An issue of <a href="https://www.sothebys.com/en/search?query=New%20York%20Times&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The New York Times</a> Magazine featuring <a href="https://www.sothebys.com/en/search?query=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jean Michel Basquiat</a>, published in 1985.<ul><li>Basquiat article by Cathleen McGuigan.</li><li>Photo by Lizzie Himmel.</li><li>New York: The New York Times Company, 1985.</li><li>This February 10th, 1985 edition is famously entitled “New Art, New Money: The Marketing of an American Artist."</li></ul> This much iconic cover photo features Basquiat at his most critical turning point - one in which, the grandeur and height of his success is brought into marked contradiction by an expression defined by a wary, slightly tired defiance; as if he's already begun to perceive all the further judgements and trappings of a notorious 1980's New York art world - a pivotal force in the artist's meteoric rise and fall. A definitive and much historical Basquiat collectible made for any dedicated collector of the artist.

The New York Times Magazine: New Art, New Money Basquiat Issue

Fine Books & Manuscripts, Including Americana

Fitzgerald, F. Scott Tender is the Night. New York: Charles Scribner's Sons, 1934 8vo. Publisher's dark blue-green cloth, spine lettered in gilt; boards lightly soiled. Pictorial dust jacket; spine panel lightly faded, light wear and a few short tears to edges, toning along fold of interior black flap, still a particularly bright example. First edition, a very fine association copy, inscribed to Donald Ogden Stewart on the front free endpaper: "Dear Don: This will amuse you I think. Scott." Donald Ogden Stewart (1894-1980) was a prominent American humorist and writer who achieved success in Golden Age Hollywood writing movies such as The Philadelphia Story, which won him the Oscar for best screenplay. He was a lifelong friend of F. Scott Fitzgerald, a relationship that began in the Summer of 1919 when Fitzgerald was reworking his draft of The Romantic Egoist into what would become his debut novel, This Side of Paradise. Stewart had literary aspirations of his own, and was among Fitzgeralds' pre-publication readers: "I got him to lend me [the manuscript of] This Side of Paradise, written in pencil. I approved of it, with my Yale reservations. I didn't know enough to appreciate his style and form, but the content was exciting" (Stewart, p. 86). Fitzgerald encouraged Stewart's literary ambition in turn, and he helped kickstart his career by connecting him with an old Princeton friend at Vanity Fair. Following the success of his H.G. Wells satire, A Parody Outline of History, he earned an invitation to the famous Algonquin Round Table. Throughout the 1920s he was part of a literary community that—in addition to the Fitzgeralds—included Dorothy Parker, Robert Benchley, John Dos Passos, and Ernest Hemingway. Stewart joined Hemingway on the trip to Pamplona that served as the inspiration for his debut novel, The Sun Also Rises; also serving as a model for the character of Bill Gorton. After returning from Europe, Stewart settled down in California and embarked upon a career in Hollywood. There, his path crossed once more with Fitzgerald, who had returned to Hollywood in dire financial straits when the cost of his opulent lifestyle and Zelda's medical bills finally caught up with him. The pair worked together (unsuccessfully) on screenplays for The Women (George Cukor, 1939), and the never-realized Air Raid (Paramount, 1939), but Fitzgerald privately ridiculed Stewart for his increasingly liberal politics (which would eventually earn Stewart a place on the Hollywood blacklist). It was quite possibly during this final period of collaboration—Fitzgerald died in 1940—that he inscribed this copy of Tender is the Night to Donald Ogden Stewart. Tender in the Night was Fitzgerald's last novel and, in his own opinion, his finest work. In the nineteen years which had passed between the publication of The Great Gatsby and the appearance of Tender is the Night in April 1934, anticipation and expectation had built around what would be Fitzgerald's last novel. However, on publication, it achieved neither the acclaim nor the sales which Fitzgerald hoped for, an outcome which puzzled him for the rest of his life. This was despite a number of overwhelmingly positive reviews, including that of John Chamberlain for The New York Times, who wrote: "Mr. Fitzgerald has not forgotten his craftsmanship... Beyond the story, there is [his] ability to catch the "essence of a continent", the flavor of a period, the fragrance of a night and a snatch of old song, in a phrase." "...a wonderful evocation of the second phase of American expatriates ... described with flashes of genius by an expert in self-destruction... " (Connolly). REFERENCES Bruccoli A15.1.a; Connolly 79; Donald Ogden Stewart, By a Stroke of Luck! An Autobiography, London: 1975 PROVENANCE Donald Ogden Stewart (presentation inscription) — Roger Rechler (Christie's New York, 11 October 2002, lot 91, achieved $119,500)

View 1 of Lot 1059: Fitzgerald, F. Scott | Tender is the Night, first edition, inscribed to Donald Ogden Stewart

fitzgerald, f. scott | tender is the night, first edition, inscribed to donald ogden stewart

Salinger, J.D. The Graham Family archive, 1951-1989 4 letters (1 ALS and 3 TLS), all signed (“Jerry”), addressed to Mrs. Esther Graham or to Mr. J. Graham, with original mailing envelopes, 1953-1989; a signed and inscribed first edition of The Catcher in the Rye, 1951; a partial The Catcher in the Rye dust jacket, signed by the illustrator E. Michael Mitchell on the same date as the aforementioned first edition, 1951; a rare portrait photograph of Salinger, signed by the photographer Antony di Gesu and presented by Bett Graham to her niece, Pamela, 1952; all items either given or sent to members of the Graham family, documenting their longstanding and, until now, little known friendship with Salinger. In 1949, Salinger met a Canadian couple, Beth (“Bett”) Graham and Michael Mitchell, in Westport, CT, where he was living while finishing his groundbreaking novel, The Catcher in the Rye. The Mitchells had a house nearby and, though it is unclear how exactly they were introduced, they soon became close friends. Salinger would write in their guest house and then read recently written passages from Catcher to the married couple. Michael, a successful magazine illustrator, was asked to design the book’s dust jacket. His striking image of a red carousel horse remains one of the most iconic dust jackets ever created. Even Salinger, notorious for despising his books’ cover art, loved the design. After moving to Cornish, NH, Salinger continued to correspond with the Mitchells, and he occasionally visited them in New York or London. In one of Salinger’s letters to Michael, now at the Morgan Library, he informed the couple that he has “never had two dearer friends,” and refers to their “tri-cornered” friendship (Cowan, Alison Leigh. “Unsealed Letters Offer Glimpse of Salinger. New York Times. February 11, 2010). Bett Graham and Michael Mitchell divorced sometime in the 1960s. From then on, Salinger stayed in touch with them both separately. It is abundantly clear from this archive that the author had a special appreciation for his friendship with the Graham family, especially for Bett and her mother Esther, who he affectionately refers to as “Mother Graham.” Through these unexpectedly warm and revealing letters, spanning nearly forty years, Salinger shows his humor, introspection, and humanity — aspects of his personality which he oftentimes kept hidden. The archive contains: 1) Autograph letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: November 15, 1953 One-page letter (196 x 156 mm), in black ink; old horizontal fold. With postmarked autograph envelope. A short but sympathetic letter where Salinger sends his condolences to Esther soon after the passing of her husband, William. Salinger calls him “the gentlest and best kind of human being.” 2) Typed letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: June 16, 1959 Two-page letter typewritten on one side of a single folded sheet (210 x 271 mm), signed in black ink; old folds, very faint toning along the top edge at center. With postmarked typed envelope. An affable, funny letter from Salinger to Esther Graham, where he discusses Bett and Michael’s recent move to London. He expresses his sadness at not seeing his friends more often, and his desire to go visit them so that they can “all go see the Queen together.” Salinger mentions his grueling work schedule and laments his lonely automat lunches. He goes on to thank Esther for the clipping she sent him and says that the thought of her brother reading his fiction in Glasgow cheers him up. Near the end of the letter, Salinger mentions his 4-year-old daughter, Peggy. He wishes that she could meet Esther and bemoans the fact that his daughter never gets to see Bett and Mike. 3) Typed letter signed “Jerry” to “Dear Mother Graham.” Windsor, VT: March 3, 1971 One-page letter (270 x 210 mm), typed, signed in black ink; old folds. With postmarked typed envelope. Salinger recounts his recent trip to London where he saw Bett, who is now divorced from Michael. He mentions some of their amusing adventures together, including “the police-station stuff and the mixup at Battersea Park,” and praises Bett’s new apartment, her tiny car, and her friends. He goes on to discuss Michael and how, a little while back, he didn’t see him due to a bout of hypoglycemia. Salinger explains that he has been feeling much better recently, “like the gifted sportsman and Oujia player you knew in Westport.” He then updates Esther on his children, who he feels are happy and doing well. 4) Typed letter signed “Jerry” to “Dear J.” Cornish, NH: November 19, 1989 One page letter (270 x 210 mm) to James Graham, typed, signed in black ink; old folds. With postmarked typed envelope. In this heartfelt, yet somber letter, Salinger responds to news of the death of his friend Bett Graham. He writes back to her brother, James, and begins by saying that his memory isn’t what it used to be, before recounting a series of detailed memories. First, he remembers exactly who James is, despite having never met him. He goes on to eulogize Bett, praising her kindness, intelligence, and wit. With his characteristic acerbity, Salinger expresses disdain for the word “compassion,” which he finds overly sentimental. However, he admits that, when referring to Bett, he can make an exception for the word. After a brief digression to discuss Mike, who had already phoned him with the news, he responds to a remark that he thought was disparaging to Bett — a reference to her supposedly turbulent life. He vigorously defends her against this characterization, recalling her selflessness, and imagining her at a kitchen sink washing other people’s dirty dishes — “gloomy thoughts,” he adds. Salinger ends the letter by thanking James for being there with Bett during her last days, and he sends his love to the rest of the Graham family. He signs the letter “Jerry,” before adding “(Salinger)” in typescript. 5) J.D. Salinger. The Catcher in The Rye. Boston: Little, Brown and Company, 1951 8vo (195 x 127 mm). First edition, third printing, inscribed “To Esther and Willie Graham, / with love, / Jerry” and dated September 5, 1951, in blue ink on the front free endpaper; old smudge to the word “Willie” in the inscription. Publisher’s cloth; lacking dust jacket, a few minor spots of rubbing and wear to the extremities, spine title a bit dulled, a slight lean, front hinge cracked. 6) A partial The Catcher in the Rye dust jacket, signed and inscribed by the illustrator E. Michael Mitchell, “To Mother / and Father Graham / with love” and dated September 5, 1951 on the rear flap in light blue ink, the jacket from a Book-of-the-Month Club edition; front cover missing, front flap detached, some creasing, staining, and fraying along edges. 7) Antony Di Gesu. Portrait Photograph of J.D. Salinger reading The Catcher in the Rye. November 20, 1952 Silver gelatin print (216 x 317 mm), double matted and framed. Signed and dated by Di Gesu in gold ink in lower left corner, additionally inscribed in pencil on the frame’s verso, “To: Pamela from Aunt Beth / a portrait of an old friend Nov. 1989.” A studio portrait photograph of Salinger reading from The Catcher in the Rye while smoking a cigarette. This is from one of only two known studio sessions that the author sat for. This print was presumably gifted by Salinger to Bett Graham, who then gave it to her niece shortly before her death in 1989. Anthony di Gesu, the photographer, is known for his celebrity portraits, including Norman Mailer, Truman Capote, Irving Berlin, Margaret Mead, and Jonas Salk. He wrote about Salinger’s visit in his unpublished memoir: “On the 20th of November, 1952, J.D. Salinger (author of Catcher in the Rye) came to the studio and said he wanted a portrait of himself for his mother and his fiancée. Since I didn’t [know] as much then as I do now, I set up the camera and light and sat him right down. His expression was so rigid and self-conscious [that] I was at my wits end. Nothing happened. I decided on something I had never done before with an adult. I excused myself, went up to my apartment and came down with ‘Catcher in the Rye.’ I brought him a table and ashtray, set down the book (why the hell didn’t I ask him to autograph it?) and suggested he do anything he pleased. Read to himself. Read aloud or just smoke. “If I’d thought he was going to be so damned famous, I’d have written down everything we talked about to get the expression we did. I took 48 5 x 7 negatives. Serious, thoughtful, smiling, laughing, howling with laughter. White shirt, white background. Black suit, black background. But I don’t remember a thing. “He was pleased with the results, but asked me not to show the portraits publicly. When I asked why, he said when people recognized him, they usually behaved peculiarly because they thought he would write about them. I promised I wouldn’t and I kept that promise for thirty years.” (Anthony di Gesu. From his unpublished memoir. https://sandiegohistory.org/collection/photographs/digesu2/) For a book inscribed by Salinger to Bett Graham, The Complete Novels of Jane Austen, see following lot.

