Master Paintings Part II

Property from a Midwest Private Collection

Property from a Midwest Private Collection Circle of Pieter Brueghel the Younger Drunkard Pushed into a Pig Sty oil on panel panel: 14 ⅛ by 19 ⅛ in.; 35.9 by 48.6 cm. framed: 19 by 23 ⅞ in.; 48.3 by 60.6 cm.

View 1 of Lot 436: Drunkard Pushed into a Pig Sty

drunkard pushed into a pig sty

pushed into the pig sty (`t'varcken moet in t'schot")

Contemporary Art Day Auction

pushed, pulled, depleted & duplicated #2

&#39;That sort of Bear&#39;: E.H. Shepard&#39;s Winnie-the-Pooh  From the Collections of Stanley J Seeger and Christopher Cone

65 by 62mm., ink drawing, signed with initials 'EHS' in lower right corner, mounted, some browning

"he pushed his head right in..."

andy goldsworthy (b. 1956), bamboo, each end pushed into another to make lines calm,...

Making Our Nation: Constitutions and Related Documents. Sold to Benefit the Dorothy Tapper Goldman Foundation. Part 1

Mississippi The Constitution of the State of Mississippi. As Revised in Convention, on the Twenty-Sixth Day of October, A.D. 1832. Jackson: Printed by Peter Isler, 1832 8vo (187 x 121 mm). Title-page lightly soiled, lower right corners clipped not affecting text, strong browning to last 5 leaves, right margin of pp. 23–24 trimmed close. Disbound. Brick red cloth chemise and slipcase, black morocco spine lettered gilt. First edition of Mississippi's second constitution, following printings of the first in 1817, 1821, and 1822. When Mississippi gained statehood in 1817, only the northern two-thirds of the land was open to white settlement, the rest belonging to the Choctaw and Chickasaw Indians. As the tribes ceded more and more land, and were finally pushed out altogether, a new constitution was deemed necessary. The 1832 constitution abolished the requirement for land ownership in order to hold public office and allowed the popular election of judges and public officials, making Mississippi one of the first states to have an elected judiciary. It forbade the importation of slaves—a prohibition that was largely disregarded. It also gave Indians the rights of American citizens, although they had to move out of state to maintain their tribal nations' sovereignty (see lot 10, The Constitution and Laws of the Choctaw Nation). REFERENCE Streeter sale 3:1561

View 1 of Lot 32: Mississippi | One of the first states to have an elected judiciary

mississippi | one of the first states to have an elected judiciary

The John Golden Library: Book Illustration in the Age of Scientific Discovery

Cook, James, Captain, et al. A complete set of Captain Cook's voyages, cumulatively the most important printed record of Pacific exploration First editions, comprising: [FIRST VOYAGE] — Hawkesworth, John. An Account of the Voyages undertaken by the Order of his Present Majesty for making Discoveries in the Southern Hemisphere, And successively performed by Commodore Byron, Captain Wallis, Captain Carteret, and Captain Cook ... London: W. Strahan and T. Cadell, 1773. 3 volumes, 4to (275 x 225 mm). 51 engraved plates, many of which folding, others double- and single-page; first volume with front free-endpaper, frontispiece map, and title-page cleanly detached, second volume with short closed tear to inner margin of first plate, plate no. 5 with punctures at outer blank margin, closed tear along guard of the "Chart of New Zealand," and mild worming at inner margin, third volume with short closed tear to title-page at inner margin, foxing to the "New South Wales" plate, and closed tear at inner margin of "Chart of Part of the Coast of New South Wales," overall with scattered foxing, a few stray stains, light offsetting and browning. An early issue, without the "Straight of Magellan" plate and the "Directions for Placing the Cuts and Charts," and with one erratum on the description of the plates leaf. [SECOND VOYAGE] — Cook, James, Captain. A Voyage Towards the South Pole, and Round the World. Performed in His Majesty's Ships Resolution and Adventure, In the Years 1772, 1774, and 1775. London: W. Strahan and T. Cadell, 1777. Two 4to volumes (275 x 225 mm) and one folio atlas (490 x 332 mm). Text volumes with frontispiece portrait, title-pages, and a folding table; offsetting from frontispiece, scattered foxing, one or two stray stains. 63 engraved plates in the atlas, some of which folding; repaired tears to "Monuments in Easter Island" and "The Landing at Tanna one of the New Hebrides" plates. [THIRD VOYAGE] — Cook, James, Captain and James King. A Voyage to the Pacific Ocean. Undertaken, by the command of His Majesty, for making Discoveries in the Northern Hemisphere. London: W. and A. Strahan for G. Nicol, 1784. Three 4to volumes (275 x 225 mm) and one folio atlas (540 x 343 mm). Text volumes with title-pages, 24 engraved plates, many of which folding, folding table; front free-endpapers of first and second volumes nearly detached, second volume with marginal stain affecting Nn2-Nn3 and a short closed tear to lower margin of P4, third volume with chip to outer margin of Uu1, mild offsetting and scattered foxing throughout. 63 engraved plates in the atlas, one of which folding; closed tear where folds meet on the "General Chart" plate, repaired tear in the lower blank margins of "Canoes of Oonalashka" and "A Woman of Oonalashka" plates, small internal tear affecting the "Caps of the Natives of Oonalashka" plate, tiny marginal closed tear to the lower blank margin of "The Inside of a House in Nootka Sound" plate. Together, 10 volumes. 8 text volumes uniformly bound in contemporary calf, spines with raised bands in 6 compartments, red and green morocco lettering pieces; rebacked with original spines preserved, hinges of two volumes cracked but holding, rubbed at extremities. Two atlas volumes uniformly bound in twentieth-century half calf over marbled boards. The Frank S. Streeter first edition set of Captain Cook's voyages, with atlases to the second and third voyages. "The famous accounts of Captain Cook's three voyages form the basis for any collection of Pacific books. In three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than all his predecessors had done together. He was really the first scientific navigator and his voyages made great contributions to many fields of knowledge" (Hill). Cook's first voyage included visits to Tahiti and New Zealand, and the tracing of the east coast of Australia was one of the most perilous feats of navigation in the whole recorded history of exploration. The second voyage pushed further south in search of a southern continent than any previous navigators, and in doing so visited numerous Pacific islands. The third voyage returned to islands previously visited, discovered Hawaii, and explored the northwest coast of America from Alaska to Oregon. The text of these official reports form an invaluable record of the voyages, but they are enhanced enormously by the plates, maps, charts and views which include the work of one of the greatest cartographers of his day, as well as images from the three most important artists to visit the Pacific during the eighteenth century. In European Vision and the South Pacific, Bernard Smith writes, "No voyage undertaken in the days before photography ever returned so well documented with pictorial illustrations. … From the cold south in Kerguelen's Land to the cold north in Nootka Sound, John Webber [the official artist of the third voyage] drew plants, animals, peoples and landscapes with all their geographical variety—shamans, fetishes, human sacrifices, native masks, Chinese sampans, winter huts in Siberia, temples in Macao, New Zealand cannibals, South African Hottentots, Cook Islanders, Society Islanders, Hawaiians." A magnificent set of the official accounts of the voyages undertaken by the most celebrated navigator in Pacific history. REFERENCE: Beddie 648, 1216, 1543; Hill 782, 358, 361; Sabin 30934, 16245, 16250 PROVENANCE: John Wodehouse, 1st Earl of Kimberly (1838 inscription, armorial bookplates to pastedowns — Frank S. Streeter (his sale, Christie's New York, 16 April 2007, lot 120)

View 1 of Lot 13: Cook, James, Captain, et al. | The Frank S. Streeter set of the voyages that "form the basis for any collection of Pacific books"

cook, james, captain, et al. | the frank s. streeter set of the voyages that "form the basis for any collection of pacific books"

Ancient Sculpture and Works of Art

Property from a Swiss Private Collection A BRONZE FIGURE OF ARES OR A HEROIC WARRIOR, LATE HELLENISTIC, CIRCA 1ST CENTURY B.C. standing with the weight on his right leg, the right arm lowered and left arm bent at the elbow, both hands (the right one restored) once holding implements, the nipples inlaid in copper, his head turned to his left, with full beard and silvered eyes with recessed pupils, his curly hair surmounted by a Corinthian helmet pushed back and with straps upturned, the separately-made crest now missing. Height 23.8 cm.

a bronze figure of ares or a heroic warrior, late hellenistic, circa 1st century b.c.

BC/AD Sculpture Ancient to Modern

A ROMAN MARBLE CUIRASSED BUST OF MARS, CIRCA LATE 4TH CENTURY A.D.

A ROMAN MARBLE CUIRASSED BUST OF MARS, CIRCA LATE 4TH CENTURY A.D. his head turned slightly to his right, with short beard, eyes with incised irises and drilled crescentic pupils, and wavy hair surmounted by a Corinthian helmet pushed back high above the forehead, and wearing a cuirass decorated with a small gorgoneion, a chlamys fastened with a brooch on his left shoulder, mounted on a later variegated socle; restored are the tip of nose, lower edges of cheek-pieces, and small patch of drapery; the back apparently hollowed out in modern times. Total height 68 cm.; height without socle 55 cm.; height of face 16 cm. To view the Shipping Calculator, please click here

a roman marble cuirassed bust of mars, circa late 4th century a.d.

