in the midst of Jefferson's rebuilding of Monticello to reflect the architectural lessons he had learned while serving as United States Minister to France—and full of specific directions to enslaved persons and hired workmen alike—this letter begins with Jefferson expressing sincere regret for what he saw as his role in the death of a longtime attendant: "Your favors of Jan. 7th. and 18th. have both been recieved. on the 12th. of January I made a remittance to mr Jefferson, and directed him to pay out of it 329. dollars to your order as I notified you in my letter of the 13th. which I presume you recieved on the 22d. I am sincerely concerned for the death of Jupiter, which I am persuaded might have been prevented could I have prevailed on him to give up going with me to Fredericksburg, or to have stopped the 2d day, and permitted a man to go on with me whom I engaged for that purpose, proposing to him to stay by the way. I suppose the journey to my brother’s compleated the business." Born at Shadwell the same year as Jefferson, Jupiter Evans was an enslaved person who acted as a personal servant and traveling attendant to Jefferson during his studies at William and Mary. But he also had responsibilities as a valet, coachman, hostler, and stonecutter. For almost sixty years, Thomas Jefferson and Evans were in close contact, and while it would be inaccurate to describe their relationship as that of friends, Jefferson was clearly affected by Jupiter's death. In a letter written less than a week earlier to his son-in-law Thomas Mann Randolph, Jefferson also wrote at length about Evans's death, "By a letter recieved to-day also from mr Richardson I learn the death of Jupiter. he has fallen a victim to an imprudent perseverance in journeying. I was extremely against his coming to Fredsbg with me & had engaged Davy Bowles, but Jupiter was so much disturbed at this that I yielded. at the end of the second day’s journey I saw how much he was worsted, & pressed him to wait at Hyde’s a very excellent house till the horses should return, & I got the promise of a servant from thence. but he would not hear of it. at Fredericksburg again I engaged the tavernkeeper to take care of him till he should be quite well enough to proceed. and it seems that immediately on his arrival at home, he took another journey to my brother’s where he died. I am sorry for him as well as sensible he leaves a void in my domestic administration which I cannot fill up" (Papers 31: 360). Jefferson may have found Jupiter's death so jarring not only because he felt some guilt about it, but because the two men were the same age. But Jefferson's qualms about the cause of Jupiter's death were misplaced, at least according to his daughter. Martha Jefferson Randolph wrote to Jefferson on 30 January 1800, relative to his inquiries about "poor Jupiter": "he too has paid the debt to nature; finding himself no better at his return home, he unfortunately conceived him self poisoned & went to consult the negro doctor who attended the George’s. he went in the house to see uncle Randolph who gave him a dram which he drank & seemed to be as well as he had been for some time past; after which he took a dose from this black doctor who pronounced that it would kill or cure. 2½ hours after taking the medecine he fell down in a strong convulsion fit which lasted from ten to elevin hours, during which time it took 3 stout men to hold him, he languished nine days but was never heard to speak from the first of his being seized to the moment of his death" (Papers 31: 347). In the remainder of the letter, Jefferson evinces a more severe attitude towards the enslaved persons at Monticello, ordering Richardson to assign Jupiter's responsibilities to others: "I hope you will have care taken of the things in his charge, such as the carriages, harness, saddles &c as it is proper somebody should sleep so as to guard the house, perhaps it would be best for Joe [Fossett?], Wormely [Hughes] & Burwell [Colbert], or any two of them to sleep in the North square cellar. I take John to be a great nightwalker. besides I have no idea of letting him off from his share of labour with the men. he is beginning to be idle, and I consider his labouring with the rest in the winter to be necessary to keep him to his duty. at that season there is nothing to be done in the garden but what the old people can do with his direction. I think therefore it would be better that Burwell should feed the horses. if a supply of forage is kept ready, it need interrupt his day’s work but a short time. I shall be glad if you will keep the key of the corn crib in the stable, and see that the corn is always locked up in that. under this arrangement, the sheep might remain on John’s hands, without hindering him." Hughes, Colbert, and Fossett (if the latter is indeed the Joe that Jefferson meant) were all nephews of Sally Hemings. The letter continues with further guidance for Richardson about managing Monticello, including resupplying the quarters of an enslaved man and running the blacksmith shop: "as I understand Ned [Gillette?] lost every thing in his house, & of course his bedding, give him three new blankets, and a hempen roll bed. I am in hopes you have sent down the three ton of half crown rod, as my merchant here agrees to take it in Richmond as cash. of course it is important it should be there immediately as it will save my paying him 120.£ cash soon to become due. I hope you have recieved the 4. tons of nail rod sent on in December, which with the 3. tons recieved before I came from home will be a supply till summer. … If you would write to me always the day after you recieve a letter from me, so that it might come by return of the same post, I would do the same here, so that a letter written by each about every three weeks would keep me possessed of the progress of the several works & enable me to give directions. I should have been very glad of the smith you mention to me; but Powel is engaged to come, tho’ not till next winter. I wrote to mr Eppes to try to engage him to come the 1st. of July, & expect an answer from him. if he does not I should be willing to take this one for the present year." John Wayles Eppes was another of Jefferson's sons-in-law. Jefferson concludes with exacting instructions on planting pecan trees and a request, approaching a demand, for a progress report from James Dinsmore, the joiner responsible for most of the elegant woodwork at Monticello. "I have sent on a bag of a particular kind of nut, called the Paccan. as soon as ever they arrive John must plant them in the nursery in rows 2. feet apart, and 6. Inches from nut to nut in the row. Congress propose to rise the 1st. of April. if they do, I shall be at home between the 8th. & 15th. of that month. I want to hear from mr Dinsmore as to the progress of his work." Richard Richardson, to whom this letter was directed, began working at Monticello as a bricklayer in 1796. Jefferson sent him to Philadelphia to learn stonecutting and plastering, and he eventually advanced to a position as overseer, although he left Monticello when he inherited a sugar plantation in Jamaica. REFERENCE: Papers of Thomas Jefferson, ed. Oberg, 31: 363–364; cf. Lucia Stanton, Those Who Labor for My Happiness: Slavery at Thomas Jefferson's Monticello (University of Virginia Press, 2012); cf. "Thomas Jefferson Encyclopedia" (https://www.monticello.org/research-education/thomas-jefferson-encyclopedia/)