View 1 of Lot 1065: Salinger, J.D. | The Graham Family archive, including autographed letters, an inscribed Catcher, a rare studio photograph of the author, and more

salinger, j.d. | the graham family archive, including autographed letters, an inscribed catcher, a rare studio photograph of the author, and more

Important Judaica

multi-colored paint on paper with metal dials set in a wood and glass frame.

multi-colored paint on paper with metal dials set in a wood and glass frame. height 16 in.; width 22 in. 40.6 cm; 55.9 cm The town of Hermannstadt, currently known as Sibiu, is an important cultural center of Romania. The Jewish community of Sibiu, however, was formally established only after the civil emancipation of 1867. Abraham Pavian, the shamas in the synagogue of Sibiu, painted this boldly colored plaque so that the worshippers would know the times of services. It was created in 1878, the same year that the first synagogue was built in Sibiu. The five manual clocks designate the times of the daily morning and afternoon prayer service as well as the times of the services for the Sabbath prayers. The Hebrew inscription around the border, comprised of verses from the book of Psalms (88:13-17), alludes to the morning prayers. Framed. Not examined outside of frame.

View 1 of Lot 97: A Decorative Synagogue Plaque indicating the Times of Prayer, Hermannstadt (Sibiu, Romania), 1878 Artist: Abraham Pavian

a decorative synagogue plaque indicating the times of prayer, hermannstadt (sibiu, romania), 1878 artist: abraham pavian

Explore the World of Fine Wine | The Institute of Masters of Wine Benefit Auction

EXPLORE THE WORLD OF FINE WINE | CHAMPAGNE DINNER WITH 3 MASTERS OF WINE, NEW YORK CITY, USA

EXPLORE THE WORLD OF FINE WINE | CHAMPAGNE DINNER WITH 3 MASTERS OF WINE, NEW YORK CITY, USA A private Champagne dinner at Michelin star restaurant L’Abeille, for 8 guests together with 1 Magnum of Champagne Bollinger La Grande Année Brut 2015 WINE: 1 Magnum of Champagne Bollinger La Grande Année Brut 2015 The wine included in this lot is lying in New York City, USA, to be collected by the winning bidder at the time of the visit. Offered Duty Paid, US Sales Tax applies. Sotheby's will provide the buyer with the contact details of the donor to arrange collection / organisation of the experience. EXPERIENCE: This lot includes a private Champagne dinner at Michelin-starred restaurant L’Abeille in New York City, for 8 guests. Hosted and curated by Charles Curtis MW, Lisa Granik MW, Mary Gorman-McAdams MW. Wines served at the dinner will include the following, all in magnum format: Taittinger Comtes de Champagne Brut Blanc de Blancs VintageChampagne Dom Ruinart Brut Vintage Champagne Louis Roederer Cristal Brut VintageChampagne Laurent Perrier La Grande Siècle Brut NVChampagne Pierre Gerbais La Loge Pinot Blanc Brut NVChampagne Bollinger La Grande Année Brut 2015Champagne Bérèche Reflet d’Antan Brut NV This experience to take place at a mutually agreed date before 31st December 2026. Location: L’Abeille, 412 Greenwich Street, New York, USA Accommodation, flights and transport to and from the venue are not included. Minimum age of guests subject to local regulations. MORE ABOUT THIS LOT: The Ultimate Champagne Dining Experience in NYC with Three Masters of Wine Step into an exceptional evening of luxury and learning with bubbles, brilliance, and merriment. This exclusive Champagne dinner in New York City is hosted by three leading Masters of Wine - Charles Curtis, MW, Lisa Granik, MW and Mary Gorman-McAdams, MW — each not only a global authority on Champagne and fine wines …. but additionally, all three are proud members of the L’Ordre des Côteaux de Champagne. The intimate culinary experience, for 8 guests, will be held at L’Abeille, an elegant French (with a nod to Japan) Michelin star restaurant in downtown Manhattan, and will pair a multi-course, Michelin-level menu with carefully selected rare and iconic Champagnes from both renowned Grandes Marques and sought after growers. Throughout the evening, the three MWs will guide you through the enchanting world of Champagne terroir, the art of blending, vintage expression, winemaking philosophies and house styles. Whether you are a seasoned collector or an eager enthusiast, this dinner offers a rare opportunity to learn, taste, and converse at the highest level (and also have fun!). Lot Includes: Private Champagne dinner at L’Abeille for 8 guests in NYC Hosted and curated by 3 internationally renowned Masters of Wine 8 world-class Champagnes, including vintage and prestige cuvées, served in magnum Multi-course tasting menu designed in collaboration with a top NYC chef Guided commentary, storytelling, and lively conversation throughout the evening Personalized signed tasting notes and menus for all guests This lot is subject to 8.875% US Sales Tax, payable on the Hammer Price and on the Buyer and Overhead Premiums. The buyer is solely responsible for determining the legality and the tax/duty consequences of having the goods delivered to the desired destination. Please note that for Wine and Spirits Lots, the Buyer’s Premium rate is 24% of the Hammer Price and the Overhead Premium rate is 1% of the Hammer Price. The Buyer’s Premium and Overhead Premium are subject to any applicable VAT and/or sales tax. Please refer to the Conditions of Business for further details.

View 1 of Lot 60: Explore the World of Fine Wine | Champagne Dinner with 3 Masters of Wine, New York City, USA | A private Champagne dinner at Michelin star restaurant L’Abeille, for 8 guests together with 1 Magnum of Champagne Bollinger La Grande Année Brut 2015

explore the world of fine wine | champagne dinner with 3 masters of wine, new york city, usa | a private champagne dinner at michelin star restaurant l’abeille, for 8 guests together with 1 magnum of champagne bollinger la grande année brut 2015

Swinging on a Star: The Collection of Bing & Kathryn Crosby

a faithful copy of the original Liberty bowl, the base engraved This bowl is no. 4 of a world edition of 1776 copies of The Liberty Bowl originally produced by Paul Revere of Massachusetts now produced by Times Newspapers Ltd. 1976 to commemorate the bi-centenary of the American War of Independence 1776, marked on base

a faithful copy of the original Liberty bowl, the base engraved This bowl is no. 4 of a world edition of 1776 copies of The Liberty Bowl originally produced by Paul Revere of Massachusetts now produced by Times Newspapers Ltd. 1976 to commemorate the bi-centenary of the American War of Independence 1776, marked on base 43 oz 5 dwt 1343.5 g diameter 11 in. 27.9 cm

View 1 of Lot 19: An English Silver Reproduction of the Sons of Liberty Bowl made by Paul Revere, N.T. Ltd., London, 1976

an english silver reproduction of the sons of liberty bowl made by paul revere, n.t. ltd., london, 1976

Folios from the first Hebrew printing of the Pentateuch.

Folios from the first Hebrew printing of the Pentateuch. While one of the very first books issued from Gutenberg’s printing press was a copy of the Latin Bible, Jews did not print the Hebrew Bible until about twelve years after Hebrew printing began, around 1469. It has been suggested that this was due to the text’s special sanctity or the wide availability of manuscript copies, but the challenge of printing the Bible with vowels (nikudot) and cantillation marks (te’amim) was likely a factor as well. The man who printed the editio princeps of the Hebrew Pentateuch was Abraham ben Hayyim, with the financial backing of the banker Joseph ben Abraham Caravita. Beginning as a printer in Ferrara in the late 1470s, Abraham ben Hayyim subsequently moved to Mantua and later Bologna, where he worked for the press established by Caravita; in a later period, he was also associated with the famed Soncino press. It was in Bologna that he issued his extraordinary edition of this most sacred of texts, complete with full vocalization and cantillation marks, making it the first successful Hebrew book to include both. The text was edited by Joseph Hayyim ben Aaron Zarfati, who in the colophon praises the printer’s skill. Another technically innovative feature of Abraham ben Hayyim’s edition was the inclusion of the traditional Aramaic translation of the text, Targum Onkelos, and the classic commentary of the great eleventh-century scholar Solomon ben Isaac (Rashi), in an integrated, tripartite page architecture with the biblical text: the Targum in a column at the outer margin and Rashi’s commentary above and below. While Rashi’s commentary had been printed before, this was the first time it appeared together with the biblical text. This printing of Rashi was later praised by the famous printer Gershom Soncino as the best version of the text. The Bologna layout, with Scripture, Targum and Rashi, set a model for subsequent editions of the Hebrew Bible. This landmark publication is often described as the most important Hebrew book ever printed. The present copy was printed on vellum rather than on paper, a very expensive and technically demanding process. Most extant copies of this edition are similarly on vellum, perhaps owing to the perceived sanctity of the text and the desire to treat it similarly to a Torah scroll, traditionally written on parchment. Another feature connecting it to the manuscript medium is the presence of hand-drawn decorative floral flourishes in red and blue marking running titles and the start of sections. Such additions were common in manuscripts and appear in many early printed works as well. Physical Description Folio (275 x 190 mm); 11 leaves printed on parchment, from the first two quires: quire i, lacking leaves 5, 6, 9, and 10; quire ii, lacking leaves 11, 17, and 18. Script and layout: biblical text in one column in square type, fully vocalized and accented; Targum in a narrow outer column; Rashi in long lines above and below, both in semi-cursive type. Headlines present. Manuscript decoration/rubrication: running titles and selected parashiyyot markers with red floral penwork; parashah incipits embellished in blue, with red flourishes marking the opening of the corresponding Targum passage and blue flourishes for Rashi. Binding: later vellum; gilt spine; all edges gilt; patterned cloth endpapers. Provenance The Chicago Theological Seminary; current owner. Literature Reference works: ISTC ib00525570; Goff Heb-18; Offenberg 13; Iakerson 19. Shimon M. Iakerson, Catalogue of Hebrew Incunabula from the Collection of the Library of the Jewish Theological Seminary (New York, 2005).

View 1 of Lot 65: Pentateuch (Humash), with Targum Onkelos and Rashi’s Commentary, Printed on Parchment

pentateuch (humash), with targum onkelos and rashi’s commentary, printed on parchment

A Tale of Two Cellars | Exceptional Bordeaux and Burgundy 

Château Mouton Rothschild 1986 Pauillac, 1er Cru Classé u. 1bn, 5vts, 4ts, 2t/hs, 5 slightly bin-soiled labels, 1 tissue paper adhered to label, 2 slightly oxidized capsules, slight signs of seepage Label Artist: Bernard Séjourné In 2023 and from magnum, this was the star of a great evening, bursting out of the glass in cassis splendour and sheer impact. The palate is totally engulfed in the black fruit, glycerol and structure, with the inherent tannins of the vintage utterly coated with sweetness and velvety volume. It seems suspended in time, in all its succulence, depth and power. Mouton on fire! Serena Sutcliffe, MW WA 100 12 bts (owc) Please be advised that most U.S. states regulate the shipment of wine or spirits into their states. Sotheby’s Wine currently ships to California, Connecticut, District of Columbia, Florida, Nebraska, New Hampshire, New York, Oregon, Wyoming, and Hong Kong. For additional details and options, please refer to Guide for Buyers or contact Winepostsaleservices.ny@sothebys.com. Please note that for Wine and Spirits Lots, the Buyer’s Premium rate is 24% of the Hammer Price and the Overhead Premium rate is 1% of the Hammer Price. The Buyer’s Premium and Overhead Premium are subject to any applicable VAT/GST and/or sales or use tax. Please refer to the Conditions of Business for further details.