Rock & Roll

The Rolling Stones A typescript management contract, signed and executed by the band and Andrew Loog Oldham, [ca. 1964] Becoming the Stones Two leaves (328 x 203 mm) typed on rectos, signed on the second page by Bill Wyman, Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Andrew Loog Oldham; remnants of previous mount adhered to verso at corners, three old horizontal folds, slight split along one fold of one leaf at outer margin, creasing at margins and corners, several holes to upper left corner of each leaf, a few tiny marginal nicks and closed tears, stray spots, lightly browned, more so at margins. The transformative contract between the Stones and their most influential manager and producer The contract begins: 1. I hereby engage you individually and jointly as 'The Rolling Stones' to render such services as I may require in the production of phonograph records, and you hereby accept such engagement and agree to render such services for us for a period ... terminating August 31st, 1970. 2. A minimum of 40 (forty) 78 r.p.m. record sides or their equivalent shall be recording during the term hereof; additional recordings shall be performed by you and recorded by us at our election. ... It further stipulates, along with standard licensing agreements, the breakdown of royalties, which help to date the present contract: 5. We shall pay you for services to be rendered hereunder and for the rights granted herein, a royalty of seven per cent (7%) on sales up to February 28th, 1965 and twelve per cent (12%) on sales after February 28th, 1965 of the wholesale sellers price (exclusive of all taxes) of ninety per cent (90%) of all records sold and paid for in the United Kingdom containing on both sides thereof a composition or compositions performed by you and recorded hereunder ... Andrew Loog Oldham was essential to The Rolling Stones' success. After being tipped off to the band, Loog Oldham went to see the Stones performing as the house band in a Richmond club and immediately saw their potential for pop stardom. He returned to London certain that he had seen the next British sensation and offered to partner signing them with his then employer, Beatles’ manager Brian Epstein . His boss passed on the chance to work with the scruffy band, and so the then Rollin’ Stones signed their first management contract with Loog Oldham in May 1963. Oldham was only nineteen years old, so he partnered with Eric Easton, as he wasn't legally allowed to sign contracts or obtain an agent's license on his own. The arrangement of joint management with Easton came to an end in 1964 over the split of royalties due the band for original songs and his underhanded manipulation of licensing and publishing. Loog Oldham then took the reins of marketing the band alone and in earnest, with an unorthodox and transgressive style that became a template for rock managers thereafter from Led Zep’s Peter Grant to the Sex Pistols’ Malcolm McClaren. It was Loog Oldham who initially pushed them to pursue writing their own songs, rather than sticking with their R&B covers. And although he originally thought to model the band off The Beatles—with whom he had worked before—he instead decided to situate them in opposition to the Fab Four, encouraging a dishelved and heterogenous appearance: to create a group of dangerous-seeming "undesirables," against the The Beatles' safer charms. He orchestrated such press as “Would you let your daughter marry a Rolling Stone?” and when one of the band was nicked for urinating against a gas station wall, even that became a press moment. He carefully curated the band’s image, first by relegating the piano player Iain Stewart to an offstage role (not photogenic enough) and then by pushing Jagger rather than founder Brian Jones to be the front man and face of the group. Loog Oldham also produced most of the classic Brian Jones era Stones albums, including all their iconic mid-60s hits, from "Satisfaction," "Paint it Black," "Get off my Cloud," "19th Nervous Breakdown," etc. From setting the band’s image (album covers photographed by Derek Bailey and longer hair), and courting controversy to insure press coverage to sitting behind the mixing board, Loog Oldham steered the Stones to stardom. It was one of the most enviable and legendary production and management runs in rock. Though he only managed the band until 1967, when they parted ways amidst strained relations, few others exerted such an impact on the band. Without Andrew Loog Oldham's influence and vision, it is arguable if they Stone’s would have made it out of the Crawdaddy Club. PROVENANCE Christie's London, 20 June 2014, lot 105 “…They only wanted exploiting. They were all bad boys when I found them. I just brought out the worst in them.” (ALO. Stoned. St. Martin’s Press, 2001. Pg. 257) “It had never crossed my mind to be a songwriter until Andrew came to me and Mick…” Keith Richards in The Rolling Stones in Their Own Words.

View 1 of Lot 55: The Rolling Stones | A management contract signed by the Stones and Andrew Loog Oldham

the rolling stones | a management contract signed by the stones and andrew loog oldham

