Modern & Contemporary Discoveries including Works from the former Claude et Georges Pompidou Collection

Provenant d'une Collection Particulière Européenne

Provenant d'une Collection Particulière Européenne Paul Signac 1863 - 1935 Vue du port signé du monogramme SP et daté 93 (en bas à gauche) aquarelle sur papier 19,6 x 21,1 cm; 7¾ x 8¼ in. Exécuté en 1893. L'authenticité de cette œuvre a été confirmée par Marina Ferretti.

vue du port

Paul Signac 1863 - 1935 Quai Suffren, Saint-Tropez porte le cachet P. Signac (en bas à droite) aquarelle sur papier 11,3 x 18,6 cm; 4½ x 7⅜ in. Exécuté vers 1905. L'authenticité de cette œuvre a été confirmée par Marina Ferretti.

View 1 of Lot 162: Quai Suffren, Saint-Tropez

quai suffren, saint-tropez

Paul Chan n. 1973 The body of Oh Doctor Ebing (truetype font - version 2) dessin à l’encre sur papier, chaussures, mousse polyuréthane expansée 241 x 149 cm; 94⅞ x 58⅝ in. Exécuté en 2008.

View 1 of Lot 196: The body of Oh Doctor Ebing (truetype font - version 2)

the body of oh doctor ebing (truetype font - version 2)

Provenant de l’ancienne Collection Claude et Georges Pompidou

Provenant de l’ancienne Collection Claude et Georges Pompidou Paul Signac 1863 - 1935 Marseille signé P. Signac et inscrit Marseille (en bas à gauche) aquarelle et crayon sur papier 21,1 x 26,4 cm; 8¼ x 10⅜ in. L'authenticité de cette œuvre a été confirmée par Marina Ferretti.

marseille

Paul Jenkins 1923 - 2012 Phenomena, Batten down the Hatches signé (à gauche); signé, titré, daté 1980 et localisé St. Croix (sur le châssis) acrylique sur toile 51 x 76 cm ; 20 ⅛ x 29 ⅞ in. Exécuté en 1980.

View 1 of Lot 11:  Phenomena, Batten down the Hatches

phenomena, batten down the hatches

<p>School photographs of <a href="https://www.sothebys.com/en/search?query=John%20Lennon&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">John Lennon</a>, <a href="https://www.sothebys.com/en/search?query=Paul%20McCartney&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Paul McCartney</a> and <a href="https://www.sothebys.com/en/search?query=George%20Harrison&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">George Harrison</a>.</p><ul><li>Sold as a set of 2.</li><li>Includes a black and white panoramic photograph of the pupils of the Lower School of Liverpool Institute High School in 1956, featuring Paul McCartney and George Harrison: Paul McCartney is stood on the top row on the left side and George Harrison is on the next row down on the right side.</li><li>The photograph also features Paul McCartney’s brother Mike, part time member of The Quarrymen Ivan Vaughan and The Beatles road manager Neil Aspinall.</li><li>Also included is a black and white panoramic school photograph of Quarry Bank High School, Liverpool in May 1955 featuring John Lennon: John is in the third from top row towards the center.</li><li>The photograph also features John’s friend Pete Shotton.</li><li>Each is presented unframed.</li></ul>

John Lennon, Paul McCartney, And George Harrison School Photographs

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

Paul Valéry Essai sur Stendhal. Paris: Jacques Schiffrin, Editions de la Pleiade, 1927. LIMITED EDITION, INSCRIBED BY THE AUTHOR, 4to (241 x 173 mm), inscribed ("Exemplaire de | Madame Georges Blumenthal | Stendhal... rend ton lecteur fier de l'être. | Paul Valéry"), title page in blue and black, brown morocco binding by Pierre Legrain, blue and black morocco oblong inlays, gilt and silver lettering and detailing, blue suede doublures, deckled edges, marbled free endpapers, housed in marbled slipcase Of a total edition of 341, the present copy is number VI of 30 subscriber-only copies printed on velin à la cuve and bound "sous couverture spéciale". PROVENANCE: Dr. [Isidore?] Simon, of Marseille: booklabel ("Bibliothèque Bastide de la Pomme") pasted upside-down to rear endpaper

View 1 of Lot 23: Binding—Paul Valéry | Essai sur Stendhal, Paris, 1927, designer binding by Pierre Legrain

binding—paul valéry | essai sur stendhal, paris, 1927, designer binding by pierre legrain