View 1 of Lot 1040: Château Mouton Rothschild 1986 (12 BT)

château mouton rothschild 1986 (12 bt)

Bibliotheca Brookeriana VIII

FIASCHI, CESARE. Trattato dell’imbrigliare, maneggiare, et ferrare caualli, diuiso in tre parti, con alcuni discorsi sopra la natura di caualli, con disegni di briglie, maneggi, & di caualieri a cauallo, & de ferri d’esso, di m. Cesare Fiaschi gentil huomo ferrarese. Bologna: Anselmo Giaccarelli, 1556

FIASCHI, CESARE. Trattato dell’imbrigliare, maneggiare, et ferrare caualli, diuiso in tre parti, con alcuni discorsi sopra la natura di caualli, con disegni di briglie, maneggi, & di caualieri a cauallo, & de ferri d’esso, di m. Cesare Fiaschi gentil huomo ferrarese. Bologna: Anselmo Giaccarelli, 1556 First edition of a best-selling treatise on how to bridle, train, and shoe horses, illustrated with woodcuts of bits, bridles, shoes, and manège patterns, the last accompanied by musical scores indicating the rhythm to which the exercises are to be performed (the author believed that horses have the capacity to synchronize their movements to a musical beat). Cesare Fiaschi (1523–1558), born into a distinguished Ferrarese patrician family, dedicates his work to the French king Henri II. An edition in French translation by François de Provane appeared in 1564 (reprinted 1567, 1578, 1579). The gilt arms painted on the binding are those of the Gouffier family (D’or à trois jumelles de sable). At the time of publication, the Master of the King’s horse (Grand Écuyer) was Claude Gouffier (ca. 1501–1570). During a short career as a bibliophile, between about 1556 and 1569, Claude Gouffier commissioned some spectacular bindings, decorated with various combinations of his arms, the collar of the Ordre de Saint-Michel, a cypher (ΦX interlaced), motto (Hic Terminus Haeret), and badge of office as Grand Écuyer (Toulet, “Les collections de Claude Gouffier: Reliures de Claude Gouffier,” pp. 115–124). Fourteen volumes belonging to Claude Gouffier are listed by Jean Toulet: two cover books written in Italian, and the rest are in French; one is a manuscript on vellum depicting 368 different kinds of horse bits. The present binding was not commissioned by Claude Gouffier, but may have been ordered for presentation to him. Cesare Fiaschi’s elder brother, Alessandro (1516–1585), was resident ambassador of the d’Este at the French court, from 1559, and he may have been disposed to offer such a gift. Alternatively, this volume may have belonged to another family member. The heraldic crown on the binding is that of a duke, while the crown on the bindings commissioned by Claude Gouffier is invariably that of a marquis. Although Claude’s father, Artus, had been granted the title duc de Roannais, it was not made hereditary before his death (1519), and only in November 1566 was Claude permitted to use the title 2° duc de Roannais. His son, Gilbert, became 3° duc de Roannais in 1570, and the latter’s son, Louis, became 4° duc de Roannais in 1582. Neither Gilbert nor Louis were Chevaliers de l’ordre de Saint-Michel, so the absence of the collar is appropriate for them, but most improper if this book was a present to Claude. Since it is difficult to date exactly the application of the painted arms, it could have belonged to either Gilbert or Louis. Inventories of their residence, the Château d’Orion, do not record a library, however one taken there after the death of Louis’s grand-daughter, Charlotte Gouffier, duchesse de La Feuillade, in 1683, records 353 volumes bound in vellum and 218 books bound in leathers of different colors (Crépin-Leblond, “Claude Gouffier et les livres”, pp. 108–114). Anthony Hobson observed that the corner-pieces on the binding appear to be the same as those used on a binding for Paolo Giordano Orsini ca 1556 (Abbey, no. 18). 4to (236 x 161 mm). Roman type, 35 lines plus headline. Collation: A-Y4 χ2: 90 leaves. Giaccarelli’s device on title-page; each of the three sections introduced by a distinct emblematic full-page woodcut depicting hostlers, horse-shoeing, and riders, 40 full-page woodcuts showing bridles, 17 mostly full-page woodcuts depicting a horse and rider executing manège patterns (with musical notation), 24 text woodcuts of designs for horseshoes, historiated woodcut initials. (Occasional staining and worming, chiefly marginal, 5 leaves [A3–B3] more severely stained.) Binding: French brown polished calf (241 x 168 mm), ca. 1556, for Claude Gouffier, or another member of the family, large corner-pieces blocked in blind of intricate interlaced pattern, in center a large circular cartouche with large interlaced finial tools in silver, enclosing painted arms of Gouffier surmounted by ducal crown, spine with 5 full and 2 half bands, compartments with leaves and tendrils, gilt edges. (Extremities and spine restored, silver oxidized, a few small stains to lower cover.) Brown buckram folding-case, black morocco label. Provenance: Gouffier, family library, Château d’Oiron (armorial supralibros) — Lucien Désiré Prosper Graux (1878–1944; exlibris) — Mme Lucien Graux (née Léontine de Flavigny; d. 1964; Maurice Rheims & Jacqueline Vidal-Mégret, Bibliothèque du docteur Lucien-Graux, Paris, 26 January 1957, lot 38), purchased by — unidentified owner (FF 130,000) — Charles van der Elst (1904–1982; Ader Picard Tajan & Claude Guérin with Dominique Courvoisier, Monte Carlo, 13 May 1985, lot 88), purchased by — H. P. Kraus, New York (FF 55,000; Catalogue 174, [1986], item 52 ($12,500), Catalogue 179, [1988], item 40 ($14,500), & Catalogue 204, [1997], item 74 ($14,500). Acquisition: Purchased from H. P. Kraus, 1997. References: Edit16 18929; USTC 829412; Mortimer, Italian, no. 186; for this and related bindings, see: Toulet, “Les collections de Claude Gouffier: Reliures de Claude Gouffier,” & Crépin-Leblond, “Claude Gouffier et les livres, ” both in Les trésors du Grand Ecuyer: Claude Gouffier, collectionneur et mécène à la Renaissance (Paris, 1994), pp. 115–124 & pp. 108–114 (p. 108); A. Hobson, French and Italian Collectors and their Bindings Illustrated from Examples in the Library of J.R. Abbey (Oxford, 1953), no. 18

View 1 of Lot 126: Fiaschi, Trattato dell'imbrigliare, maneggiare, et ferrare cavalli, Bologna, 1556, French calf for a member of the Gouffier family

fiaschi, trattato dell'imbrigliare, maneggiare, et ferrare cavalli, bologna, 1556, french calf for a member of the gouffier family

Pound, Ezra Hugh Selwyn Mauberley. London: The Ovid Press, 1920 8vo (250 x 155 mm). Initials after designs by Edward Wadsworth; one or two stray spots. Original tan linen-backed brown cloth-covered boards, paper label to upper cover; cloth neatly split running length of rear joint, label foxed, minor soiling and fraying. First edition—one of 200 copies. This 28 of only 20 copies (numbered 16-35) signed by Pound. For three years, out of key with his time, He strove to resuscitate the dead art Of poetry; to maintain “the sublime” In the old sense. Wrong from the start— This is only the third example of one of the 20 signed copies to appear at auction since 1975, with the last copy appearing nearly two decades ago. From a stated total edition of 200, but both Gallup and Ransom note that fewer copies were in fact issued, with a few out-of-series copies and sets of unbound sheets known to exist. Hugh Selwyn Mauberley—completed after his departure from Britain—marks a turning point in Pound's poetry. Of this, T.S. Eliot wrote: "What is curious is his complete and isolated superiority as a master of verse form. No one living has practised the art of verse with such austerity and devotion; and no one living has practised it with more success... A man who devises new rhythms is a man who extends and refines our sensibility; and that is not merely a matter of ‘technique’." Rare. REFERENCES Connolly, The Modern Movement 35b; Gallup, Pound (1983) A19

View 1 of Lot 1063: Pound, Ezra | One of only 20 signed copies

pound, ezra | one of only 20 signed copies

Robert Motherwell, Helen Frankenthaler, Clement Greenberg, Richard Diebenkorn, and others

Robert Motherwell, Helen Frankenthaler, Clement Greenberg, Richard Diebenkorn, and others Archive of letters from Abstract Expressionist artists and critics responding to a graduate student’s questions about Henri Matisse’s influence, 1981-1982 Comprising: Helen Frankenthaler. Typed letter signed ("HF"). 1 page, New York, NY, 28 October 1981 — Clement Greenberg. Typed letter signed ("Clement Greenberg"). 1/2 page, Norwich, NY, 30 October 1981 — Charles Pollock. Autograph letter signed ("CP"). 1 1/2 pages, Paris, France, 4 November 1981, with the original envelope — Alex Katz. Autograph letter signed ("Alex Katz"). 1 page, n.p., 6 November 1981 — James Brooks. Autograph letter signed ("James Brooks"). 1 page on ruled notebook paper, East Hampton, New York, 7 November 1981, with the original envelope — Richard Diebenkorn. Autograph letter signed ("Richard Diebenkorn"). 2 pages on ruled notebook paper, Santa Monica, California, 8 November 1981, with the original envelope — Dore Ashton. Autograph letter signed ("Dore Ashton"), 1 page on the blank margins of the recipient's original letter solicitation, [Cooper Union, New York, NY, 10 November 1981] — Grace Hartigan. Autograph letter signed ("Grace Hartigan"). 1 page, Baltimore, Maryland, 1 January 1982, with the original envelope — Clement Greenberg. Typed letter signed ("Clement Greenberg"). 1/2 page, Norwich, NY, 14 January 1982 — Ray Parker. Autograph letter signed ("Ray Parker"). 4 pages, n.p., 2 February 1982 — Charles Pollock. Autograph letter signed ("CP"). 2 pages, Paris, France, 3 February 1982, with the original envelope — Robert Motherwell. Typed letter signed ("RM"). 2 pages, Greenwich, CT, 4 February 1982, with the original envelope. Overall 8 autograph and 4 typed letters, 17 1/2 pages; minor wear from handling. Helen Frankenthaler, Alex Katz, Clement Greenberg, Richard Diebenkorn, Robert Motherwell, and more on the influence of Henri Matisse. A fascinating archive of letters written in response to a series of questions from a graduate student who was researching the influence of Henri Matisse on Abstract Expressionism. The student describes his research as being, “primarily concerned with the dissemination or infiltration of Matisse’s paintings and ideas on paintings into the American art world from the late 1920’s onwards.” He also specifically asks about books and exhibitions that they read or visited. The questions elicited a wide array of responses, sometimes curt, as with Clement Greenberg's initial response ("You've asked the impossible of me—not only the equivalent of an article, but a researched article.") but oftentimes more generous and verbose. For example, despite his initial refusal, a second letter from Greenberg offered a recommendation for his own small book on Matisse published by Abrams in 1952, and a nod to Matisse’s painting, “Bathers by a River that hung in the Valentine Gallery on & off for several years in the late 30s & early 40s.” In Robert Motherwell’s detailed and wide-ranging response, he describes feeling a “shock of recognition” or “(to put it naively) love and identification at first sight” when he first saw a Matisse painting. It was around 1933, when he was an 18-year-old student at Stanford visiting the Stein collection in Palo Alto (coincidentally, Diebenkorn, who attended Stanford a decade later, also recalls encountering Matisse’s work for the first time during a visit to the Stein collection). He then lists certain books from his library on the painter, including Albert Barnes’ monograph, his full run of Verve, and “a small paperback printed in Moscow, attacking Matisse as a bourgeois.” Motherwell goes on to discuss aspects of his childhood (including his mother’s love of French furniture), how Matisse and Cezanne caused him to confuse Francophilia with a love of modernism, and the success of his 1977 Paris retrospective (“maybe they [the young French painters] felt a ‘shock of recognition’ in reverse”). He also references his impending 1982 show at Knoedler & Company, saying "I am about to exhibit in several weeks, my most recent paintings which are still partly indebted to Matisse, though this will probably not be noticed because they are mainly in black and white." This letter has been cited in critical writing on Motherwell’s art and is reproduced in The Collected Writings of Robert Motherwell (Oxford University Press, 1992). Frankenthaler and Diebenkorn both responded in list form, enumerating either publications or exhibitions, and some specific artworks, they feel may have influenced their work. Diebenkorn offers further analysis: "The works of 1914 to 1918 have been the focus of my engagement with Matisse although I can't think of any moment of his career that I would put in 2nd place." Frankenthaler cites “Clement Greenberg’s beautiful tiny paperback booklet on Matisse written in the early 50’s,” as well as “a rare book… extremely precious, with black and white lithograph-illustrations… of course it was stolen.” Other artists are more evasive, perhaps elucidating more about the tensions at play in the relationship between art historians and their subject than about Matisse. Alex Katz writes: "...as for influence, it is not a matter of fact it is a matter of opinion and your opinion of Matisse's influence upon my work may be as valuable as mine." Grace Hartigan's letter is even more blunt: "It seems to me that art historians and graduate students are lazy. They want the artists to explain the in-explicable. If you want to see the influence of Matisse on the "Abstract Expressionists" — LOOK! Don't expect artists to give their secrets."