Fine Books and Manuscripts, Including Americana. Part 2

Wallace, David Foster An intimate group of letters from the early stages of the author’s career, with a presentation copy of his first book Twenty-six letters, from David Foster Wallace, to Corey Washington, various places, 30 June 1983 – 15 September 1996. Twenty-one typed letters, four autograph letters, many with the author’s emendations and postscripts in pencil or ink, some with doodles, all variously signed “Dave W,” “Dave Wallace,” “David Wallace,” and “Dave,” with their original envelopes; original folds, occasional stray spots. [With:] The Broom of the System. New York: Viking Penguin, 1987. 8vo (165 x 100 mm). Inscribed on the half-title; p. 131/132 dogeared, toned throughout as usual, bookmark loosely inserted. Publisher’s pictorial wraps; corners just barely bumped, minor scratches to fore-edge. “… but my head is still pretty normal sized, … mostly since there’s a good chance that only me and Mom (and, of course, you, or I will kick your ass but good) will buy the book and the house will take a huge loss and my name will be economic and literary mud—even shit …” A highly intimate collection of correspondence with one of Wallace’s closest friends. Sent during his college years, throughout his time in his MFA, and up through the publication of his seminal novel, Infinite Jest, these letters capture the earliest stages of Wallace’s career, and document the struggles that would also define his life. Wallace met Corey Washington, a preternaturally talented fifteen-year-old freshman, during his sophomore year at Amherst College. Wallace had long given nicknames to his friends, and he lovingly referred to Washington as “Core,” as well as several other epithets seen throughout these letters—such as “Reactor Core Cooling Water Containment Chamber,” “Coolant Water Temperature and Pressure Gauge,” “Radiation Detector Gauge,” “Reactor,” and more. Washington fell in with the burgeoning author’s group of friends, including Nat Larson, Miller Maley, and Wallace’s roommate and closest friend, Mark Costello. In D.T. Max’s biography, he draws on the young freshman’s memory to paint the scene of this friend group: “In their undertrafficked corner of the dining hall, the conversation among the group bounced between social and sexual frustration, intellectual enthusiasm, and nerdy inquiry. Washington remembers the roving subjects as ‘Wittgenstein, the New Deal, Cantor, current politics, mathematical logic, Descartes, hot girls, Kant, etc.’” (27). Indeed, almost exactly that range of subjects, save the New Deal, is reflected here in this collection of correspondence. The earliest two letters from Wallace, dated “Day before July 1, 1983” and 15 July, were sent to Washington at Stanford, where he was conducting research at the SLAC National Accelerator Laboratory over summer break. In them, one can see not only the tenor of these friendships and Wallace’s sense of humor, but also the issues that made up Wallace’s thinking throughout his life. The letters move swiftly between discussions of calculus, Cantor, and formal logic: “Now, I have a bit of bad news. … I decided not to take that Calculus course after all. … It is just too much when the smell of flowers is in the air and the birds are singing and the pop of frosty Old Mil cans can be heard from the classroom window. I rose one day and said ‘No.’ … I’ve doubled the hours for my logic course[.] … We have done set theory, with Cantor and the diagonal proof and uncountable infinities and the continuum hypothesis and all that. I find it deeply, viscerally interesting”; “I don’t like math that much, I like metamath a lot. It seems sort of cheaty to learn proofs of concepts in calculus when I don’t even have a good grasp of the concepts—something like throwing a girl’s skirt over her head and kissing her on the bare stomach before you’ve even introduced yourself or taken her for a malted or anything. Still, I think it’s cool: right now we’re using Krafty Kurt’s Compactness Theorem to construct a proof of the assertion that there exists a natural number greater than all other natural numbers…”). Interwoven with these mathematical and logical interests are discussions of girls and crushes: “I suppose you know that [he] had a monster-sized crush on her for about the whole of last year—you should drop him a line and lie and stuff and say how you’re doing all this wild, corn-oil-type stuff with [her]—he would go absolutely nuts, I’m sure”; “I am shocked by your revelation that you in any way thought of and desired [her] in a carnal fashion—my impression had always been that you admired her running stride and her mind in that order and exhaustively.” Wallace also mentions two of his constant fixations, tennis and drugs: “I have been playing a lot of tennis and have to go out of town for a tournament next week. I also have been abusing drugs. … I was clean for over a year and now I’m right back in the murky, sweet-smelling depths of sin that I occupied two years ago”; “I am going to stop smoking pot all the time VERY SOON, in the next week or so at the latest. Enough is enough.” And he touches down on literature, albeit only briefly: “Besides all that, I am reading a lot of fairly fun stuff on my own, stuff assigned by me or by Mark”; “[I] was gratified to learn that my letter had found you, courtesy of W.A.S.T.E. and the indomitable Trystero community of letter-deliverers (Pynchon has the story on all this in “The Crying of Lot 49” which I recommend highly to you as a cool and short thing for a cool and short guy to read”). Two more letters continue in this fashion, with a letter from 20 August 1983 that signs off “Have a good time. I’ll see you in a couple weeks,” before the correspondence first illustrates the depression that also defined Wallace’s life. The writer had his first major depressive episode in the spring of 1982, forcing him to return home partway through his freshman year (during which he first began to write fiction seriously). Not long after that letter to “Core,” he fell into his next bout of mental illness: anxiety attacks became regular, and he sought out psychiatric medicine to help him. He returned to campus in the fall, but he quickly found himself in the throes of suicidal ideation and, without telling anyone, he withdrew from Amherst a second time. This event is documented in two moving, honest letters here: “Dear Corey, This is just a small letter to apologize for melting off and not saying anything to you. You now see before you, indirectly at least, the real ‘Waller’: an obscurely defective commodity that has also been somewhat damaged in transit. I hope to get back to school before Spring, provided I am let out by then. I may have a slight lobotomy, but I’m told that it can only make me more agreeable, and will eliminate all but the four basic human needs, about which we can talk some other time. Yours Truly, —Dave Wallace” “Dear Corey, Having returned from a rough day of feeding the pigeons in the park not five minutes ago and having immediately torn open your kind letter and read it, I am now at Mom’s with a typewriter … I am very sorry if the fact that I didn’t call you back and am not drowning you in letters gives the impression that I stopped giving a damn or was mad or something. I am ambivalent about communicating with my friends at school for a few reasons, none of which are earthshaking or even stand up under rigorous examination. One is the content of whatever I say. I can be reasonably glib and act like everything’s OK, in which case you will quite justifiably wonder just why the hell I had to go home and get my head shrunk if everything seemed so marvey. The Other alternative is to be very dire and down and deranged and depressed, legitimizing my present location somewhat, but certainly not giving much pleasure to the reader, and who needs that? … I have since junior high suffered from a number of unpleasant neuroses, some of which Mark C. knows about and can fill you in on, but for the last few years I have been increasingly bothered by a tendency toward depressive episodes that had been getting progressively more frequent and more severe. … This summer I began going to this doctor all in secret from my parents and stuff and began taking this anti-depressant medication called Tofranil. That fucked me up a lot, especially as the summer wore on: I couldn’t read very well, and I was trying to do stuff like read Uncle Ludwig’s Investigations … it was awful. The medication (dope, really) actually seemed in my case to make the depression worse, and I finally fell into a pit about the last week in August that was worse than anything I have ever experienced, and it got worse and worse, even as I left all happy-seeming (an insane desire to hide the festering pus-swollen cancre [sic] at the center of my brain was an enduring and is a recalcitrant symptom) for Amherst. … One hideous symptom of severe depression is that it is impossible to do anything and to do nothing; as a devotee of Jumping Joe’s Celebrated Excluded Middle I am sure you can see that this is an Intolerable Situation. I came very close to doing something stupid and irrevocable at Amherst, but finally opted, sensibly or wimpishly, depending on whether your point of view is that of my parents or that of Charlie M., to try to get better so that I could exist. … … I will ask formally that you not leave Amherst before getting your degree (i.e., that you stick around next year); it looks like I will be there the whole year, will need my friends very much, and promise to juggle or make fart jokes to keep you amused if things get dire or anything. So long for now, and thank you for your letters. Yours Truly, Dave W.” Beyond this frank self-portrait, this second letter additionally illuminates one of the central tensions that Wallace felt, both in life and in his writing, around his condition. He names it plainly, if unintentionally: if he is to write about this range of experience honestly, “to be very dire and down and deranged and depressed,” would “certainly not giv[e] much pleasure to the reader, and who needs that?” While Wallace’s formal inventiveness, interest in metafiction, and fondness for difficult and experimental literature, were undoubtedly aesthetically motivated and principled, his aversion to realist fiction also served to mask his discomfort with the realities of emotional life. Wallace would soon be thrust into facing this tendency, unsuccessfully at first, during his MFA at the University of Arizona, where his teachers emphasized the tenets of realist fiction, against which the young author rebelled. Published while he was still a graduate student, his first novel, The Broom of the System—a philosophically tortured yet hysterical postmodern game of a novel, steeped in the work of Thomas Pynchon—was something he would, much later in his career, rebuke on the grounds that it prized intellectual spectacle over the details of lived life. That this letter ends with a descent into clowning and fart joked, “if things get dire” is revealing. The sale of that first novel that launched his career, also included with this collection of correspondence, is documented in these letters. On 30 December, Wallace writes, “The only major news is that, regarding the [E]nglish thesis, I have obtained a literary agent, and through her, the book was auctioned and just recently sold to Viking press for rather a lot of money.” He then, in a typically boastful way while transparently attempting to mask that pride with self-minimizing, he encourages Washington to tell the Amherst faculty, “for the simple reason that the agent thinks this could be rather popular with people between 18 and 35, and the more people who know about it ahead of time the more chance of it selling well enough for me to sell my next project, too.” While Wallace had mostly moved away from the writing of Broom by the time of his MFA, he was writing another kind of experimental fiction, minimalist and disinterested in conventions of character-driven narratives. He found himself struggling against his professors, who pushed him towards straightforward representations of “American life.” Though he was writing, he was also struggling. In the 6 November letter, Wallace writes to Corey, “Things are bad to fair here. … I mostly sit around smoking pot, cigarettes, worrying about not working, worrying about the tension between worry and the absence of any action fueled by that worry.” This, too, would remain a defining feature of Wallace’s experience with writing: writing was the only thing that made the author feel alive, yet he spent most of his time worrying about writing, or more often worrying about not writing, or worrying about that worry. The depression that consumed his life, and ultimately took it from him, prevented him from the one thing that made him feel vitally alive, and toward him toward avoidance and addiction—to television, alcohol, drugs, and sex. Altogether, these letters paint a highly intimate portrait of the author, showing him in all aspects, not merely those he felt unselfconscious about expressing to the public. Here, one can not only see the power of the writer’s young mind and the mental struggles that would define his 46 years, but also, implicitly, the seeds that would shape his later fiction—novels so invested in emphatically reasserting the primacy of empathy and sincerity against postmodern irony. A remarkable collection of letters from a titan of contemporary literature. “About this ‘Voice of a New Generation’ thing. This ‘Dave’s-too-cool-to-deal-with-old-friends’ thing. The thing to realize is that literary fiction as a world is much like philosophy. It has its rising stars and falling titans and cliques and jealousies. It’s also largely ignored by those not in it. Now, not quite as much as [philosophy], because fiction lies on some continuum between academia and popular entertainment. Ellis and McInerney and Janowitz, Updike and Bellow et al are ‘stars’ in a way that Sellars and Davidson and Dretske and Rorty are not. … [T]he thing to realize is that having some success and attention as a fiction writer means a degree of ‘celebrity’ roughly equivalent to that of, say, a small-market local TV weatherman. What William Hurt in The Big Chill calls ‘a small, deeply disturbed following.’ … My friends and my work are the great treasures in my life, though neither are exactly pain- and grief-free. … I will always be your friend, Corey …” REFERENCES: D.T. Max, Every Love Story is a Ghost Story, New York: Penguin

View 1 of Lot 1053: Wallace, David Foster | A highly intimate collection of correspondence with one of Wallace’s closest friends

wallace, david foster | a highly intimate collection of correspondence with one of wallace’s closest friends

Property of a New York Collector (South Sea Bubble) A pair of documents relating to the purchase of stock in the South Sea Company, formed in 1711 to conduct trade in South America under a treaty with Spain Manuscript document, one page (246 x 208 mm), [London], 4 March 1712, signed by Francis North and his wife Alice, Baron and Baroness of Guilford, with their wax seals. "Wee the Right Honble Francis Lord Guilford and Lady Alice Baroness of Guilford … Doe hereby Authorise and Impower James Taylor … to Sell Assigne and Transferr One hundred pounds in the Capital and principal Stock of the Governor and Company of Merchants … trading to the South Seas … Witnesse our hands and seals the Ffourth day of March One thousand Seven hundred and twelve, …" countersigned by two witnesses, later docket on verso. Manuscript document, one page (227 x 185 mm), London, 16 January 1720/21, signed by Elizabeth, Countess of Thanet. "ray Let my Subscription of one thousand pounds on the fourth Subscription be placed to my acct. in Stock according to ye Resolution of the Generall Court of the South Sea Compa. London the 16 Janury 1720 [/21]." Together, 2 documents; some very light toning. The South Sea Company was an English joint-stock company established by Robert Harley in 1711 to exercise exclusive British trading privileges with South America and the Pacific islands. Francis Lord Guilford, co-signer of the first document, served successively as Privy Councilor and President of the Board of Trade and was a major player in the formulation of economic policy at the time. Speculative mania pushed the price of the stock to great heights before it collapsed in 1720, ruining many investors. The timing of the stock purchase by the Countess of Thanet recorded in the second document was particularly unfortunate, occuring just before the bubble burst.