Fine Books and Manuscripts, Including Americana. Part 2

(Santander, Francisco de Paula) El general Simon Bolivar en la campaña de la Nueva Granada de 1819. Relacion escrita por un Granadino, que que en calidad de aventure, y unido al Estado Mayor del exercito libertador, tubo el honor de presenciarla hasta su conclucion. Santafé [de Bogotá]: Imprenta del C.B.E. por el C. Nicomedes Lora, 1820 4to (224 x 162 mm). Uncut. Self-wrappers. Fine copy; very rare. Ostensibly anonymous, the combined first letters of paragraphs 2-18 of this account of Bolívar’s daring attack on New Granada read: "Santander su autor." In his copy, Chassériau noted these letters in the margins. Santander intended this work "to convince the Neo-Grenadines not to confuse independence with freedom: they had to remain united around the Libertador to continue the fight" (Georges Lomné). REFERENCES Sabin 56276

View 1 of Lot 342: (Santander, Francisco de Paula) | With an acrostic identification of the author

(santander, francisco de paula) | with an acrostic identification of the author

Books, Manuscripts & Music, from Medieval to Modern

The Pelican Hours, Book of Hours (Use of Paris)

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

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

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

Fine Books and Manuscripts, Including Americana. Part 1

Musaeus Grammaticus Musaei Opusculum de Herone et Leandro, quod et in latinam linguam ad uerbum tralatum est. (Venice: Aldo Manuzio, [before November 1495 (Greek text); 1497–1498 (Latin text)]) Super-chancery 4to (183 x 129 mm). Greek and roman types, 20 lines plus headline. Collation: αb10.12: 22 leaves (the Greek text of ca. 1495 interleaved with the Latin text of ca. 1497–1498), watermarks in the Greek text (bulls head with surmount of snake and cross; a balance with “teardrop” pans and six-pointed star) and a watermark in the Latin text (balance with “teardrop” pans and four-pointed star). Two woodcut illustrations on b6v-7r, and woodcut interlace headpiece and initials opening text on b2v and α2r; leaves α4-6 and b4-7 misbound, the title page soiled and lightly toned, reinforced along the gutter, its upper corner creased with a short tear, transparent ink stains on the verso of the title bleeding through the leaf and offsetting to the opposite page but not effacing text, occasional pale spotting or staining mostly in the margins, but affecting the two woodcut illustrations, the final leaf reinforced with along the gutter, the stub just touching the first letter of 6 lines of text, manuscript corrections, underlines, and annotations, some contemporary, others later. Nineteenth-century English dark blue morocco, gilt decorated spine with five raised bands and red leather label, the boards with a broad ornately gilt border, board edges and turn-ins gilt, all edges gilt; wear to extremities, mostly along the joints and at the corners, the joints starting at head. The first Aldine imprint with illustrations and, in the instance of the Greek text, just the second book printed by Aldus Manutius, preceded only by Lascaris's Erotemata (and possibly by the Galeomyomachia of Prodromus). The first edition of the Latin text, and the second edition of the Greek text (ISTC dates the only possible earlier edition, printed in Florence by Laurentius Francisci de Alopa, to “about 1494-96”). “The Greek and Latin texts were printed on separate quires which were then folded so that the texts appear in parallel. The Greek portion is shown by Aldus' prefatory letter to have been printed before the first volume of Aristotle, dated 1 Nov. 1495. The Latin is printed in two post-1495 types, one of which has a paragraph mark not traced before 1497” (BMC, based on Proctor, Printing of Greek, pp. 95–96). The fact that there are several surviving copies containing the Greek text on its own indicates that it was available separately at an earlier date. "As promised in the title, this short Greek poem on the star-crossed lovers Hero and Leander includes a word-for-word Latin translation by Aldus in order to foster the study of the Greek language through a more familiar tongue" (Grolier/Aldus). The translation was formerly attributed to Marcus Musurus, two of whose epigrams are printed in the text. However, the printer's copy of Aldus's autograph manuscript, collected first by Johannes Cuno (1463–1513) and then by Beatus Rhenanus (1485–1547), survives in the Bibliothèque Humaniste, Sélestat, and shows that the text is his own translation. Renouard found that the order of the Latin leaves varies in different copies (cf. Renouard’s own copy, PML 264 in the Morgan Library and