View 1 of Lot 1070: (Abstract Expressionism) | An archive of letters by notable abstract expressionists on Henri Matisse’s influence   

(abstract expressionism) | an archive of letters by notable abstract expressionists on henri matisse’s influence

A Rare Hebrew Bible with Micrographic Masorah

A Rare Hebrew Bible with Micrographic Masorah [Toledo, late 13th-early 14th century] 249 folios (10 1/4 x 9 in.; 260 x 230 mm), manuscript on parchment. Bound in elaborately blind-tooled dark brown nineteenth-century leather. A magnificent Hebrew Bible from Spain. The present lot is a masterfully copied medieval Hebrew Bible accompanied by the text-critical notes of the Masorah magna and Masorah parva in the upper and lower margins and between text columns, respectively. Based on its elegant calligraphy, it was produced within the Sephardic geo-cultural zone of the thirteenth century. We can narrow the location further by closely examining its codicology: almost all of its surviving quires are composed of ternions, that is, three bifolia comprising six folios or twelve pages. This particular method of manuscript construction has been linked specifically to scribes working in Toledo up to about 1300, perhaps due to the impact of a local Arab tradition that had crystallized when the city was under Muslim rule. (Most other Sephardic manuscripts, by contrast, were composed of quaternions, that is, four bifolia comprising eight folios or sixteen pages.) Another indication of a connection to the city is the volume’s decorative program, an Islamic-influenced style found in several Toledo manuscripts that is characterized by geometric micrographic designs using the masoretic text in the margins and at the end of biblical books or pericopes. One of these geometric designs, found at several points throughout the volume, takes the form of a Star of David. The use of this motif in Hebrew biblical manuscripts goes back at least to early eleventh-century Egypt but spread with time to other parts of the Jewish world, including Iberia, Provence, and Germany. These book-art examples of Stars of David combine with others from medieval Jewish material culture more generally to argue in favor of a premodern date for the hexagram’s adoption as a distinctly (though not exclusively) Jewish symbol. The attribution of this lot to Toledo is significant, as the city was renowned for the accuracy of the biblical codices originating therein. Indeed, one of the towering figures of high medieval Masorah studies, Rabbi Meir ha-Levi Abulafia (Ramah; ca. 1170-1244), author of the influential masoretic treatise Massoret seyag la-torah, lived and headed a yeshiva in Toledo. The city was also home to the celebrated Hilleli Codex, a legendary, ancient Hebrew Bible cited and used as an authoritative model by Iberian copyists from the early thirteenth through the fifteenth centuries but subsequently lost to history. Finally, Toledo produced two particularly famous scribes, Israel ben Isaac Ben Israel (fl. 1222-1241) and Joseph ben Judah Ibn Merwas (fl. 1300-1334), whose work, some of which survives to the present day, was greatly esteemed and/or relied upon by the likes of Rabbis Menahem ben Solomon Me’iri (1249-1316), Isaac Abarbanel (1437-1508), and Moses ben Jacob Ibn Zabara (fifteenth century). Between 1300 and 1334, Joseph ben Judah ibn Merwas copied and signed three Bibles. In 1300, he produced a Bible that is now in the British Library in London (MS Or. 2201). His second Bible, written in 1307, is currently in the Toronto University Library (Friedberg MSS 5-001) and in 1334, Ibn Merwas wrote a third Bible for Judah Ben Asher in Toledo. His Bibles, and especially his second from 1307, feature the imagery of the Star of David formed from expert micrographic lettering throughout the text. The present bible, though unsigned, may well have been produced by Joseph ben Judah ibn Merwas, as the similarity of the elegant script and the use of the star of David micrographic designs, are strong indications that this manuscript was written and decorated by the celebrated scribe. Some time after the manuscript’s completion, a later user with a neat Sephardic hand added headers, chapter numbers, and marginal haftarah (lection from the Prophets) references that cite the chapter in which the haftarah occurs. These modifications were presumably intended to make the volume more user-friendly in both the synagogue and the study hall. A still later, Judeo-Spanish-speaking owner seems to have continued where his predecessor left off by actually marking the starting point of haftarot in the books of Samuel through Isaiah. Contents The order of the preserved biblical books in the present lot mirrors that of ancient Masoretic Bibles such as the Aleppo Codex, the Leningrad Codex, and Codex Sassoon: Torah (ff. 1r-34r) ff. 1r-2v: Leviticus 16:25-19:13a, 26:37b-end ff. 2v-15v: Numbers 1:1-26a, 4:26b-7:54a, 13:33b-21:23a, 23:10b-end ff. 15v-34r: Deuteronomy Prophets (ff. 35v-175r) ff. 35v-47r: Joshua ff. 47r-59r: Judges ff. 59r-85v: I-II Samuel ff. 85v-114v: I-II Kings ff. 114v-122v: Isaiah 1:1-4a, 41:11-end ff. 122v-148r: Jeremiah ff. 148r-162v: Ezekiel 1:1-34:26 ff. 163r-175r: Amos 5:1-end of Twelve Minor Prophets Writings (ff. 175v-249v) ff. 175v-204v: I-II Chronicles ff. 204v-230v: Psalms ff. 231r-237r: Job 14:9-end f. 237v: Proverbs 1:1-2:13 ff. 238r-239v: Esther 5:12b-end ff. 239v-246v: Daniel ff. 246v-249v: Ezra 1:1-8:12a Provenance: Asher Abarbanel (f. 7v); The Chicago Theological Seminary, Hammond Library; Current owner

View 1 of Lot 63: A Rare Hebrew Bible with Micrographic Masorah, Spain c. 1300

a rare hebrew bible with micrographic masorah, spain c. 1300

VITRUVIUS POLLIO, MARCUS. Vitruuius iterum et Frontinus a' Iocundo reuisi repurgatique quantum ex collatione licuit. Florence: Filippo I Giunta, October 1513

VITRUVIUS POLLIO, MARCUS. Vitruuius iterum et Frontinus a' Iocundo reuisi repurgatique quantum ex collatione licuit. Florence: Filippo I Giunta, October 1513 The first pocket edition of Vitruvius, with the text presented in italics in imitation of the Aldine editions. It is an adaptation of Fra Giocondo’s edition in folio format (Venice 1511), with its illustrations reduced in size and simplified (and four new cuts added). A new dedication to Giuliano de’ Medici replaces one to Pope Julius II (died February 1513), the errata of 1511 are assimilated, and the text of Frontinus (De aqueductibus urbis Romae) is subjoined. Longstanding uncertainty about the extent of Giocondo’s collaboration in production of this 1513 edition, undertaken when he was almost eighty years of age, has been dispelled by the discovery by Adolfo Tura of a copy of the 1511 edition, marked-up with Fra Giocondo’s autograph editorial interventions and with signs of casting off in the Giunta printing shop (Vicenza, Centro Internazionale di Studi di Architettura Andrea Palladio, CAP. C XVI 7; see Adolfo Tura, “Un Vitruvio a Vicenza, un Alberti a New York” in Pegasus. Berliner Beiträge zum Nachleben der Antike 13 (2011), pp. 29-39). 8vo (163 x 98 mm). Italic type with some Roman and Greek, 30 lines plus headline. Collation: π4 A-Z8 AA4 a-c8 A-C8: 240 leaves. Title within ornamental woodcut border, woodcut initials, numerous woodcut illustrations, woodcut Giunta device on final verso. (Title stained, marginal wormholes to first 6 leaves, intermittent dampstaining to lower margin, closed tear to F2 affecting illustration) Binding: Roman brown morocco over thin wooden boards (162 x 102 mm), circa 1513, by Paolo di Bernardino Bancheli(?), blind-tooled (possibly silvered, now oxidized), border formed by two groups of three blind fillets, inner border of repeated arabesque, horizontal band of clover-like tool within triple fillets at top and bottom of central panel, in center floral tool stamped four times stem to stem forming a cross, three rosettes above and below, spine with four compartments with blind saltire over cross, two clasps, one lacking (Rubbed, hinges cracked, worming and staining to endpapers, front flyleaf partially detached.) Provenance: Unidentified owner, note on Vitruvius on endleaf verso, contemporary annotations throughout. Acquisition: Purchased from Pierre Berès, Paris, 1991. References: Renouard XXXVII/45; Edit16 28727; USTC 863682; Decia & Delfiol pp. 80-81 no. 45

View 1 of Lot 323: Vitruvius, De architectura, Florence, Filippo I Giunta, 1513, contemporary Roman brown morocco by Paolo di Bernardino Bancheli (?)

vitruvius, de architectura, florence, filippo i giunta, 1513, contemporary roman brown morocco by paolo di bernardino bancheli (?)

Smith, John New England the most remarqueable parts thus named by the high and mighty Prince Charles, Prince of great Britaine. Observed and described by Captayn John Smith... London, 1614 [but 1635-39] Copperplate engraved map (sheet 311 x 368 mm). Burden and Church state 9. Mounted, glazed and framed; not examined out of frame. "The foundation map of New England cartography, the map that gave it its name and the first devoted to the region" (Burden, 187). “Smith made a good crossing in six weeks, arriving off Monhegan Island near the Kennebec estuary. By now the waters of New England, particularly Maine, were visited by dozens of English and French fishing vessels a year. One of Smith's vessels concentrated on catching fish and collecting other valuable commodities. Smith continued down the coast to chart and explore, lamenting the poor quality of existing maps: 'he] had six or seauen seuerall plots of those Northern parts, so unlike each to other, and most so differing from any true proportion, or resemblance of the Countrey, as they did mee no more good, then so much waste paper, though they cost me more'. Naming Plymouth Rock he described the place as 'an excellent good harbour, good lands, and no want of anything but industrious people'. This proved the incentive six years later for the 'Mayflower' Pilgrims to relocate here after their first choice proved unwise. In mid July after just six weeks Smith returned to England. It is remarkable that in this short time he managed to glean so much of the coastline. Indeed, the amount of work that is actually his own has been called into question by some” (Burden). During the course of its use, the plate was altered numerous times, creating nine recorded states: this is the final state, with the addition of the school of fish off of Cape Cod, the insertion of the text relating to John Wood’s New Englands Prospect below the compass rose, and the extension of the River Charles westward. This state was issued with Mercator and Hondius’s atlas Historia Mundi, published 1635 to 1639. Burden and Church provide excellent delineations of the various states of the map and its associated publication history in John Smith’s texts and the Historia Mundi. All states are rare. REFERENCES Burden 187 (state 9); Church 369 (state 9); McCorkle 614.1; Schwartz & Ehrenberg pp. 96-99; Tooley, p. 125

View 1 of Lot 1041: Smith, John | "The foundation map of New England cartography"

smith, john | "the foundation map of new england cartography"

ERASMUS, DESIDERIUS. Les apophthegmes. Cest a dire promptz subtilz et sententieulx ditz de plusieurs Royz, chefz darmees, philosophes et autres grans personnaiges tant Grecz que Latins. Translatez de Latin en francoys par lesleu Macault notaire, secretaire, & vallet de la chambre du Roy. Paris: [Charlotte Guillard], 1539

ERASMUS, DESIDERIUS. Les apophthegmes. Cest a dire promptz subtilz et sententieulx ditz de plusieurs Royz, chefz darmees, philosophes et autres grans personnaiges tant Grecz que Latins. Translatez de Latin en francoys par lesleu Macault notaire, secretaire, & vallet de la chambre du Roy. Paris: [Charlotte Guillard], 1539 First edition of Antoine Macault’s translation of Erasmus into French, based on the 1531 Basel edition. A FINE PARISIAN BINDING MADE FOR ADOLF VON SCHAUMBURG. Jean Picard made numerous similar bindings for Grolier, which were previously attributed to Claude de Picques. It has been suggested that this binding was perhaps made by the Salel Binder, using Picard’s tools. The dating of the binding is limited by the wording of Schaumburg’s title; he ceased being coadjutor in 1546. 8vo (169 x 102 mm). Roman type, 29 lines plus headline. Collation: a-z8 A-N8: 288 leaves (last leaf blank). Woodcut criblé white-on-black initials, ruled in red. (Occasional light damp-staining, small ink smudge on title-page, last few leaves with small area of damage in gutter.) Binding: Contemporary Parisian black morocco gilt (177 x 115 mm), probably by Jean Picard, covers with an undulating central cartouche containing the owner’s name and titles on upper cover and the title on the lower cover, both within a frame of gilt and blind fillets with corner fleurons, spine with small gilt fleuron in each compartment and lettering in the second compartment, gilt edges, stubs from two pairs of ties. In black buckram drop-backed folding box. (Upper joint neatly repaired, spine slightly creased.) Provenance: Adolf von Schaumburg (1511-1556), count of Holstein and (at the time of binding) coadjutor of the metropolitan church of Cologne, name on binding (he became Archbishop of Cologne in 1547) — illegible signature on title-page — note in French on inside front cover stating "inconnu a Brunet" — Martin Breslauer Inc., catalogue 104/II (New York, 1981), item 151. Acquisition: Purchased in 1989 from Martin Breslauer, New York. References: BP16 109313; USTC 13021; Nixon, Grolier Bindings, tools EF 17, C. de P. 1-3 (used together), 8a-b, 12, 42

View 1 of Lot 122: Erasmus, Les Apophtegmes, Paris, 1539, Parisian black morocco for Adolf von Schaumburg

erasmus, les apophtegmes, paris, 1539, parisian black morocco for adolf von schaumburg