View 1 of Lot 1233: (South Sea Bubble) | The world's first financial crash

(south sea bubble) | the world's first financial crash

Property from the Collection of Axel Vervoordt

Property from the Collection of Axel Vervoordt A Roman Marble Head of Athena circa 2nd Century A.D. with centrally parted wavy hair gathered in a long plait at the nape of neck, and wearing a helmet of Corinthian type pushed back over the forehead, the top of the helmet decorated with a ram’s head in relief; no restorations. Height 23 cm.

View 1 of Lot 136: A Roman Marble Head of Athena, circa 2nd Century A.D.

a roman marble head of athena, circa 2nd century a.d.

Important Watches

Cartier, London Montre bracelet Curviligne dans Anneaux Ovale An extremely rare and unusual yellow gold oval wristwatch within a larger oval frame with teardrop t-bar lugs and original gold deployant buckle with the clasp of matching design, Circa 1971-72 Dial: silvered dial with incised Cartier signature, blued steel épée hands Calibre: 6½’’’ oval calibre 845 movement signed LeCoultre Co., grained decoration, lever escapement, 17 jewels, annular balance, unadjusted, flat hairspring, Incabloc shock absorber Movement number: maniplate numbered 2'079'125 Case: 18k yellow gold oval case set within outer gold ring with teardrop lugs with pink gold t-bars, case back secured by four screws to case sides, beaded cabochon sapphire-set crown Case number: inside case back with London hallmarks for 18k gold, date letter ‘q’ for 1971-72, [JC] Jean-Jacques Cartier punch mark and numbered 9'916 Closure: black unsigned leather strap and 18k yellow and pink gold deployant buckle, the clasp of double semi oval form, London hallmarks for 18k gold, date letter ‘q’ for 1971-72, [JC] Jean-Jacques Cartier punch mark and numbered 9'916 Size: 46 mm length x 37 mm width Accessories: none At the time of this watch’s production, Cartier London was at the height of its most experimental and creative period, producing some of the brand’s boldest, most unconventional wristwatches. Unlike Cartier Paris, which remained rooted in tradition, Cartier London pursued a distinctly avant-garde approach, reinterpreting heritage models while pushing the boundaries of form, proportion, and openness in design. This watch embodies that same philosophy, featuring a floating horizontal oval dial set within a larger vertical oval frame, creating a dynamic interplay of geometry and balance. The concept of placing one form within another has precedents in earlier Cartier designs, particularly those that combined square or round cases within oval or circular outer frames. In this 1971 Cartier London creation, the relationship between two interlocking ovals is further refined, transforming the watch into an object of fluidity and sculptural elegance. The dial appears to float, its clean, numeral-free surface reinforcing the purity of the design. Unusually, it is subtly incised with the script-form Cartier signature, adding a discreet yet refined detail. The outer oval frame is interrupted only by two teardrop-shaped gold motifs at 12 and 6 o’clock, which, in addition to serving as decorative highlights, have a structural purpose – concealing the lug bars that secure the strap. This formation not only introduces a focal point but also advances Cartier London’s signature design ethos of the era, in which watch cases were crafted to create the illusion of floating seamlessly above their straps. Here, however, that concept is pushed even further – a void is deliberately introduced beneath the case, resulting in a striking suspension effect that isolates the watch entirely from its strap. The composition is defined by two interlocking ovals, with both the central case and the surrounding frame adopting elongated oval forms. This creates a layered sense of depth, reinforcing the floating effect while adding a dynamic interplay of curves. The central oval case also gives the impression that it could rotate within the outer frame, adding a further sense of movement and playfulness to the design. Beyond its structural ingenuity, the watch’s overall composition also evokes an abstracted interpretation of Cartier’s back-to-back double C logo. The interplay between the two oval forms mirrors the fluid, interlocking curves of Cartier’s monogram, subtly incorporating an element of brand heritage into an avant-garde, sculptural form. The teardrop-shaped gold motifs at 12 and 6 o’clock further enhance this visual connection, recalling the way the Cartier emblem’s mirrored Cs interweave to create balance and symmetry. Given Cartier London’s experimental approach during this period, it is entirely possible that this design was conceived as a reinterpretation of the Maison’s signature motif, transforming it into a wearable expression of the brand’s identity through shape and proportion rather than literal branding. This model is also exceptionally rare – to date, our research has not found any other examples, further adding to its allure. While it is uncertain whether this was a special order, the level of innovation, sculptural presence, and the apparent rarity of this example suggest that it may have been a bespoke commission or an experimental creation. It was through Jean-Jacques Cartier’s close collaboration with his chief designer, Rupert Emmerson, that innovative designs such as this became possible, ultimately executed by hand in the Cartier London-run Wright & Davies workshops.

View 1 of Lot 2407: Montre bracelet Curviligne dans Anneaux Ovale | An extremely rare and unusual yellow gold oval wristwatch within a larger oval frame with teardrop t-bar lugs and original gold deployant buckle with the clasp of matching design, Circa 1971-72

montre bracelet curviligne dans anneaux ovale | an extremely rare and unusual yellow gold oval wristwatch within a larger oval frame with teardrop t-bar lugs and original gold deployant buckle with the clasp of matching design, circa 1971-72

English Literature, History, Children’s Books and Illustrations

SHEPARD, E.H. Four drawings, including two from 'The Reluctant Dragon', comprising: i) Knight and Dragon, 110 by 250mm.; ii) "I think it's a dragon", 115 by 175mm.; iii) Pushed off the boat", 135 by 215mm.; iv) Boy at Piano, 87 by 70mm.; all ink silhouette drawings with minor gouache, unsigned, artist's signature and address on reverse of each board, some consistent browning not affecting images, adhesive from previous mount to outside of board for iii) and iv) The first illustration is reproduced on pages 110-111 of Dream Days (Bodley Head, 1930). The second illustration is reproduced on page 112. Both are for 'The Reluctant Dragon'. The third and fourth illustrations are on the same board and are currently untraced. Please see shipping calculator link: click here.

shepard, four drawings including two from kenneth grahame's 'the reluctant dragon', 1930

WINES FROM THE CELLAR OF JOSEPH LAU

Romanée Conti 1985 Domaine de la Romanée-Conti Côte de Nuits, Grand Cru u. 1 x 5cm, Magnum #’s: 000080, 000083, labels very slightly faded and marked, one cork slightly raised and pushed through capsule on one side, Capsules lightly corroded, Sotheby’s New York stickers on the back Vintage started 5th October (24 hl/ha) Deep, complex cherry kernels on the nose. On the palate, cherry concentration and massive opulence and tannin. All enveloping glycerol. A masterpiece. Serena Sutcliffe, MW WA 100 當年10月5日開始採收，每公頃產量2,400公升。深邃複雜的櫻桃仁香氣，帶有濃郁的櫻桃味道，雄渾瑰麗，丹寧厚重，滿口甘油香味，誠是大師之作。施慧娜（葡萄酒大師M.W.） 2 mags (sc) The Hong Kong Tax has been fully paid on these lots, however, the buyer has sole responsibility for any transport costs and any duty or taxes when shipping the lot outside of Hong Kong. 本拍品在入口香港時已付清相關稅項，但買家須自行支付所有運輸費用、及運送拍品到香港以外地區所產生的關稅或稅項。 Under the law of Hong Kong, intoxicating liquor must not be sold or supplied to a minor in the course of business. 根據香港法律，不得在業務過程中，向未成年人售賣或供應令人醺醉的酒類

romanée conti 1985 domaine de la romanée-conti (2 mag)