Museum, with the Latin quire misbound). The Askew-Woodhull-Butler copy, offered here, is also misbound, but not in the same way as the Morgan’s copy. Here, leaves are bound out of order in both the Greek and the Latin texts. The misbinding occurred when the book was rebound, as evidenced by the presence of early annotations in the gutter. The binder, not a proficient classicist, inverted the seven central leaves and bound them in the following order: α1-3, α5,4,6, α7-10; b1-3, b7,6,5,4, b8-12. The misplaced leaves have also been inverted, with their signatures on the left of, and adjacent to, the gutter. The Askew-Woodhull-Butler copy is a later issue of the text, with all the called-for stop-press type corrections: the signature “c” corrected to “biii”; the correction on line 9 of b3r adding the word “ille”; b7r with “hanc” corrected to “haec”. This copy also retains various manuscript corrections to both the Greek and Latin texts: b2r (marked “b”) with “inuidiam” corrected to “inuriam,” omitted lines of text added on b3v, α3r, b6r, and α5v; without the correction called for by Bühler on α1, or the one on α3v (though these corrections may originally have been present—the text may have been carefully washed at some point, and while certain corrections and marginalia are clearly readable, others are quite faded). According to Beuhler, “manuscript corrections appear in enough copies to warrant the assumption that these improvements were made at the printing house, either by Aldus himself or (more probably) by one of his resident assistants.” For further information about the stop-press and manuscript corrections in various copies of the Musaeus, see Curt Bühler, "Aldus Manutius and His First Edition of the Greek Musaeus," in La Bibliofilía 52 (1950), pp. 123-127, or Geri Della Rocca de Candal, “Manus Manutii,” in Printing and Misprinting (Oxford, 2023) pp. 121-164, who examined 26 of the 53 recorded copies of the book, 11 more copies than Bühler. The text is Musaeus Grammaticus’s poem telling the tragic love story of Hero and Leander. Hero, a priestess of Aphrodite, lived in a tower in Sestos on the European side of the Hellespont, now called the Dardanelles Strait. Leander resided on the opposite side of the strait in Abydos. After seeing Hero from afar, he fell in love with her and swam across the waterway to visit her. He secretly returned every night throughout the summer, summoned and guided by a torch in Hero’s tower window. When winter arrived, the sea grew rough. They agreed to wait until spring to continue their love affair. One winter night, Leander saw Hero’s lit torch and attempted to swim across the strait to her but, after the wind blew out the light, he lost his way and drowned in the turbulent waters. The two facing woodcut illustrations depict Leander swimming across the Hellespont, and the climactic moment in the story when Hero, seeing her lover has drowned, leaps from her tower to join him in death. REFERENCES Antoine-Augustin Renouard, Annales de l’Imprimerie des Alde… Troisième Edition, pp. 257-258; Goff M-880; Ahmanson-Murphy, The Aldine Press, Catalogue of… no. 2 (Greek only); Craig Kallendorf and Maria X. Wells, Aldine Press Books in at the Harry Ransom Center, no. 6, p. 56 (Greek only); Barker Aldus Manutius and the Development of Greek Script & Type in the 15th century, pp.52, 119; Curt Bühler, "Aldus Manutius and His First Edition of the Greek Musaeus," in La Bibliofilía 52 (1950), pp. 123-127; reprinted in Early Books and Manuscripts (New York 1973), pp. 162-169; BMC, based on Proctor, Printing of Greek, pp. 95–96; Needham, Paul. “Aldus Manutius's Paper Stocks: The Evidence of Two Uncut Books,” in The Princeton University Library Chronicle, Vol. 55, No. 2 (WINTER 1994), pp. 287-307 PROVENANCE Anthony Askew (his sale, Baker & Leigh, Bibliotheca Askeviana; Sive, Catalogus librorum rarissimorum Antonii Askew, London, 1775, lot 2410, for £3/5; with manuscript annotations referencing the sale on front endpaper) — George Woodhull (his sale, Sotheby, Wilkinson & Hodge, Extensive & valuable library collected at the end of the last and beginning of the present century by Michael Wodhull, London, 1886, lot 1778, “with the omitted line on a ii and b iii supplied m MS. said to be in the autograph of Aldus, blue morocco, broad borders of gold, gilt edges”; manuscript annotation on front endpaper) — Charles Butler of Warren Wood, Hatfield (bookplate; his sale, Sotheby’s London, April 1911)

View 1 of Lot 210: Musaeus Grammaticus | The first Aldine with illustrations, and the second book printed by the press

musaeus grammaticus | the first aldine with illustrations, and the second book printed by the press