O'Brien, Richard Working manuscript pages for The Rocky Horror Show, comprising early and variant dialogue, lyrics and narrative material, [London, ca. January 1st, 1973 and June 19th, 1973] 16 pages of autograph manuscript on 10 leaves of lined paper (approximately 296 x 208 mm), written in blue and black ballpoint and orange felt tip, some with pencil page numbers, with marginal illustrations, heavily revised throughout with deletions, overwriting, inserted phrases, stage directions, character assignments; edges worn with short marginal tears, occasionally encroaching upon text, some creasing and yellowing. The birth of the camp cult classic. A rare and substantial group of Richard O'Brien's working manuscript for The Rocky Horror Show, comprising discarded dialogue, alternate lyrics, transitional scenes and narrative passages, together revealing the embryonic stages of one of the most influential musicals of the twentieth century. Conceived in 1973 by the actor-writer as a tongue-in-cheek homage to mid-century science-fiction and horror cinema, The Rocky Horror Show premiered at the Royal Court Theatre’s tiny Theatre Upstairs before quickly transferring to the King’s Road Theatre and, by the following year, to the West End. Its anarchic blend of glam-rock, camp pastiche, and knowing cinematic parody attracted an immediate and devoted following, leading to the 1975 film adaptation, The Rocky Horror Picture Show, directed by Jim Sharman and retaining much of the original cast. Initially modest in its reception, the film evolved, through midnight screenings, audience participation, and its embrace by queer and countercultural communities, into one of the most enduring cult classics of twentieth-century cinema, with an uninterrupted exhibition tradition and a global fan culture that has transformed it into a cultural phenomenon. The present leaves preserve O’Brien’s evolving dramaturgy in remarkable detail, incorporating early dialogue for Brad, Janet, Frank, Riff Raff, Dr Scott and others; abandoned worldbuilding (including the extraterrestrial planet “Tran-Zell”); and substantial lyrical development, such as multiple working versions of "You’d better wise up, Janet Weiss," later incorporated into the number "Planet, Schmanet, Janet" and the “hot dog / Frank-furter” chorus, later incorporated into "Planet Hot Dog." Other sections offer extended comic monologues on 1950s B-movies, including reflections on The Creature from the Black Lagoon, encapsulating the aesthetic pastiche that underpinned O’Brien’s concept. He starts: "In the 50s, low budget films were in a class of their own. Just how many were made is inestimable. Some were dreadful, some were excellent — but most of them had one thing in common — the style of their acting." Throughout, O’Brien experiments restlessly with tone, character, and staging: lines such as “He’s in the Zen Room,” and a story about a "Standard Fish Tail Exhaust Pipe" catch the eye alongside extensive overwriting, deletions, annotations, and marginal sketches. The rich mixture of material demonstrates O'Brien's early process: riffing, cutting, and constantly reshaping the absurdist sci-fi tone that would define both the stage musical (1973) and the film (1975), echoing the Frankenstein-like central character of Rocky himself. As it celebrates fifty years on screen in 2025, these leaves provide a unique and rare insight revealing the earliest forms of now globally-recognized lines and lyrics, as well as substantial unpublished material. "...Although The Rocky Horror Show is never less than terrific in any of its manifestations, it has never been better than during the first three weeks at the Royal Court. Many of my productions I have admired objectively, abstractly. I loved every minute of Rocky Horror ... It is the only show I have ever done that I can watch time and time again - I must have seen it a hundred times. ... Every three minutes you are being socked with another song or event. Everything about it works. The Rocky Horror Show is critic-proof..." (Michael White, Empty Seats, 1984, p.155)

View 1 of Lot 1084: O'Brien, Richard | The Rocky Horror Show, original draft manuscripts

o'brien, richard | the rocky horror show, original draft manuscripts

Washington, George Autograph letter signed (“Go: Washington”), one page (329 x 203 mm) on a leaf of laid paper, New Windsor, [New York], 14 May 1781, to Jonathan Trumbull; lightly soiled, some short, closed marginal tears, tipped to a mat board. Shortly before his historic conference with General Rochambeau at the Joseph Webb House in Wethersfield, Connecticut—where the Franco-American strategy for the siege of Yorktown was planned—Washington warmly welcomes Jonathan Trumbull as his military secretary, replacing Robert Hanson Harrison, who had been appointed chief judge of the Maryland General Court: “In answer to your favor of the 10th, which came to my hands last night, I have to assure you, that your joining my family in the first part of June will be very convenient for me, and that I shall be happy in the event.” The commander-in-chief concludes the letter “With very great esteem & regard.” The General acceded to Trumbull’s request for a brief delay, and his general orders for 8 June record that “Jonathan Trumbull Esqr. Junior is appointed Secretary to the Commander in Chief and to be respected accordingly” (Papers, p. 389). Washington initially proffered the position to Trumbull on 16 April, and on 10 May Trumbull replied, “I have now the Honor to inform that I have determined to accept the Offer—provided your Excellency can dispense with a Delay which unavoidable Appointments of Public Business will occasion—these Appointments, made previous to your Excellencys Call with the necessary Preperations for joining—will take my Time to the first Part of June.” (Papers, pp. 75–76). At Washington’s headquarters, Trumbull joined a “family” that included Tench Tilghman and David Humphreys. Trumbull remained in office through Yorktown and until the end of the war, and his name is most frequently met with as the countersignature on the discharges of Continental soldiers being paroled from active service. “[T]hree of Washington’s most experienced aides-de-camp departed his family during 1781: Harrison, Hamilton, and Meade. The general moved quickly to fill the vacancies with Jonathan Trumbull, Jr., Dr. David Cobb, and William Stephens Smith. … When Washington lost the valuable services of Robert Hanson Harrison, he cast about for an outstanding writer to replace him. As he had done sometimes in the past when he needed help, Washington turned for assistance to the talented Trumbull family of Connecticut. That state’s governor, Jonathan Trumbull, was the patriarch of the family and one of Washington’s staunchest allies. When the general was desperate for men or food during the war, his best hope was to turn to Governor Trumbull, whom he purportedly called, ‘Brother Jonathan.’ … Governor Trumbull had four sons, all of whom played an active role in the Revolution. … It was Governor Trumbull’s namesake, Jonathan Trumbull, Jr., … replaced Harrison as Washington’s military secretary” (Lefkowitz, p. 232). REFERENCES The Papers of George Washington, Colonial Series, ed. Ferraro, vol. 32, pp. 75–76 (footnote 3 to Trumbull’s letter of 10 May); cf. Arthur S. Lefkowitz, George Washington’s Indispensable Men: The 32 Aides-de-Camp Who Helped Win American Independence (Mechanicsburg, Pennsylvania, 2003) PROVENANCE Christie’s New York, 5 December 2006, lot 325 (undesignated consignor; “The Property of a Gentleman”)

View 1 of Lot 1043: Washington, George | Autograph letter signed  welcoming Jonathan Trumbull to his “family” as an aide-de-camp, 1781

washington, george | autograph letter signed welcoming jonathan trumbull to his “family” as an aide-de-camp, 1781

Rowling, J.K. Harry Potter and the Philosopher’s Stone. London: Bloomsbury, 1997 8vo. “10 9 8 7 6 5 4 3 2 1” on publisher’s imprint page and “1 wand” repeated on p. 53; leaves slightly toned, as often. Original publisher’s pictorial paper wrappers by Thomas Taylor, lower cover has misspelt “Philospher’s”; minor creasing and slight delamination at corners. First edition, paperback issue of Rowling’s charming first novel. On 26 June 1997, Bloomsbury ordered 500 hardback first editions of Philosopher’s Stone, with 300 copies sent directly to libraries. In addition, the publisher ordered a simultaneous first issue of 5,150 paperback copies, including the present lot. Harry, Ron, and Hermione’s adventures at Hogwarts bewitched audiences upon the novel’s first release over 28 years ago, and the wizarding world’s popularity has certainly continued to grow to this day. The spellbinding initial installment in the Harry Potter series has since sold over 120 million copies, making it one of the best selling books of all time. REFERENCES Errington, Rowling A1(aa)

View 1 of Lot 1064: Rowling, J.K. | Harry Potter and the Philosopher's Stone, first edition, paperback issue

rowling, j.k. | harry potter and the philosopher's stone, first edition, paperback issue

Alcott, Louisa May Autograph letter signed (“L. M. Alcott) to Miss Eva Bain, April 20th [1883], discussing her sisters and their children using the names given to them in her novels 4 pages on 1 sheet on Ward and Day stationery (230 x 175 mm); very minor toning with clean split at one fold, with original addressed envelope. Alcott replies to the daughter of a soldier she treated during the Civil War, sharing family details and her sadness at aging… “I shall never see the Rocky Mountains...” Alcott begins with sympathy and a recollection of her time as a nurse, “I was much pleased to hear from Robert Bain’s daughter, though sorry to hear of his death. I remember him very well as a cheerful, brave young man fellow who bore much pain like a man and made sunshine in my ward… he was one of ‘my boys’ and ‘Baby B’ was a favorite.” Eva Bain must have invited Alcott to visit her in Colorado and the author declines, lamenting that she is “getting to be an old woman” but gives her recipient perhaps a more tantalizing possibility that “Meg’s boy Demi might go that way and if he does he will call and tell you how much of ‘Little Women’ is true.” “Meg” was of course the name Alcott gave the character in Little Women based on her eldest sister, Anna Bronson Alcott. She continues with rather sadder news about “Amy” from the novel—their youngest sister Abigail May Alcott. “I have Amy’s little girl for mine now since Abby died in Paris four ago after marrying a Swiss gentleman.” Abby’s daughter, Louisa May (“Lulu”) was born in 1879, with Abby dying seven weeks later, likely due to complications from the birth. Louisa May Alcott cared for her namesake niece until her own death in 1888. Alcott closes this short but remarkably poignant letter by suggesting that the cactus Eva had offered to send would not survive the difference in climate.

View 1 of Lot 1046: Louisa May Alcott | Autograph letter signed, discussing her sisters 

louisa may alcott | autograph letter signed, discussing her sisters

Roberts, David The Holy Land. London: F.G. Moon, 1842-1849 Three volumes bound in two, folio (606 x 415 mm). Pictorial titles to each part, list of subscribers, lithographed portrait of Roberts, 60 plates, 60 half-page illustrations, all tinted lithographs by Louis Haghe after David Roberts, engraved map, the text and illustrations not bound in the order given in Abbey; light browning, foxing, generally affecting text and margins of plates, title to Vol III and map heavily spotted. Contemporary plum morocco, covers elaborately gilt with tooled floral borders, spine with raised bands in 8 compartments, second and fourth gild-lettered, others with repeat floral motif in gilt, all edges gilt, inner dentelles gilt, marbled endpapers; extremities rubbed, covers slightly scuffed. First edition. David Roberts enjoyed wide popularity in his day, but his outstanding success was certainly The Holy Land, and it is on this that the modern appreciation of his work is based. The powerful images fully demonstrate the artist's skillful draughtsmanship and use of dramatic perspective to portray the majesty of what he sees. Roberts' early training as a theatrical set designer is perhaps nowhere so clearly evident. At the time of publication, such dramatic representations of the East had rarely been encountered in the West. Consequently, Roberts' work captivated the public imagination and set the archetypal standard so often imitated by later artists. However, it is not only Roberts' draughtsmanship that sets this work apart from so many others. It is also, as is so often noted, the quality of Day and Haghe's lithography, considered by Abbey to be: "the apotheosis of the tinted lithograph." Handsomely bound. REFERENCES Abbey, Travel 385

View 1 of Lot 1090: Roberts, David | The Holy Land, handsomely bound

roberts, david | the holy land, handsomely bound

Audubon, John James Ornithological Biography, or an account of the habits of the birds of the United States of America; accompanied by descriptions of the objects represented in the work entitled The Birds of America, and interspersed with delineations of American scenery and manners. Edinburgh & London: Printed by Neill & Co. for Adam & Charles Black, and R. Havell Jun., and Longman, Rees, Brown and Green, and various others, 1831, 1834, 1835 [but with New York 1836 overslip pasted to the half-title], 1838, 1849 [i.e. 1839] 5 volumes, large 8vo (262 x 158 mm). Half-titles to volumes 1 & 3 only, woodcut illustrations, prospectus and list of subscribers for Birds of America with separate title bound at the end of vol. 1; lightly toned, a few stray stains, light offsetting, “1887” stamped to titles, preliminary gatherings of vol. 2 shaken, marginal tear with loss to p. 421 in vol. 2. Half cloth with contemporary paper boards, spines with black morocco lettering pieces, patterned endpapers, bound by Goodall & Suddick, Cookridge Street, Leeds, edges speckled red; rubbing to extremities, corners bumped, wear to covers and joints, lettering pieces chipped, joints starting on some volumes. First edition, compiled to accompany the elephant folio of Audubon's The Birds of America—a good tall copy. Audubon noted his intention to issue the volumes separately in his journal: "I shall publish the letterpress in a separate book, at the same time with the illustrations and shall accompany the descriptions of the birds with many anecdotes and accounts of localities connected with the birds themselves ..." (M.R. Audubon, Audubon and His Journals, 1897, I:163). But the publication of the separate letterpress volumes was also a practical economic decision—according to British copyright law, had the letterpress accompanied the engravings, Audubon would have been obliged to deposit a copy of the work in each of the nine copyright libraries in the United Kingdom. Though he had begun thinking about these works as early as 1826, he did not begin working on them until the end of 1830, as engraver Robert Havell was concluding work on the first 100 drawings. He continued writing the volumes throughout that decade, concluding in 1839. This set contains the separately-issued prospectus and list of subscribers for the elephant folio edition, bound into volume one. Unusually, it also contains one of the rare American "copyright" slips in volume three. REFERENCES Ayer 20; Ellis 96 & 100; Waldemar H. Fries, The Double Elephant Folio, pp. 20, 21, [etc.]; Yale/Ripley 13; Zimmer 20