Freddie Mercury: A World of His Own | The Evening Sale

Freddie Mercury's stage-worn costume, 1972-1974

Freddie Mercury's stage-worn costume, 1972-1974 featured on the cover of Queen's debut album, 1973 a bespoke two-piece asymmetrical suit of black and white satin, the v-neck top cut across a diagonal at the front into two panels, the right three-quarters in black with no sleeve, the left quarter white with one full length black sleeve with slit opening at inside seam from forearm to cuff, the back one complete white panel, with zip-fastening to right side; and a pair of flared satin trousers, the right leg black, the left white, with two-button fastening at waistband, the outside leg seams and waistband stitched in white thread, the interior waistband lined in ivory cotton with a red, grey and blue diagonal stripe, the flares 31 cm wide at foot, (both pieces unlabelled) (qty 2) Freddie wore this distinctive outfit on stage between 1972 and 1974, and Douglas Puddifoot’s shots of Queen performing at the Marquee Club on 22 December 1972 were used as the striking front cover image of Queen’s eponymous first album (1973). Freddie was also photographed by Mick Rock in this asymmetrical outfit at Queen’s landmark Imperial College shows on 26 October and 2 November 1973. Freddie also wore this suit on the BBC chart show Top Of The Pops performing 'Seven Seas Of Rhye' on 28 March 1974. This stage outfit is one of the earliest stage-worn costumes in this collection. In an interview in 2000 Brian May spoke about how a photo of Freddie in this costume came to be the cover image for Queen's first album: “The artwork for our first album was coming on nicely – Freddie and I had been working on a collage of Doug’s [Puddifoot’s] designs pictures for the back cover [...] But the front cover was still a problem. One night I was flicking through the photos and I suddenly realized what a striking image Freddie in the spotlight made. I cut him out (cutting off his leg!), pasted him (slightly reduced) back on the spotlight image, and suddenly it jumped out as a cover. I remember thinking very consciously – Freddie as singer will be our figurehead – let’s use him as such.” Mick Rock’s stage photographs, which are not specifically dated, of the two Imperial College shows on 26 October and 2 November 1973 show Freddie wearing this outfit on one of these occasions. In the book Killer Queen, Brian May recalls the November concert: "It is hard to describe how momentous this gig actually was for us. Imperial College was my own college… and over the previous couple of years I had continually scrounged time in lecture theatres to rehearse the band [lot 1130 is a jacket worn by Freddie in July 1970 at one of these rehearsals] [...] suddenly on this little stage, in the main hall for the first time ourselves we met an energy coming back towards us.” Freddie also wore this asymmetrical outfit for studio photo shoots with Mick Rock, one of which features the band posing with a vast sceptre and crown, which was disliked by them all and kept under wraps for the next thirty years. Black and white was key to Queen’s stage look for several during the early years of their career: "we have this black and white theme that we carry out in England and it’s very strong. It has even got to the point where the audience dress and look like me to a tee." (Freddie, quoted in Killer Queen). Freddie usually did his best to distance himself from any serious interpretation of the black and white themes in their work, telling a Mexican journalist in 1981, "It didn't have any special meaning". In another interview, he claimed simply that black and white were guitarist Brian May's favourite colours. But pushed by a European journalist in 1975, he did admit that the contrast reflected ‘the bisexuality thing’ and the differences between male and female genders. LITERATURE Freddie Mercury: The Great Pretender, A Life In Pictures, 2012, illus. pp.44-45. Mick Rock & Queen, Killer Queen, The Official Limited Edition, Genesis Publications, 2003, illus. pp. 15-17, 20-21. Phil Sutcliffe, Queen, The Ultimate Illustrated History Of The Crown Kings Of Rock, Voyageur Press, 2009, illus. p.28 SPECIAL NOTICE No right to reproduce or commercially exploit the copyright or other intellectual property or image rights in any lot is included with the sale of the lot (including but not limited to song lyrics, sketches, drawings and garment designs). Queen Productions Limited, Queen Music Limited and other rights holders reserve all their rights. No right to exhibit in public or reproduce this lot is included with the sale of this lot without the prior written consent of Queen Productions Limited, who shall act in good faith to consider any such requests.﻿

View 1 of Lot 37: Freddie Mercury's stage-worn costume, 1972-1974, featured on the cover of Queen's debut album, 1973

freddie mercury's stage-worn costume, 1972-1974, featured on the cover of queen's debut album, 1973

The Passion of American Collectors: Property of Barbara and Ira Lipman | Highly Important Printed and Manuscript Americana 

(Arnold, Benedict) Pennsylvania Supreme Executive Council. In Council. Philadelphia, February 3rd, 1779. Present His Excellency Joseph Reed, Esq. President, Hon. George Bryan Esq [and six others]. This board having considered the general tenor and course of the military command of Major General Arnold, in this City and State. … Philadelphia: Printed by Francis Bailey, [1779] (bound with:) Pennsylvania Supreme Executive Council. Proceedings of the Supreme Executive Council of the State of Pennsylvania in the Case of Major General Arnold (caption title). [Philadelphia:] Printed by Hall and Sellers, 1779 Broadside (390 x 215 mm, irregular) sewn into a 4to pamphlet (244 x 202 mm); some minor marginal loss to broadside, some light foxing to pamphlet. Disbound. Housed in a custom-fitted oatmeal buckram folding-case, printed paper label. Two extremely rare documents relating to the court martial of Benedict Arnold for his conduct as military governor of Philadelphia—an event that likely contributed to his treason. After being wounded at Saratoga and unable to resume a field command, Arnold was appointed governor of Philadelphia by George Washington after the Continental Army had pushed out the British and imposed martial law. Arnold quickly antagonized the Patriot citizenry by socializing with the Loyalists who remained in the city; he eventually married Peggy Shippen, the daughter of a wealthy Loyalist merchant. He was also evidently involved in black marketeering. Arnold was eventually formally accused "with respect to the appropriation of the public waggons of this state to private use," among other charges. The broadside report of the state's Supreme Executive Council prints two resolves and eight articles enumerating and explaining the charges of "illegal and oppressive conduct" levelled against Arnold, and the order that the state attorney general prosecute him for the same. This appears to be the proof copy of the broadside, as the articles are misnumbered as being nine, rather than eight, as well as a holograph emendation by Timothy Matlack, the Secretary of the Council. The pamphlet of the Council's Proceedings includes the complete exhibit of letters and affidavits in the case. Arnold was eventually convicted of just two minor charges, and retained his command, but he was left embittered. He had opened a correspondence with British Major John André even before the trial was completed and was well positioned to betray his country when Washington appointed him the commander of West Point in June 1780. Both of these printings are exceptionally scarce: the last copy of the In Council broadside cited on Rare Book Hub was in the Anderson Galleries auction of the collection of Col. James H. Manning in 1926, while the last copy of the Proceedings was in the Anderson sale of Americana Rarities from the collection of Mrs. Walter M. Brickner in 1921. REFERENCE Celebration of My Country 82; ESTC W35015, W23553; Evans 16439, 16448; Hildeburn 3889, 3935

View 1 of Lot 47: (Arnold, Benedict) | The Court Martial of Benedict Arnold

(arnold, benedict) | the court martial of benedict arnold

Books, Manuscripts & Objects from Three Important Collections

Lord Alfred Douglas Autograph letter signed, to W.T. Stead, an exceptional and revealing letter thanking Stead for his support in the aftermath of Oscar Wilde’s trial, writing with great passion and sorrow about his own suffering and Wilde’s imprisonment, apologising for his previous low opinion of Stead (“…I can even remember quarrelling with Oscar Wilde about you & reproaching him for what I thought was a paradoxical & sophistical defence of you sustained in a spirit of contradiction…”), and expressing his relief at news that Wilde has been moved to the prison infirmary (“…If only I could be sure that he is not likely to be removed from it and sent back to the original regime…”), 6 pages, 8vo (180 x 110 mm), Villa Caso, Capri, 15 November 1895, minor spotting and creasing “…I know some of my fears are exaggerated and absurd, but I think there is no doubt that if one really loves anyone one feels any suffering he undergoes infinitely more than if one were undergoing oneself. What makes me more unhappy than anything else is the feeling that my friend is bearing nearly all the burden and I so comparatively little […] People look upon me as […] the victim of his superior age and wisdom and therefore an object of pity, while they reserve their execration for him. All this is so utterly wide of the real truth. So far from his leading me astray it was I that (unwittingly) pushed him over the precipice. He had lived 36 years without seeing me and then I came and dragged into his life all the influences of our morbid half insane heritage which reaches it highest point in that terrible father of mine, the most disagreeable of all lunatics because he will never do anything overtly insane enough to get himself shut up…” AN EXCEPTIONALLY HONEST LETTER BY BOSIE ON HIS RELATIONSHIP WITH WILDE. This letter was written at a time when Oscar Wilde was in Wandsworth Prison following his conviction for gross indecency, had been declared bankrupt, and was in failing health as a result of the conditions of prison life. An attack of dysentery had necessitated Wilde's transfer to the prison infirmary. Douglas was forbidden by the prison authorities from corresponding with Wilde so was dependent on third parties for news of his lover's terrible predicament. Douglas is not an easily sympathetic character. He had encouraged Wilde's ill-fated libel action against his father but then evaded the consequences: whilst Wilde was languishing in jail, Douglas had exiled himself to a villa in Capri. Around the time of this letter he was also making plans to publish Wilde's love letters to him without Wilde's permission and in a manner that would do nothing to help Wilde and would heap further humiliation on his wife and family. The vanity, arrogance and greed Wilde describes in De Profundis are evident all too often in Douglas's behaviour and writing. However, Douglas wrote this letter at a time when he knew that Wilde had begun to dwell on his shortcomings and whilst the letter is hardly free of self-pity, it does show Douglas reflecting on the terrible harm he had inflicted on his lover. Douglas's correspondent here was the pioneering investigative journalist W.T. Stead (1849–1912), who was then editor of The Pall Mall Gazette and Review of Reviews. Douglas had previously written to Stead on 28 June 1895 commenting at length on the extent of homosexuality in Britain, and defending its practice. Stead refused to publish the letter. It was produced as evidence against Douglas in his libel suit against Arthur Ransome in June 1913 (a year after Stead himself had drowned on the Titanic). PROVENANCE: Sale in these rooms, 19 July 1994, lot 150

View 1 of Lot 112: Oscar Wilde—Lord Alfred Douglas | Autograph letter signed, by Douglas, to W.T. Stead, on his relationship with Wilde, 1895

oscar wilde—lord alfred douglas | autograph letter signed, by douglas, to w.t. stead, on his relationship with wilde, 1895