Pablo Picasso. The Seeger-Cone Picasso reference library, a comprehensive collection of specialist catalogue raisonné, catalogues, monographs, biographies, periodicals and other works, in total c.1000 volumes, including: Georges Bloch, Pablo Picasso: Catalogue de l'oeuvre grave et lithographie 1904–1967. Berne, 1968–1971–1972–1979, first editions, 4 volumes, 4to, cloth, dust-jackets (4) (plus duplicates) Wilhelm Boeck, Pablo Picasso: Linogravures. Paris: Editions Cercle, 1962, first edition in English, oblong folio, cloth, pictorial slipcase Cahiers d'Art 19e annee, 1940–1944. Paris, 1944, WITH ORIGINAL LITHOGRAPH BY PICASSO, later blue cloth with original wrappers bound in 20e et 21 annees, 1946 Christoph Czwiklitzer, Picasso. Plakate. Basel, 1970, number 425 of 1000 copies, cloth, dust-jacket (plus later editions) Pierre Daix, Picasso the Cubist Years 1907–1916. London: Thames and Hudson, 1979, first edition in English, 4to, cloth, dust-jacket (plus later editions) Paul Eluard, Picasso. Dessins. Paris, 1952, 4to, illustrations reproduced in facsimile, original wrappers Justino Fernández, Orozco en Color. Mexico, 1949, large folio, number 55 of 500 copies, loose as issued, colour plates, yellow cloth boards, printed pink label on upper cover, slightly soiled Bernhard Geiser, (volumes 1–2) [and Brigitte Baer (volumes 3–7)] Picasso peintre-graveur. Berne, 1955–1968–1986–1988–1989–1994–1996, first editions, 8 volumes (including Addendum aux tomes I a VII), 4to, volumes 1 & 2 in original wrappers, volumes 3–7 and Addendum in cloth and dust-jackets and slipcases (8) Marilyn McCully. Picasso: A Private Collection [the Stanley Seeger Collection]. London: Cacklegoose Press, 1993. (14 copies) Helene Parmelin, Picasso les dames de mougins. Paris: Editions Cercle d'Art, 1964, 4to, plates, some mounted in colour, out of series copy, cloth, dust-jacket Partisan Review. Vol. 4, Number 1, December 1937, 8vo, with an essay by Picasso "Dreams and Lies of Franco", original printed wrappers, slightly worn Galeries Georges Petit, Exposition Picasso: Documentation reunie par Charles Vrancken, 16 Juin–30 Juillet 1932. Paris, [1932], 4to, illustrated catalogue (pressed flower inside with staining two leaves), original red wrappers, modern burgundy cloth box Picasso Ceramics, 2 volumes, 4to, in slipcase, c. 1999 Collection Museo Picasso Malaga [and] Picasso Twentieth Century, 1901-1972. Malaga, 2003. 2 vols, original box Picasso Project Paintings, watercolours, drawings and sculpture. San Francisco: Alan Wofsy Fine Arts, 1995–2000, 7 volumes, cloth, dust-jackets Picasso 347. New York: Random House/Macenas Press, 1970, First edition, 2 volumes, oblong folio, original cream buckram-backed black cloth boards, housed in original box titled in gilt "Picasso 347" (2 copies) Suzanne et Georges Ramie, Ceramiques de Picasso. Geneva, 1948, folio, frontispiece portrait of Picasso and 18 mounted plates in colour, original pictorial wrappers (plus duplicate and later editions) Georges Soria. Guerre et Revolution en Espagne 1936-1939. 1975 Luis Carlos Rodrigo, Picasso Posters, 1992, volumes 2–4 only (lacking vol. 1) volumes, 4to, cloth, dust-jackets (3) XXe Siecle. No. XVII–61 (No. 17, 1961), with an original colour lithograph by Poliakoff, 4to, original pictorial wrappers No. XXX - 68 (No. 30, 1968) Verve, Vol. V, Nos. 19 et 20, 1948, Picasso issue, with dust-jacket (plus duplicate copy), Vol. VII, Nos. 25 et 26, 1951 George Waldemar, Picasso dessins. Paris: Quatre Chemins, 1926, 4to, out of series copy, original wrappers (plus a second copy in a modern blue cloth box) Christian Zervos, Dessins de Picasso 1892–1948. Paris, 1949, 4to, cloth, dust-jacket (2 copies) Stanley Seeger was a passionate collector of Picasso in the 1980s, but when he finally managed to acquire a piece from Picasso’s Rose Period he considered himself fulfilled and decided to sell the collection. The auction of 88 works by Picasso in our New York rooms, on 4 November 1993, was a landmark sale and established Seeger as a unique force in the collecting world. The art world took notice of the range, quality, and attention to provenance that distinguished Seeger and Cone’s collecting. The auction was a “white glove” sale raising $32m, despite being held during the art market slump of the early 1990s.

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