View 1 of Lot 1006: Audubon, John James | Ornithological Biography, first edition

audubon, john james | ornithological biography, first edition

Austen, Jane Autograph letter signed with her initials ("JA"), to her sister Cassandra, written shortly after the death of George Austen in 1805 4 closely written pages, 4to (250 x 400 mm). Written in sepia ink, and dated 25 Gay Street, Bath, Monday, [8 April] to [Thursday] 11 April 1805, integral address panel on the verso of the second leaf, small cut into text where carefully opened round wafer seal but actually complete as all the text removed is still present on the slip attached to the seal, postal marking; small areas with expert reinforcement. In excellent, fresh condition. An intimate glimpse of Jane Austen’s life in Bath over a period of four days, sent to Cassandra Austen, the author’s sister and closest confidant. Composed just three months after the death of her father, George Austen, the present letter reveals what Jane Austen’s daily life was like in Bath, a city she had a complicated relationship with and explored through her fiction. Writing to her sister, Cassandra Austen, who was visiting Ibthorp, Andover, hoping that the change in environment might improve her health, Jane begins: “Here is a day for you! Did Bath or Ibthrop ever see a finer 8th of April? — It is March & April together, the glare of one & the warmth of the other. We do nothing but walk about; as far as your means will admit I hope you profit by such weather too. I dare say You are already the better for change of place.” Following Austen’s death in 1817 from an unknown illness (Addison’s disease or Hodgkin’s lymphoma are the most frequent retrospective diagnoses), Cassandra—to whom Jane had written most days when they were apart—burned the vast majority of her correspondence. Indeed, of the 3,000 or so letters believed to have been written by Austen, only about 161 survive, and are now scattered across institutions and private collections. Cassandra, who was older than Jane by three years, had a very close relationship with her sister. It would seem that this intimacy was destined from the moment Jane arrived in the world. The day after she was born, George Austen wrote to a relative: “We now have another girl, a present plaything for her sister Cassy and a future companion.” And their mother once noted: "if Cassandra's head had been going to be cut off, Jane would have hers [sic] cut off too." The sisters lived together for much of their lives, with this bond only deepening over time. Cassandra was the only person Jane discussed her work with, and a pencil and watercolor portrait accomplished by Cassandra is the only authenticated image of Jane known to exist. It was Cassandra who stayed with Jane through her final illness, writing shortly after her death: "She was the sun of my life, the gilder of every pleasure, the soother of every sorrow. It is as if I have lost a part of myself." So, while scholars and Janeites alike may question or curse Cassandra’s decision to destroy invaluable evidence of Jane’s life, it is difficult to see this as anything other than an act of kindness—as an effort to protect the legacy of her beloved sister. Even if we are to assume that Cassandra destroyed the most intimate or sharped-tongued examples of correspondence from her sister, it would have been impossible for her to anticipate the immense popularity Jane would experience hundreds of years after her death, and how hungry the world would be for crumbs of her life. The present letter offers remarkable insight into Jane’s life, and is not lacking in emotion, humor, or observation. As she relays the activity of the city, Jane writes: “Seven years & four months ago we went to the same Ridinghouse to see Miss Lefroy's performance! — What a different set are we now moving in! But seven years I suppose are enough to change every pore of one's skin, & every feeling of one's mind.” Western Front of the Abbey Church, Bath, 1823. Public domain. Miss Lefroy was the sister of Tom Lefroy, with whom Jane began a flirtation in 1796, and on 14 January of that year wrote to Cassandra: “At length the day is come on which I am to flirt my last with Tom Lefroy, and when you receive this it will be over. My tears flow as I write at the melancholy idea.” By 1805, Lefroy had married Mary Paul, and his first daughter, Jane, had been born; Jane, Cassandra, and their mother were also living in reduced circumstances following the death of George Austen. “What a different set are we now moving in!” sounds as though it could have been uttered by one of the Dashwood sisters as they arrive at Barton Cottage, and it’s easy to see—even through Austen’s characteristically wry humor—just how drastically her life was shifting. The letter also mentions Edward Austen Knight, Austen brother who was adopted by wealthy, childless relations (“I expect to hear from Edward tomorrow, & from you soon afterwards. — How happy they are at Godmersham now”). It also refers to the Lloyds, who were neighbors of the Austens in Steventon, and Mary Lloyd married Jane’s eldest brother, James. Here, Jane addresses the death of Mary and Martha’s mother (“Poor woman! May her end be peaceful & easy, as the Exit we have witnessed! And I dare say it will.”). Following her mother’s death, Martha joined the Austen women in Bath, moving with them first to Southampton, and then to Chawton in 1809. While the letter contains its shade, it is not wanting for light, and bright, and sparkling moments. In returning to the matter of Cassandra’s ill health, Jane writes: “I am heartily glad that you can speak so comfortably of your own health & looks, tho' I can scarcely comprehend the latter being really approved. Could travelling fifty miles produce such an immediate change? — You were looking so very poorly here; everybody seem'd sensible of it. — Is there a charm in an hack postchaise? — But if there were, Mrs Craven's carriage might have undone it all.” It seems very Austen-like to so easily tease her sister, and insult their acquaintance's carriage in the same stroke. As the letter nears its end, Jane continues to press the issue: “I assure you, you were looking very ill indeed, & I do not beleive [sic] much of your being looking well already. People think you in a very bad way I suppose, & pay you Compliments to keep up your Spirits.” A highly significant letter, offering a rare window into Jane Austen’s world.

View 1 of Lot 1047: Austen, Jane | A poignant and long autograph letter signed (“JA”) to her sister and confidant

austen, jane | a poignant and long autograph letter signed (“ja”) to her sister and confidant

Thoreau, Henry David A very large autograph manuscript survey, titled "Plan of The Kimball Lot, (so called), Belonging to Charles White Esq.; Haverhill Mass. Surveyed by Henry D. Thoreau. April 1853" Autograph manuscript survey map on linen (1265 x 455 mm). Neatly executed in sepia ink in Thoreau's hand; backed, some foxing, expert restoration including two small areas of facsimile. Expertly mounted, glazed, and framed (1347 x 531 mm); not examined out of frame. A rare survey map in the hand of Henry David Thoreau. "April 19. Haverhill. — Willow and bass strip freely. Surveying Charles White's long piece. Hear again that same nighthawk-like sound over a meadow at evening" (Thoreau, Journals 5:111). Although he is now regarded as a giant of the Transcendentalist movement, Henry David Thoreau did not support himself through his writing. In the 1840s, Thoreau became a land and property surveyor, a profession that had no formal requirements at that time. For the essayist, philosopher, and naturalist, it was an occupation that allowed him to spend time outdoors, sauntering through nature. During his lifetime, Thoreau would come to be regarded as a skilled surveyor. Even by modern standards, his precision is exceptional. Many of Thoreau's surveying commissions kept him in Concord and the nearby towns. In the winter of 1846, he surveyed Walden Pond, and incorporated a reduced version of his map in Walden, or Life in the Woods (1854). His work also took him further afield—including New Jersey, Cape Cod, and Nantucket—and counted properties belonging to Bronson Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and others. Following Thoreau’s death, his surveying compass and tripod were sold through the Concord auctioneer Sam Staples. These were purchased by Sampson Douglass Mason, who presented them to the Concord Free Public Library. Thoreau left his working papers as a surveyor—including field notes and draft surveys—in the care of his sister, Sophia, who bequeathed them to the Library in the 1870s. The largest of Thoreau's survey maps to appear at auction.

View 1 of Lot 1067: Thoreau, Henry David | A survey plan of "The Kimball Lot, (so called)," April 1853 

thoreau, henry david | a survey plan of "the kimball lot, (so called)," april 1853

ALCIATI, ANDREA. Viri clarissimi D. Andree Alciati Iurisconsultiss. Mediol. ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum liber. (Augsburg: Heinrich Steiner, 28 February) 1531

ALCIATI, ANDREA. Viri clarissimi D. Andree Alciati Iurisconsultiss. Mediol. ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum liber. (Augsburg: Heinrich Steiner, 28 February) 1531 FIRST EDITION OF THE FIRST EMBLEM BOOK. It was published by Conrad Peutinger, a friend of Alciati's, though quite possibly without Alciati's approval or involvement. It was printed by Heinrich Steiner, who quickly reprinted it in April that same year with the errata corrected. The woodcut illustrations are now attributed to Jörg Breu the elder (c. 1475/80-1537), who provided numerous illustrations for Augsburg printers. Alciati's emblems were derived from nature, mythology and history, mostly via classical or medieval sources, as well as Erasmus's Adagia. They each contain a motto with an epigram, to which illustrations were subsequently added by the printers. Alciati described his compilation as taking something from history or nature and giving it meaning which could then be used by an artist or craftsman to provide a badge or device; he mentions the dolphin and anchor device of Aldo Manuzio as well as Francesco Calvo's elephant printer's device (Karl Enenkel, The Invention of the Emblem Book and the Transmission of Knowledge, Brill, 2019, p. 4). It has also been suggested that Alciati could have devised his work as a literary coin and medal cabinet for his friend Peutinger. Alciati's little book proved a commercial success and was subsequently translated into various languages with illustrations by artists such as Jost Amman, Virgil Solis and Bernard Salomon and expanded over time from around 100 to over 200 emblems. Its influence on European culture led to the production of other emblem books and the extensive use of Alciati's symbolism in diverse contexts. TOGETHER WITH AN AUTOGRAPH LETTER BY ALCIATI, addressed to the bookseller and printer Francesco Minizio Calvo (active 1516-1545, in Pavia, Rome and Milan), who moved to Rome in 1521. One of Calvo's first publications in Rome was Marliani's Oratio in Martinum Lutherum, with some anti-Lutheran verses signed "Paulus exorcista", who has been identified as Alciati, though Calvo does not seem to have published any of Alciati's own works. Alciati and Calvo were regular correspondents during the 1520s, when Calvo had connections to the Papal Curia. Loosely inserted in the volume is a printed form headed "Report from Messrs. Ellis, 29 New Bond Street" with four extracts from sale catalogues pasted onto it, and dated 24 December 1912; one of the four is for a copy of the 1531 Alciati in vellum. There is also the extract from the Sotheby's 1916 catalogue of autographs, with the price £6-10-0. 8vo (147 x 96 mm). Italic type. Collation: A-E8 F4: 44 leaves (last leaf blank), with errata on F3v verso. Title within a woodcut border, woodcut initials and illustrations. Autograph letter signed ("Alciatus tuus"), to Francesco [Minizio] Calvo, "mercante de libri" (bookseller) in Rome, dated 13 June 1521, arranging letters of introduction on behalf of his friend M. Antonio Capello, and Capello's friend Giovanni Matteo Colombo, which Alciati has already requested from [Mario] Salamonio, 7 lines, tipped onto flyleaf. (Folded with small tear along crease, a few very small holes, address panel slightly browned.) Binding: Modern vellum (152 x 104 mm), spine lettered in black, in black leather folding box. Provenance: book: [perhaps William Wheeler Smith of New York, sale, Sotheby's, London, 13 December 1909, lot 15, described as having a vellum binding in a black pigskin slipcase] — Allan Heywood Bright (1862-1941), bookplate dated 1912 — Yates, Thompson and Bright: a family of bibliophiles, sale, Christie's, London, 16 July 2014, lot 40; letter: sale, Sotheby's, 31 July 1916, £6-10s, presumably added to the book by Allan Heywood Bright. Acquisition: Purchased at Christie's sale in 2014. References: Green, Alciati 2; Landwehr, German Emblem Books 23; VD16 A 1641

View 1 of Lot 10: Alciati, Emblematum liber, Augsburg, 1531, with an autograph letter by Alciati, later vellum

alciati, emblematum liber, augsburg, 1531, with an autograph letter by alciati, later vellum

A MAGNIFICENT, UNUSUALLY RARE COPY OF SEFER MINHAGIM AND ONE OF THE FINEST PRODUCTIONS OF THE BEN ISRAEL-ABOAB PRESSES, WITH NOBLE PROVENANCE.