STYLE: Silver, Furniture, Vertu and Miniatures | Online

A GERMAN SILVER AND SILVER-GILT BASIN, BY JOHANN PEPFENBAUSER II, AUGSBURG, CIRCA 1707-1711

A GERMAN SILVER AND SILVER-GILT BASIN, BY JOHANN PEPFENBAUSER II, AUGSBURG, CIRCA 1707-1711 shaped oblong and poly-lobed with embossed and pushed shells and flowers on rim, the center with a medallion with the same decoration --------------------------------------------------------------------------- BASSIN EN ARGENT ET VERMEIL, PAR JOHANN PEPFENBAUSER II, AUGSBOURG, VERS 1707-1711 de forme oblongue polylobée, la bordure repousée et enfoncée de coquilles et fleurettes, le centre présentant un médaillon repoussé présentant le même décor Long: 52 cm ; 20 1/2 in ; 1067 g ; 37,6 oz To view shipping calculator, please click here Calculateur des frais d'expedition sous ce lien

a german silver and silver-gilt basin, by johann pepfenbauser ii, augsburg, circa 1707-1711 | bassin en argent et vermeil, par johann pepfenbauser ii, augsbourg, vers 1707-1711

Books and Manuscripts, Medieval to Modern

Captain James Cook A complete set of the voyages, comprising: i. John Hawkesworth. An Account of the Voyages undertaken by the order of his present Majesty for making discoveries in the Southern Hemisphere, and successively performed by Commodore Byron, Captain Wallis, Captain Carteret and Captain Cook, in the Dolphin, the Swallow, and the Endeavour. London: Printed for W. Strahan and T. Cadell, 1773. FIRST EDITION, 3 volumes, 4to (290 x 224mm.), 52 engraved plates, charts and maps (most folding or double-page), one or two small marginal repairs, some spotting; ii. James Cook. A Voyage towards the South Pole, and round the world.... London: printed for W. Strahan and T. Cadell, 1777. FIRST EDITION, 2 volumes, 4to (290 x 244mm.), engraved portrait frontispiece of Cook by J. Basire after W. Hodges, 63 engraved plates, charts and maps (most folding or double-page), offsetting from frontispiece onto title-page, some spotting, captions of a few plates shaved at outer margins (not affecting images); with atlas volume, large folio (546 x 409mm.), engraved portrait frontispiece, 38 further engraved plates (16 of which in 2 states, 4 in 3 states, one hand-coloured), lettered "Plates to Cook's Second Voyage" on spine; iii. James Cook and Captain James King. A Voyage to the Pacific Ocean... for making Discoveries in the Northern Hemisphere... the second edition. London: printed by H. Hughs, 1785. 3 volumes, 4to (290 x 224mm.), engraved frontispiece portraits and additional engraved portraits in volumes 1 and 3, 24 further engraved plates, charts and maps, some spotting; with atlas volume, large folio (546 x 405mm.), engraved frontispiece, 64 further engraved plates (40 of which in 2 states, 17 in 3 states, 1 in 4 states), some spotting, one plate with small repaired closed tear at margin; iv. Andrew Kippis. The Life of Captain James Cook. London: G. Nicol, 1788. FIRST EDITION, 4to (298 x 234mm.), engraved portrait frontispiece, some spotting; Together 11 volumes, uniformly bound in near-contemporary crimson straight-grained morocco by Kalthoeber with his ticket (in Kippis), gilt edges, marbled endpapers, extremities slightly rubbed THE BECKFORD COPY. A MAGNIFICENT SET, DESCRIBED IN THE BECKFORD SALE CATALOGUE AS "PROBABLY THE FINEST COPY OF COOK'S VOYAGES EVER OFFERED FOR SALE, infinitely superior to the Roxburghe". The Atlas to the Second Voyage and Atlas to the Third Voyage include proofs of many of the plates, mostly in two or three states (lettered and unlettered, and a few unfinished). "Captain Cook's three great voyages form the basis for any collection of Pacific books. In three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than all his predecessors together had done. He was the first really scientific navigator, and his voyages made great contributions to many fields of knowledge" (Hill). Cook's first voyage included visits to Tahiti and New Zealand, and the tracing of the east coast of Australia was one of the most perilous feats of navigation in the whole recorded history of exploration. The second voyage pushed further south in search of a southern continent than any previous navigators, as well as visiting numerous Pacific islands. The third voyage returned to islands previously visited, discovered Hawaii, and explored the northwest coast of America from Alaska to Oregon. The text of these official reports form an invaluable record of the voyages, but they are enhanced enormously by the plates, maps, charts, and views which include the work of one of the most important cartographers of his day as well as images from the three most important artists to visit the Pacific during the eighteenth century. LITERATURE An Account of the Voyages: Beddie, BCJC (1970) 648; Hill (2004) 782; Sabin 30934; A Voyage towards the South Pole: Beddie, BCJC (1970) 1216; Hill (2004) 358; A Voyage to the Pacific Ocean: cf. Beddie, BCJC (1970) 1552; cf. Hill (2004) 361; Sabin 16250; The Life of Captain James Cook: Beddie, BCJC (1970) 32; Hill (2004) 935; Sabin 37954 PROVENANCE Sotheby, Wilkinson & Hodge, Sale of the Beckford Library, 7 July 1882, lot 2113; bought by Hopkins, £142

View 1 of Lot 113: Captain Cook | Voyages and Life, 1773-88, 11 volumes, contemporary red morocco, Beckford copy

captain cook | voyages and life, 1773-88, 11 volumes, contemporary red morocco, beckford copy

History of Science and Technology, Including Fossils, Minerals and Meteorites 

From the Computing History Collection of Serge Roube, via his Estate

From the Computing History Collection of Serge Roube, via his Estate A PORTABLE JACQUARD LOOM France, Grévin, circa 1850 A functioning loom (4 feet, 5 ½ inches tall, 23 inches wide, 3 feet 11 inches deep) with two Jacquard mechanisms (one mounted onto the loom, the second measuring 31 ½ x 28 inches x 13 inches). Complete with a large array of accessories, including punch cards, hooks, flying shuttles, bobbins, spools of thread, and more. ONE OF THE PREDECESSORS TO THE MODERN COMPUTER, BEING THE FIRST MACHINE TO USE PUNCH CARDS AS INSTRUCTIONS FOR AUTOMATED TASKS Invented by Joseph Jacquard in 1801, what is referred to as a Jacquard Loom is actually a mechanism attached to a powered fabric loom. The mechanism was fed a series of punch cards, which contained the patterns to be weaved by the machines. The patterns of holes punched on the cards corresponded to areas where a design was painted onto a design grid. The punch cards were pushed toward a matrix of pins on the loom, with the pins then passing through the holes, with hooks then raising their warp threads. In the portions of the card with no holes, the hooks are blocked from raising their threads, and thus the pattern can be automated. The Jacquard loom used replaceable punched cards to control a sequence of operations, and its invention is considered a seminal development in the history of computing. The ability to change the pattern of the loom's weave simply by switching cards was revolutionary, and proved an important precursor to the development of computer programming. Charles Babbage (1791-1871)—often named as the originator of the concept of a digital programmable computer—was familiar with Jacquard's work, and planned to use cards to store programs in his Analytical Engine. Indeed, a large data processing industry using punched-card technology was developed in the first half of the 20th century, with IBM initially dominating this field, and remained in use until the mid 1980s.

a portable jacquard loom

NVV Presents: Vintage Perspective Napa Valley | Late Release from the Winery Cellars

Grgich Hills Estate, Cabernet Sauvignon, Napa Valley 2003

Grgich Hills Estate, Cabernet Sauvignon, Napa Valley 2003 Napa Valley Highlights: 2003 marks the first vintage that our Cabernet Sauvignon is estate grown - meaning we control everything from the vineyard to the bottle. Our Yountville vineyard forms the backbone of our Napa Valley blend. The Cabernet is sourced from the Inglenook clone on St. George rootstock. Primarily dry farmed, these vines have pushed their roots deep into the rocky soil, which provides excellent drainage and creates intensely-flavored grapes. By blending wine from our Yountville vineyard with small amounts from our Rutherford and Calistoga vineyards, which are all farmed organically, we create a complex Cabernet Sauvignon with a distinctive personality. Wine Facts: • This wine is 100% estate grown and bottled • Wine is unfiltered 24 bts (cn)

View 1 of Lot 206:  Grgich Hills Estate, Cabernet Sauvignon, Napa Valley 2003  (24 BT)

grgich hills estate, cabernet sauvignon, napa valley 2003 (24 bt)