View 1 of Lot 1310: Thomas Jefferson | An engrossing letter about Jefferson's management of Monticello, including a lament for the death of an enslaved servant

thomas jefferson | an engrossing letter about jefferson's management of monticello, including a lament for the death of an enslaved servant

English Literature, History, Children’s Books and Illustrations

[CARROLL, LEWIS]--DODGSON, CHARLES LUTWIDGE

[CARROLL, LEWIS]--DODGSON, CHARLES LUTWIDGE The Author's "second-best silver watch", engraved for his nephew, Bertram Collingwood Silver half hunting cased Swiss watch no 33516, c. 1880 Dial: white enamel, Roman numerals, blued steel hands, Movement: cylinder escapement, signed G&G Geneve Case: silver, blue enamel chapter ring with Roman numerals to the front, numbered 33516, cuvette engraved "B.J.C. | from | C.L.D." Dimensions: 45mm diameter Accessories: accompanied by a key Dial: with losses and cracks. Movement: running at the time of cataloguing and hands adjusting. Case: the glass is loose, losses to the blue enamel, tarnishing to the case and scuffs throughout. Please note that the movement has not been tested for the accuracy of time and may need a service at the buyer's expense. Sotheby's does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts. Anton Bach, a German watchmaker, was located at 40 Great Russell Street, London. Collingwood family legend records that Carroll would occasionally visit ‘to get Greenwich time’. Carroll’s diary notes, on 1 May 1883, ‘To Bach, to leave my second-best silver watch to be put in order as a present for Bertram’. This is that watch. Given the introduction of the White Rabbit taking a watch out of his waistcoat-pocket in the third paragraph of Alice’s Adventures in Wonderland, this is a wonderfully evocative item linking Lewis Carroll’s family and his work. Bertram James Collingwood (1871-1934) was the younger brother of Carroll's nephew and Godson, Stuart Dodgson Collingwood. Carroll gave this watch to his twelve-year old nephew and it has remained with the family ever since. Bertram matriculated at Caius College, Cambridge before attending St Mary's Hospital Medical School, University of London. During the Boer War he was a civil surgeon and served in the Royal Army Medical Corps during the First World War. He was Professor of Physiology at St Mary's Hospital, Paddington, 1921-1934. During the 1932 Centenary he toured the United States lecturing on his uncle in aid of the Lewis Carroll Memorial Ward at St Mary's. Please see shipping calculator link: click here

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