A MAGNIFICENT, UNUSUALLY RARE COPY OF SEFER MINHAGIM AND ONE OF THE FINEST PRODUCTIONS OF THE BEN ISRAEL-ABOAB PRESSES, WITH NOBLE PROVENANCE. Minhag in Hebrew means custom or usage, and this volume is a popular guide, with charming illustrations, of the customs for Jewish festivals and life-cycle events. The first illustrated edition of this text was printed in Venice in 1593, and the book was extraordinarily popular - numerous later editions were printed at Amsterdam, Frankfurt and Prague. The twenty-six large and twelve small images used here are modeled on those of the 1593 Venice edition, newly cut with bold, sharp features. Some scholars have suggested that these illustrations were intended to help instruct young children who were not yet literate, or were just beginning to learn to read, in the performance of Jewish rituals. With time, the figures became emblematic of Ashkenazic folklore and practice and would reappear in dozens of editions of Minhagim, Passover Haggadot, and other titles, particularly (although not exclusively) those in which Yiddish text was a prominent component. In 1634, Menasseh Ben Israel visited the international book fair held in Frankfurt am Main, where he appears to have met booksellers from Eastern Europe. Shortly thereafter, in addition to the books he printed for his own Sephardic community, he began issuing titles meant for an Ashkenazic market, including works in Yiddish. The present Minhagim is either the second or third such work he and Aboab published, and it has the distinction of being the very first illustrated book printed in Hebrew characters to appear in the Northern Netherlands. The present copy of this handsome work is distinguished not only by its beautiful condition but by its having once belonged to the library of Karl Philipp Theodor (1724-1799), eventual Elector of Bavaria, as evidenced by the gilt coats of arms on the upper and lower boards. 76 folios (7 1/4 x 5 5/8 in.; 183 x 142 mm) on paper. Title within elaborate architectural frame; thirty-one beautiful full-size woodcut vignettes illustrating scenes from Jewish ritual life and practice (some of them repeats); twelve smaller woodcuts representing the twelve signs of the zodiac/labors of the months; decorative elements on ff. 1v, 19v, 30v-31r, 40v, 69r-v, 76r. Contemporary vellum over board with gilt-stamped heraldic seal on both upper and lower boards.

View 1 of Lot 68: MINHAGIM, SIMEON HA-LEVI GÜNZBURG, AMSTERDAM: ELIJAH ABOAB [AND MENASSEH BEN ISRAEL], 1645

minhagim, simeon ha-levi günzburg, amsterdam: elijah aboab [and menasseh ben israel], 1645

An unknown biblical commentary by the last known leader of the Maimonidean dynasty.

An unknown biblical commentary by the last known leader of the Maimonidean dynasty. David II ben Joshua Maimonides (c. 1335–1410) was born in Egypt, a sixth-generation direct descendant of the great medieval scholar Moses Maimonides. David II Maimonides was a mystical philosopher, exegete, theologian, and physician who lived in Cairo and, at one time, in Aleppo. Considered to have been the last Jewish philosopher to write in Arabic, he was also the last known nagid (religious leader of Middle Eastern Jewry) of the celebrated Maimonidean dynasty. Himself an elegant scribe, he possessed an important library of religious and scientific works and showed a keen interest in theology, medicine, and astronomy. Well-versed in Arabic philosophy and mysticism (of a Sufi type), he left a vast literary legacy in Judeo-Arabic and Hebrew, focusing on five areas of interest: exegesis, homiletics, ethics, halakhah, and commentaries on the works of Maimonides. Several of David II’s works have survived, but they have yet to be published. His magnum opus, Summary of Speculative Truths and Ethical Aims, is a treatise in Arabic on philosophy and ethics, divided into two parts, one on the cosmos and man’s place within it, and the second on man as a moral being. Presented almost as a practical manual, the second part ends with the typically Sufi ideal of the Perfect Man. Another important work of his is The Guide to Solitude and the Director to Detachment, a spiritual manual in Arabic, which is said to be the summary of a larger work now lost, and it shows an even more pronounced Sufi influence. Strongly imbued with the thought of medieval Muslim mystics, yet deeply rooted in rabbinic tradition, this treatise is a remarkable synthesis of Jewish pietism and Muslim esotericism. The present work is a small portion of a philosophical commentary on the Bible, specifically the Book of Ecclesiastes (previously unknown), composed in Hebrew. It was found in an old binding originating from Aleppo, where David II was known to have spent the last part of his life, and it was identified by Prof. Paul Fenton of the Sorbonne as an autograph. It covers Chapter 9, verses 1–3 and 7–11. The biblical text appears with vocalization and cantillation marks throughout. A recipe (apparently medical) is recorded in a later hand along the margins of the final page. Physical Description Two loose paper bifolia (135 x 180 mm). Literature Paul B. Fenton, “The Literary Legacy of David ben Joshua, Last of the Maimonidean Nĕgīdim,” The Jewish Quarterly Review 75:1 (1984), 1–56.

View 1 of Lot 62: Hebrew Biblical Commentary on Ecclesiastes, Autograph of the Last Maimonidean Nagid, David II ben Joshua Maimonides

hebrew biblical commentary on ecclesiastes, autograph of the last maimonidean nagid, david ii ben joshua maimonides

Arrowsmith, Aaron Chart of the West Indies and Spanish Dominions in North America. London: Jones, Smith, & Co., 1803 Large engraved wall map on four sheets, joined as two, with contemporary outline hand-coloring, to sight 12.25 x 190 cm, plate 122 x 189 cm; some staining along one vertical fold with old linen tape reinforcement on recto, with loss of a few letters, generally clean and fresh. Glazed and framed; unexamined out of frame. The most accurate representation of the West Indies and its environs. A handsome and authoritative large-format chart by Aaron Arrowsmith, the foremost British cartographer of his era. Centered on the Caribbean basin, the map covers the West Indies, the Gulf of Mexico, and the vast Spanish territories stretching from Florida and Louisiana to Central America and northern South America. Arrowsmith’s work is distinguished by its precision: coastlines are sharply rendered, soundings and shoals meticulously plotted, and navigational hazards clearly marked for mariners. The chart reflects the geopolitical moment of the early nineteenth century, just prior to the transfer of Louisiana and amid shifting colonial claims across the Americas. Islands, ports, capes, and major waterways are given careful treatment, and the composition shows Arrowsmith’s characteristic balance of clarity and restraint. A strong example of a foundational map for the region—both a navigational tool and a record of imperial geography at a decisive point in Atlantic history. The map focuses on the Caribbean and Mexico, extending from Mexico’s Pacific coast to the Leeward Islands, incorporating the whole of the Caribbean. At the time of publication, this monumental wall map was the most accurate survey of the region. Arrowsmith synthesized the best available information, most notably the pre-Revolutionary War surveys of John William Gerard De Brahm (Georgia), Bernard Romans (Florida), and the Spanish coastal surveys for Texas and the Gulf of Mexico. Streeter mentions one particular chart, the "Carta Esferica" of 1799—the first to name the bays of Galveston and Bernardo—from which Arrowsmith based much of the coastline, but notably with the longitude of the Sabine Pass greatly improved. The dedicatee, John Willett Payne (1752–1803), was a British rear-admiral born on St. Kitts in the West Indies and seemingly the perfect recipient of Arrowsmith’s honor. In peacetime he became the private secretary, comptroller of the household, and personal friend of the Prince of Wales. DNB notes “There is no doubt that he was the associate of the prince in his vices and his supporter in his baser intrigues." In 1780 Payne became Member of Parliament for Huntingdon. Returning to the sea in 1793 he played a distinguished part in the battle of the “Glorious First of June,” 1794, for which he received the gold medal. In 1799 he was promoted to the rank of rear-admiral, and in August he was appointed treasurer of Greenwich Hospital, where he died. Arrowsmith was the finest cartographer of his generation. Although he received little formal education it is believed that he was taught some mathematical instruction by William Emerson, author of several books on the application of mathematics to the area of cartography. Around 1770, Arrowsmith moved to London to seek employment. It is believed that he worked for William Faden before joining John Cary Sr. in the early 1780s. There he provided the measurements for John Cary’s early publication detailing the roads from London to Falmouth, his first signed work. Arrowsmith established his own practice in 1790 and over the next thirty years produced some of the most beautiful maps of the era. REFERENCES Stevens and Tree only list two editions, 1803 and 1810, but Phillips lists an 1811 and an 1816 edition

View 1 of Lot 1004: Arrowsmith, Aaron | The most accurate representation of the West Indies and its environs

arrowsmith, aaron | the most accurate representation of the west indies and its environs

BUDÉ, GUILLAUME. Summaire ou epitome du livre de Asse fait par le commandement du Roy par maistre Guillaume Bude conseiller du dict seigneur, et maistre des requestes ordinaires de son hostel, par ledict bude, reveu & additionne oultre les precedentes impressions. Paris: (Pierre Vidoue for) Galliot du Pré, (3 January 1529)

BUDÉ, GUILLAUME. Summaire ou epitome du livre de Asse fait par le commandement du Roy par maistre Guillaume Bude conseiller du dict seigneur, et maistre des requestes ordinaires de son hostel, par ledict bude, reveu & additionne oultre les precedentes impressions. Paris: (Pierre Vidoue for) Galliot du Pré, (3 January 1529) A shortened version of Budé’s respected work on Roman coinage, De asse (Paris, 1514), reprinted from the 1522 edition, in an elegant lettered binding attributed to the royal binder, Étienne Roffet. For a similar epigraphic binding by Roffet, see Bibliotheca Brookeriana II, 12 October 2023, lot 203, a copy of Boccaccio’s Fiammetta (1524) which was also in the 1929 Gumuchian catalogue and Esmerian’s library. Identical tools were used by the Salel Binder (Laffitte and Le Bars, Reliures royales de la Renaissance, 11b), who was active in Paris and binding books for the royal library at the same time as Étienne Roffet. The overall design is not dissimilar to some early Grolier bindings (such as the 1528 Macrobius, Bookbindings from the library of Jean Grolier, no. 19). 8vo (166 x 100 mm). Roman type, 28 lines plus headline. Collation: π4 a-k8: 84 leaves. Title printed in red, woodcut printer’s device on title-page and final verso (otherwise blank), woodcut initials. (Lightly browned, occasional light damp-staining.) Binding: Contemporary dark brown morocco gilt (170 x 109 mm), attributed to Étienne Roffet and probably executed in the early 1540s, an epigraphic binding with the title in within a double gilt fillet frame surrounded by curved leafy tools, an outer frame of blind and gilt fillets with corner fleurons, spine with blind ruling around bands, gilt edges, stubs from two pairs of ties, with engraved portraits of St Neot of Paris and Gregory I pasted to inside of covers. In modern black drop-backed box. (A few small neat repairs to binding, including ends of spine, pastedowns and flyleaves stained.) Provenance: Babin, name at top of title-page — Siméon Stilitte des Moulins de Cheviré (1653-1731), inscriptions on front flyleaf, title and rear flyleaf — Librairie Gumuchian & Cie, Catalogue de reliures du XVe au XIXe siècle (Paris, 1929), item 29 and plate XIV, and their small G stamp on inside lower cover — Raphaël Esmerian (1903-1976), booklabel, his sale, part one, Antoine & Étienne Ader, Jean-Louis Picard & Jacques Tajan, Paris, 6 June 1972, lot 41 — Cuvreau Expertises Enchères, sale, Paris, 24 March 2009, lot 4. Acquisition: Purchased at the preceding sale. References: BP16 105865; USTC 24225; Dorothy Miner, The history of bookbinding 525-1950 AD, catalogue of an exhibition in cooperation with the Baltimore Museum of Art (Baltimore, 1957), no. 251; Grolier Club, Bookbinding styles during the Renaissance in France from the collection of Raphaël Esmerian (New York, 1966), no. 3

View 1 of Lot 59: Budé, Summaire ou Epitome du livre de Asse, Paris, 1529, Parisian epigraphic binding attributed to Étienne Roffet

budé, summaire ou epitome du livre de asse, paris, 1529, parisian epigraphic binding attributed to étienne roffet

Woven in the professional workshops of the Jerusalem Torah ve-Melakhah (“Torah and Crafts”) school—an institution that predated the Bezalel carpet works by nearly a decade—this rare textile belongs to one of the earliest documented phases of Jewish rug production in Ottoman and Mandate Palestine. Under the leadership of Avraham Albert Antebi (1870–1919), the Alliance Israélite Universelle–affiliated school developed a thriving weaving department supported by Damascus-trained craftsmen and staffed by Yemenite and Persian weavers; by 1900, more than forty artisans were active in its halls. Rugs from this period, produced on mechanical looms and sold both locally and abroad, form a distinctive corpus of “Alliance Jerusalem” textiles.

Woven in the professional workshops of the Jerusalem Torah ve-Melakhah (“Torah and Crafts”) school—an institution that predated the Bezalel carpet works by nearly a decade—this rare textile belongs to one of the earliest documented phases of Jewish rug production in Ottoman and Mandate Palestine. Under the leadership of Avraham Albert Antebi (1870–1919), the Alliance Israélite Universelle–affiliated school developed a thriving weaving department supported by Damascus-trained craftsmen and staffed by Yemenite and Persian weavers; by 1900, more than forty artisans were active in its halls. Rugs from this period, produced on mechanical looms and sold both locally and abroad, form a distinctive corpus of “Alliance Jerusalem” textiles. The present composition, known as “Rachel Our Mother,” is a rare surviving design in the early twentieth-century Rachel series. Rendered in subtle shades of silver-gray and beige, the image presents a strikingly Europeanized Rachel performing a veil dance atop a raised oriental-carpeted platform, surrounded by Arab musicians in tarbushes and turbans. A distant mosque, lush vegetation, and a decorative border incorporating Stars of David with “Zion,” the Tablets of the Covenant, and crescent motifs situate the work firmly within the multi-cultural visual vocabulary of turn-of-the-century Jerusalem. The inscription “If I forget you, O Jerusalem, let my right hand forget” reinforces the rug’s symbolic and devotional intent. Long understood to have been inspired by a late nineteenth-century Orientalist painting—likely French—the composition reflects the eclectic artistic sources circulating in Jerusalem’s Jewish workshops at the time. Examples of the “Rachel Our Mother” rug are preserved in the Wolfson Museum, Heichal Shlomo, Jerusalem, and in noted private collections. This textile represents one of the most evocative survivals of early Jewish design in Palestine, blending European imagery, local craftsmanship, and biblical symbolism into a uniquely Jerusalemite artifact. Woven wool; 126 x 119 cm. LITERATURE Ofrat, Gideon. The First Beginning: "Torah u-Melacha". Zmanim: A Historical Quarterly / 2008 PP. 4-13.