Important Watches I

Richard Mille 'Kimi Räikkönen', Reference RM50-04 A limited edition skeletonised carbon TPT and white quartz TPT tourbillon split seconds chronograph wristwatch, Circa 2019 Dial: skeletonised Calibre: cal. RM50-03 mechanical, 43 jewels Movement number: 089 Case: white carbon TPT and quartz TPT, sapphire crystal display back secured by 8 screws Case number: limited edition 03/30 Closure: red Richard Mille rubber strap and titanium double folding clasp Size: 49.5 mm length x 41.5 mm width Signed: case, dial and movement Accessories: Richard Mille Warranty, additional rubber straps, instruction manual and presentation box Richard Mille has consistently pushed the boundaries of luxury watchmaking by collaborating with prominent sports figures to create timepieces that blend high performance with cutting-edge design. By partnering with elite athletes such as Rafael Nadal, Bubba Watson, and Yohan Blake, Richard Mille has developed watches that can withstand the extreme conditions of professional sports while maintaining the brand's signature sophistication. These collaborations not only highlight the brand's innovative engineering but also reinforce its commitment to creating durable, lightweight, and technically advanced watches that resonate with both sports enthusiasts and luxury collectors alike. The present RM50-04 features legendary Finnish F1 driver Kimi Räikkönen. Featuring a 49.5 mm length case crafted from a combination of Carbon TPT and Quartz TPT, the hand-wound RM 50-04 boasts a 30-minute split seconds chronograph, a tourbillon, a power reserve of approximately 70 hours, while displaying both function and torque. These functions are powered by the brand's new skeletonized RM50-03 movement, constructed from Carbon TPT and titanium. Rigorously tested by Richard Mille to endure shocks of up to 5000 g, this remarkable movement weighs just 7 grams, showcasing the brand's dedication to lightweight durability and precision engineering. Limited to only 30 pieces, the RM 50-04 also incorporates a red color scheme to reflect Kimi Räikkönen's association with the Alfa Romeo Racing Team in 2019. Additionally, the dial showcases an oversized "7" hour marker, paying tribute to Räikkönen's car number and adding a personalized touch to this high-performance timepiece.

View 1 of Lot 2316: 'Kimi Räikkönen', Reference RM50-04 | A limited edition skeletonised carbon TPT and white quartz TPT tourbillon split seconds chronograph wristwatch, Circa 2019

'kimi räikkönen', reference rm50-04 | a limited edition skeletonised carbon tpt and white quartz tpt tourbillon split seconds chronograph wristwatch, circa 2019

Arts of the Islamic World & India including Fine Rugs and Carpets

blue glass mould-blown of cylindrical form, moulded decoration with slightly curved ribs, pontil applied to centre of underside and slightly pushed inwards, flat rim

blue glass mould-blown of cylindrical form, moulded decoration with slightly curved ribs, pontil applied to centre of underside and slightly pushed inwards, flat rim 5cm. height 12.4cm. diam.

an intact mould-blown blue glass bowl, persia or syria, 10th/11th century

Books, Manuscripts and Music from Medieval to Modern

Robert Devereux, 2nd Earl of Essex Autograph letter signed, to Maurice of Nassau ('A son Exc[cellence]') concerning his own influence over Elizabeth I, stressing his desire to maintain himself in his correspondent's graces, the honour that accrues to him from the friendship of so great a person, and the mutual good that will derive from their correspondence; praising Maurice for the loving authority he has over his troops and his people; adding that he would be sad were he to be blamed for any problems between Maurice and his Queen, but promising to give satisfaction in anything he undertakes; informing him that Vere, the bearer of this letter and one of his dearest friends, will tell him of recent events; 2 pages, folio, integral address leaf, substantial portions of seals, in French, the Court, 24 April "vieux stile" [1594 added in another hand], some very light spotting "...d'autre part pourceque i'ay L'oroeil de la Royne autant com[m]e un autre on pense que ie puis faire beaucoup. Mais L'experience monstre que les souveraigns veulent estre absolus, et le peaple bizar..." [...Because I have the ear of the Queen as much as any man, people think that I can do much. But experience shows that Sovereigns wish to be absolute and the people capricious...] THE EARL OF ESSEX ASSERTS HIMSELF AS THE VOICE OF THE ENGLISH GOVERNMENT. The addressee of the letter is undoubtedly Maurice of Nassau (1567-1625), de facto leader of the Protestant Low Countries in their long war of independence from Spain. Although Maurice is not mentioned by name, he can be identified by Essex's carefully respectful tone and his references to "your provinces", troops, and the affection in which he is held by his people. In early 1594 Essex was increasingly taking on responsibility for foreign and military affairs within Queen Elizabeth's Privy Council: he was a strong supporter of the Dutch and continually pushed for Elizabeth to play a more active role in Continental affairs. This letter makes clear that he is now Maurice's chief intermediary with the Queen, and he writes with some anxiety of his hope that he will not to be the cause of any problems between his mistress and her Dutch ally. This letter was delivered to Maurice by Sir Francis Vere (1560-1609), the distinguished soldier and chief of the English forces in the Low Countries from about 1590. The campaign of 1594 saw Vere, Maurice, and their French allies joining together to inflict defeat on Spanish troops, including the successful siege of Groningen. PROVENANCE: Sotheby's, London, 14 December 1989, lot 203

View 1 of Lot 188: Robert Devereux, 2nd Earl of Essex | Autograph letter signed, on his influence over Queen Elizabeth, [1594?]

robert devereux, 2nd earl of essex | autograph letter signed, on his influence over queen elizabeth, [1594?]

The Ricky Jay Collection

Houdini, Harry (Erik Weisz), & Wilhelmina Beatrice Rahner Houdini

Houdini, Harry (Erik Weisz), & Wilhelmina Beatrice Rahner Houdini The Houdini's. Original Introducers of Metamorphosis. Exchanging Places in 3 Seconds. Chicago: National Pr. & Eng. Co., [1895] (no. 1837) Color lithograph poster (28 x 21 in.; 711 x 535 mm). Fold and other creases, numerous marginal tears, one small patch of margin restored. Laid down on linen. This is one of the earliest posters of Houdini, promoting his first great effect, Metamorphosis. While trunk escapes had been performed previously, the speed with which Houdini effected the exchange—first with his brother Theo (Hardeen) and later with his wife, Bess—was unprecedented. "In Metamorphosis, Houdini would have his hands tied, be roped into a sack, and then locked in a trunk. The trunk would be pushed into a curtain cabinet by Bess who would draw the curtains and clap her hands three times. Houdini would immediately appear free, and when the truck was opened, it would be Bess now sealed and tied in the sack. A coat borrowed from an audience member was also sometimes used, being placed on Houdini and then ending up on Bess" (https://www.wildabouthoudini.com/p/metamorphosis.html). The present poster is overprinted at the top "Welsh Bro's Newest Great Shows." The recently wed Houdinis toured the East Coast with the Pennsylvania-based Welsh Brothers Circus in 1895, and during this engagement they perfected the Metamorphosis act. The large central image depicts the pair standing with the trunk used in the effect, captioned "The Greatest Trunk Mystery the World Has Ever Seen." Roundel portrait vignettes of the newlyweds border the main image: Harry at the top, encircled by a length of chain and christened "The King of Handcuffs"; Bess at the top, framed by ribbons and designated "Queen of Mystery." A very rare poster. REFERENCE: Exemplars, p. 51; Magic, p. 430

View 1 of Lot 348: Houdini, Harry (Erik Weisz), & Wilhelmina Beatrice Rahner Houdini | Houdini's first great effect

houdini, harry (erik weisz), & wilhelmina beatrice rahner houdini | houdini's first great effect

Books and Manuscripts: 19th and 20th Century

Sheffield Football Club Rules, Regulations, & Laws of the Sheffield Foot-Ball Club, a list of members, &c. Sheffield: Pawson and Brailsford, 1859 FIRST EDITION, 16mo (121 x 79mm), signed in pencil ("William Baker | Sandon Place | Broomhall"), 16 pages, WITH CORRECTIONS UPDATING THE "Laws for the guidance of playing members" (printed slip laid down with revised text for Law 8, manuscript addition revising the text for Law 10, and Law 12 added in manuscript), original purple cloth sewn wrappers [bound in:] a Victorian scrapbook of printed ephemera, letters, and cuttings, especially relating to Sheffield and the parish of Saint Jude's, Moorfields, on religious, sporting, and social subjects, c.100 pages, plus blanks, 400x 370mm, 1850s-60s, green boards, ownership inscription on upper cover ("Greville John Chester"), lacking lower cover, loss at spine, upper cover detached, with loss, tears and creases to many of the inserted items AN EXCEPTIONAL PIECE OF SPORTING HISTORY: ONE OF ONLY TWO KNOWN COPIES OF THE FIRST EDITION OF THE RULES OF FOOTBALL PRINTED BY THE WORLD'S FIRST FOOTBALL CLUB. Sheffield Football Club was established in 1857, predating the founding of the Football Association by six years, and is acknowledged by both the FA and FIFA as the world's oldest football club. The club played a crucial role in the development of the modern game: the indirect free kick, the corner kick, and the crossbar were all innovations of the Sheffield game. Also, and perhaps even more importantly, the Sheffield game was the first expression of modern footballing culture. It was in Sheffield that football was first revealed as an unrivalled spectator sport, that the experience of inter-club competition was first experienced, and that football fans first revealed their loyalty and passion. People had, of course, kicked balls about in play for centuries, but the formal rule-based game of football was a Victorian innovation. The game was incubated at public schools and universities: the unique copy of a printed pamphlet giving The Laws of the [Cambridge] University Foot Ball Club held at Shrewsbury School was probably printed in 1856 and is the only printed set of rules to predate the current item. The foundation of Sheffield Football Club brought the game into the community. The club committee held a series of meetings in October 1858 in which the laws of the game were drafted, and it was agreed that these laws be printed and a copy given to every member of the club. Prior to the discovery of the current copy, the only known copy of the first printed rules was the one that formed part of the historic archive of the club itself. The club's historic archive was sold in these rooms, 14 July 2011, lot 10, £881,000. The current copy has the pencil signature of William Baker, the club committee member who signed off the original draft rules in the club minutes on 21 October 1858. Baker was also one of the club's best players and took part, for example, in the club's match against an FA side in March 1866 at Battersea Park. The current copy of the pamphlet is also uniquely revised to keep it up to date with developments in the laws of the game. The most significant is the hardening of the rules against handling the ball. The 1858 rules allowed the ball to be "pushed or hit with the hand" but not held (law 8), but in this copy a printed slip disallows "knocking or pushing [the ball] on". A handwritten note finesses the throw-in, specifying that the ball must "touch the Ground before coming in Contact with any player" (law 10). A new law (law 12) is also added by hand, requiring that flags be placed four yards from each goal post (this was to allow a short-lived secondary scoring system called a rouge). These revisions must have been made before 1862, when the club issued a new rulebook that included these and other changes. This copy of the Sheffield FC rules was preserved in a scrapbook compiled by a local clergyman, the Rev. Greville John Chester (1830-92). Chester, whose father was a rector in Norfolk, served as curate in various parishes before taking on the incumbency of St Jude's, Moorfields, Sheffield in 1858. He served the impoverished parish for five years with exceptional zeal, and became well know for his efforts on behalf of the local poor. His health was poor, however, and he resigned in 1863, taking on a second career as a traveller and collector. Chester's collecting impulses are on display in this volume, which includes a wide range of pamphlets and leaflets printed in Sheffield and elsewhere during the period of his incumbency on a wide range of religious and social issues.