View 1 of Lot 50:  “Rachel Our Mother” Tapestry.  Jerusalem, Torah ve-Melakhah (“Torah and Crafts”) Weaving House, ca. 1900–1920

“rachel our mother” tapestry. jerusalem, torah ve-melakhah (“torah and crafts”) weaving house, ca. 1900–1920

The Moss Haggadah (A Song of David Limited Facsimile Edition) with Accompanying Commentary Volume, Rochester: Bet Alpha, 1987

The Moss Haggadah (A Song of David Limited Facsimile Edition) with Accompanying Commentary Volume, Rochester: Bet Alpha, 1987 Description Paper, ink , leather Two volumes: 54 folios + 242 pages (18 x 11 1/2 in.; 458 x 292 mm) on Veronese paper. Facsimile volume: [1], 1-52 [1] ff.; commentary volume:[4], 76 [102], 56 [4] pp. Signed and numbered 117 of 500 numbered copies (1-500) and 50 artist's copies (I-L). Produced at Stamperia Valdonega of Verona on paper especially created for the edition by Cartiere Fedrigoni of Verona; abundant hot gold foil stamping; printed on a single color press in thirteen colors, requiring multiple impressions (up to 25 per page); the cut-out sheets were shipped to California for precision laser-cutting, then returned to Italy for finishing in Milan by the Recalcati Legatoria, including hand-application of mirrors, and miniature book, seal, and hinged cup. Maroon crushed morocco, panel gilt stamped, gilt stamped titles on spine. Facsimile and commentary volumes are housed within a cloth-covered slipcase, maroon morocco trim to match facsimile volume. Catalogue Note "A HAGGADAH FOR OUR TIME" In 1980 Richard and Beatrice Levy commissioned renowned Judaica artist David Moss to create a single handwritten and richly illuminated Haggadah on parchment for their personal collection of Judaica. Moss used the opportunity to create a wide-ranging visual commentary on Jewish history and experience. Using vivid and original metaphors, Moss confronts and illuminates some of the basic themes of Judaism: freedom, the passing on of tradition, persecution, and the connection between the Passover story, the diaspora, and the Land of Israel. Each page of Moss’s folio-sized Haggadah makes a visual and intellectual statement that surprises, delights, and educates the viewer. Artistically, the work combines a spectacular variety of media: calligraphy, micrography, gouaches, gold leaf, acrylics, and paper-cuts. This work accomplishes one of the original goals of the illuminated Haggadah: to stimulate the mind and the interest of the Seder's participants. More than a Haggadah, Moss’s creation evolved into a broadly researched, imaginative, and intensely personal reaction to the events of the Exodus and the Passover celebration. The project consumed three years of Moss’s full-time efforts and required research in libraries and museums on three continents. In 1985, Neil and Sharon Norry saw a photographic copy of the Haggadah and began pursuing the idea of publishing it. The patron of the original haggadah, Richard Levy, agreed to allow Moss to reproduce the work as a facsimile edition and the artist agreed, on the condition that the reproduction be faithful to the original in every respect: size, color, detail, and special techniques, and that special, chemically neutral, paper be created to replace the vellum of the original. An accompanying commentary volume serves as an extraordinary teaching tool and erudite explication of the symbolism of each page of the haggadah, within the broader context of the meaning of Passover. In 1988, when the New York Public Library mounted what was at the time widely hailed as “the deﬁnitive exhibition of the Hebrew book,” A Sign and a Witness. Of the thirteen important and beautiful Haggadah manuscripts exhibited, only one was created after 1717: The Moss Haggadah. Copies of this magnificent work rarely appear in the marketplace.

View 1 of Lot 102: The Moss Haggadah (A Song of David Limited Facsimile Edition) with Accompanying Commentary Volume, Rochester: Bet Alpha, 1987

the moss haggadah (a song of david limited facsimile edition) with accompanying commentary volume, rochester: bet alpha, 1987

KENICHI OHASHI MW’S N’END SAKE, JAPAN

KENICHI OHASHI MW’S N’END SAKE, JAPAN 6 Bottles of N’end Sake 2022 Takara Shuzo SAKE: 6 Bottles of N’end Sake 2022 Takara Shuzo LYING IN OCTAVIAN, WILTSHIRE Offered In Bond, available Duty Paid MORE ABOUT THIS LOT: 6 bottle set of N'end first vintage sake co-developed by Japan's First MW & Sake Samurai, Kenichi Ohashi, with Takara Shuzo, produced by Takara Shuzo under Kenichi’s consultation. Presented here is the first vintage of N’end, the super-premium sake that marked a new chapter in the sake industry. Japan has cherished a culture of appreciating sake for more than a thousand years. Today, alongside the global boom in Japanese cuisine, sake is beginning to take root in international markets as well. No longer confined to Japanese dining, it is entering the fine gastronomy in the global market, gracing the lists of sommeliers across the globe and appearing on the shelves of major metropolitan supermarkets. Kenichi Ohashi MW, the only Master of Wine in Japan and co-chair of IWC sake competition (the world’s largest sake competition), had long carried a deep regret. In the global wine market, many leading wineries produce outstanding premium wines that have earned wide recognition worldwide. Yet among Japan’s major sake breweries, there was virtually no equivalent in the premium category. Think of those iconic wines crafted by the largest wineries as representatives of their nations. No such brands existed in the sake industry. Instead, the highest price range was dominated only by small boutique breweries. Even though the community of sake lovers grew worldwide, there was no truly representative premium sake for people everywhere to enjoy. With this vision, Kenichi approached Takara Shuzo, Japan’s largest sake producer, with a proposal to refine the sake market as the wine industry has evolved, to lead a movement to establish a sake brand loved by sake enthusiasts worldwide. Yet the path was anything but easy. It demanded countless meetings each year, trial cultivation and data analysis in pursuit of the finest sake rice, brewing experiments, tasting evaluation and along the way, many failures. But from those failures came invaluable lessons and steady improvements. Finally, in the fourth year, a remarkable sake truly worthy of unveiling to the world was born. Along the way, they also confronted one of the key challenges facing the sake industry: rice cultivation produces methane, a greenhouse gas 28 times more potent than CO₂. They launched initiatives to reduce this impact and have already succeeded in cutting emissions by more than 90%. At each annual launch of this sake, they present the method publicly, continuing their efforts to drive improvement across the industry. And most importantly, in terms of the quality: At Kenichi’s newly opened shop in central Tokyo, intertWine K×M, many distinguished experts have come specifically in search of this sake. Recently, a renowned Master Sommelier from New York visited to acquire it, while numerous Masters of Wine have also offered high praise. At the London launch earlier this year, the UK allocation sold out in only two days. Although production remains limited for the moment, but the goal is to expand gradually while pursuing ever greater refinement. This 2022 vintage, the first release of N’end, embodies the passion of both Kenichi and Takara Shuzo. Although the first vintage has already sold out on the market, they are delighted to present this special six-bottle set. Preserved at low temperatures, it will reveal its evolving depth and refinement over 10 to 15 years of aging. Please kindly note that, for this sake, the manufacturing date shown on the back label (“Manufactured in October 2025”) literally refers to the month and year the sake was shipped. The sake itself is made from rice of the 2022 vintage. Website: https://intertwine-km.jp Instagram: https://www.instagram.com/kenichi_ohashi_mw/ Facebook: https://www.facebook.com/kenny.ohashi Please note that for Wine and Spirits Lots, the Buyer’s Premium rate is 24% of the Hammer Price and the Overhead Premium rate is 1% of the Hammer Price. The Buyer’s Premium and Overhead Premium are subject to any applicable VAT/GST and/or sales or use tax. Please refer to the Conditions of Business for further details. Please note the purchase price does not include applicable shipping, taxes or import charges which may be charged in addition to the purchase price. Please note that delivery of this lot will not be available prior to January 2026. Standard price shipping is available for deliveries within the United Kingdom (excluding Ireland and Scotland). Prices are quoted per case of wine or spirits; please note that a single bottle of wine or spirit will be considered as a full case. Deliveries will be charged as follows: - to an address in London: £35 for the first 10 cases, plus £10 for any additional case, plus VAT and Sotheby’s Transit Care cover; - to a UK address outside of London (excluding Ireland and Scotland): £45 for the first 10 cases, plus £10 for any additional case, plus VAT and Sotheby’s Transit Care cover. Price on application quotes are available for all other UK addresses. Pricing for international shipping available from Sotheby's Wine and Spirits Department on request, please contact: winepostsaleservices.UK@sothebys.com. Sotheby’s cannot arrange or take responsibility for shipments to non-UK buyers, but will be pleased to introduce them to a forwarding agent. Where it is necessary to have a licence to import wines or spirits, procural of the licence shall be the sole responsibility of the buyer. Buyers from outside the UK should note that local sales taxes or use tax may become payable upon import of items following purchase. Buyers should obtain their own advice in this regards. Any duties and taxes payable on import to the country of destination are not included. The cost of any such permit or license required for export or import of the purchased lot is not included. UK purchasers wishing to export directly out of the UK will have to pay VAT on the Buyer’s Premium irrespective of the destination. If you are shipping to another EU member state, 20% VAT has been added to the Buyer’s Premium. Those amounts of VAT may be refunded provided Sotheby’s receive the appropriate export documents within 3 months of the sale.

View 1 of Lot 33:  Kenichi Ohashi MW’s N’end Sake, Japan | 6 Bottles of N’end Sake 2022 Takara Shuzo

kenichi ohashi mw’s n’end sake, japan | 6 bottles of n’end sake 2022 takara shuzo

James Baldwin Typed letter signed (“Jim Baldwin”) to Stewart Wilensky, offering advice on his Harlem movie project. Four pages (266 x 206 mm). On typewriter paper, written from Case postale, 20, Ile Rousse, Corsica, on 8 February 1957, signed, with air mail envelope with postmarks and manuscript notes in two different hands; foldmarks, envelope a little soiled. “There are so many Harlems.” An exceptional letter written from Corsica, where Baldwin had retreated in the mid-1950s to work on Another Country, reflecting his lifelong engagement with Harlem and his deep sensitivity to the social and moral fabric of Black life in America. Responding to documentary filmmaker Stewart Wilensky’s proposal for a movie about Harlem, Baldwin expresses enthusiasm and characteristic modesty—“I’d like to do anything I can to help, but I’m rather in the dark as to what I could do”—before offering perceptive commentary that reveals both his personal connections to Harlem and his incisive understanding of its complexities. Baldwin recalls that he himself had long hoped to make a film about Harlem, “mostly of the churches,” and offers practical assistance through his large extended family there (“mother, three brothers, five sisters, thousands of nieces and nephews”). He suggests that Wilensky contact Langston Hughes, “who certainly does” know Harlem, and provides a telephone number for his relatives, noting that his brothers Wilmer or David might be “especially authoritative.” The letter develops into a meditation on Harlem’s social strata—the “people on the very lowest economic level,” “those pulling themselves up,” the “people in housing projects,” Puerto Ricans, West Indians, and the “battle between generations,” which “can probably only be conveyed in a novel.” His words anticipate the sociological and psychological depth that would characterize The Fire Next Time: “My friends, for example, tended to become religious or jump off bridges or go to Bellevue; my brother’s friends take dope.” Baldwin concludes by mentioning his own plans to make a Harlem film that summer, dependent on finishing his novel for his publisher, and recommends that Wilensky seek technical advice from Richard Bagley, director of The Quiet One (1948). Baldwin returned to the US in July that year to witness and report on the Civil Rights Movement. Wilensky himself went on to become an accomplished documentary filmmaker, known for works such as Greenwich Village Sunday and Around My Way, both capturing New York life with the same sensitivity Baldwin evokes here. An intimate letter, blending the practical and the philosophical, capturing Baldwin’s voice at a pivotal moment. PROVENANCE Stewart Wilensky, thence by descent

View 1 of Lot 1051: Baldwin, James | Thoughtful letter to filmmaker Stewart Wilensky, offering advice on a Harlem movie project and reflecting on the community

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