View 1 of Lot 141: Sheffield Football Club | Rules, Regulations, & Laws, 1859, EARLIEST RULES OF THE FIRST FOOTBALL CLUB

sheffield football club | rules, regulations, & laws, 1859, earliest rules of the first football club

Vincenzo Bellini. Autograph manuscript of part of the Act I duet of Beatrice and Filippo from the opera Beatrice di Tenda, APPARENTLY UNPUBLISHED a composing manuscript, notated in dark brown ink on one 20-stave system per page, representing apparently an early version of part of the B-flat section of the Act I, scene 8, duet no.4 "E quali? quali? spergiura! ingrata!" (from the 'stretta' - '[pian]gente...la morte!' [Beatrice] - to the first eight bars of the cabaletta), c.34 bars of music in all, with a number of autograph deletions, erasures, revisions and corrections 4 pages, large oblong 4to (28.4 x 41.3cm), 20-stave paper, with a note of authenticity by Bellini's brothers in the outer margin of each leaf ("Autografo di Vincenzo Bellini / i suoi fratelli / Mario Bellini / Carmelo Bellini"), as well as notarial stamps ("...Carbonaro Carmelo Catania") and notes in other hands, including by Professor Venturino Caravella (dated Catania, 19 March 1902), modern green morocco gilt, gilt lettering to spine ("Bellini Beatrice di Tenda") A FRAGMENT OF THE FINEST NUMBER IN THE SCORE, THE GREAT DUET IN ACT I. Beatrice di Tenda, the first opera completed by Bellini after Norma, was written for the greatest soprano of the time Giuditta Pasta (1797-1865), whose natural style of singing and expressive harnessing of technique in the service of the drama proved an important influence on Bellini's (and Donizetti's) style of writing. Other title roles created by Pasta include those of Bellini's Norma (1831) and Donizetti's Anna Bolena (1830). It was the singer who, on seeing in Milan in October 1832 the ballet based on Tedaldi-Fores' play Beatrice Tenda, had enthused the composer about the subject - the real-life fifteenth-century tale of Beatrice Lascaris di Tenda's unhappy and ultimately fatal second marriage to Duke Filippo Maria Visconti in Milan. The composition of the work was delayed on account of the dilatoriness of Bellini's librettist, Felice Romani, and the first performance at the Venice Teatro La Fenice was pushed back from the second half of February to 16 March 1833. The opera was received indifferently, although subsequent performances drew large audiences. Bellini himself expressed his satisfaction with the work, stating that it was 'not unworthy of her sisters' (i.e. Bellini's recent operas Norma and La somnambula). Unfortunately, the very public recriminations of Romani in the press (which started with complaints about the delayed production) resulted in the rupture of the relationship between composer and librettist, although there were signs of a rapprochement before the composer's untimely death, at the age of 33, in September 1835. There have been a number of notable modern revivals of this jewel of bel canto writing, including those in 1961 at New York and at La Scala, with Joan Sutherland in the title role. The present manuscript, probably a rejected bifolium from the autograph score (preserved today at the Biblioteca del Conservatorio di musica "Santa Cecilia", Rome), differs considerably from the version of the duet's section as found in the posthumous full score, published in Rome, c.1840. While the beginning and end of the present fragment correspond fairly closely to the full score - aside from the latter's doubling of the note values - the music of the last six or so bars of the second page of the manuscript diverge markedly (even though the B flat pedal is present in both versions). Autograph music relating to Bellini's major operas is only rarely offered at auction. A critical edition of the opera has not yet been published. LITERATURE: Facsimile edition of the c.1840 printed full score in Early Romantic Opera, ed. Philip Gossett, vol. 5 (New York, 1980) [above numbering follows that of the facsimile]

View 1 of Lot 145: Vincenzo Bellini | Autograph manuscript of part of "Beatrice di Tenda", c.1833, apparently unpublished

vincenzo bellini | autograph manuscript of part of "beatrice di tenda", c.1833, apparently unpublished

History in Manuscript: Letters and Documents from a Distinguished Collection

Brendan Bracken Substantial series of nearly 140 letters to Max Aitken, Lord Beaverbrook, comprising forty-seven autograph letters signed and ninety-two letters signed, setting out his reactions to the political issues of his day from the Appeasement of Hitler to the Suez crisis, with unguarded gossip and often amusing comments about his contemporaries, many with autograph postscripts or annotations, c. 220 pages, quarto and octavo, 8 Lord North Street, Ministry of Information, Admiralty, 10 Downing Street, and elsewhere, 4 May 1925 to 5 August 1958 (three days before his death), housed in eight green ring-binders “…Now that Hitler has incorporated about eight million aliens into the Reich, the worth of his promises is evident even to the stupidest elector ... It was very stupid of Chamberlain to issue his declaration on Friday that European tension was decreasing and that the German government were becoming more moderate, and that the public might hope for a disarmament conference before the end of the year. This is the fourth time that an optimistic declaration by him has been followed by ructions in Europe. Poor little Sam Hoare's efforts to support his Master have been even more unfortunate. He told us that the golden years were coming…” (March 1939) Bracken (1901-58) was perhaps Churchill’s most loyal political acolyte. A financial journalist and Conservative politician with an unusual background (his father had been a member of the Irish Republican Brotherhood) and a flair for self-invention, Bracken was an MP from 1929 to 1951. He oversaw the Financial Times’s establishment as the premier business paper, and also published The Economist and History Today. His support for Churchill through the “Wilderness Years” of the 1930s led to his appointment as Minister of Information in 1941. These chatty and informal letters to Max Aitken – another self-made newspaper publisher and ally of Churchill – include much political gossip, whether it be observations on the public standings of the parties, acid commentary on competing Tory factions, speculation on appointments including the “boring and almost inconsequential job” that is ambassador to Washington, or comments on finance ("...mysterious finance is almost always crooked..."), as well as more personal affairs. Churchill is a regular subject in these letters. Bracken describes with pride the tremendous reception his leader received at the Conservative Party conference of 1946 and the defeat of the "Neo-Socialists", but also takes part in the widespread speculation about Churchill's retirement: "Winston is in very good fettle and is determined to continue to lead the Tory party until he becomes Prime Minister on earth or Minister of Defence in heaven". By December of 1953, however, he admits that "He intends to give up before June [...] the desire for office has diminished rapidly" (although in fact Churchill was to continue in office for another year). Other frequent subjects are the British retreat from Empire, South African politics, and delight at the mishaps of his many enemies, including insufficiently loyal Tories (such as Macmillan) as well as members of the Labour Party. He gives a coruscating view of Clement Attlee’s post-War Labour Government: “... I doubt if we have had a worse Government since the days of Lord North's. That nobleman had a King behind him who controlled more than a hundred Members of the House of Commons. His control was very unpopular in the country. But I have no reason to believe that the T.U.C. control of far more Parliamentary votes than King George III possessed is unpopular. I think a large part of the electorate is content to put up with all sorts of shortages if they are quite certain that the privileged are being grilled […] We Tories ought to pray that the Socialist ministers will be glued to the Treasury Bench for at least another year. Given that space of time it is not foolish to expect that the public will become tired of being pushed around by muddled Socialists…” The letters also include comment about high society and parties with mutual friends such as the Duke of Windsor ("...the Prince over the Water.."). As would be expected, there are references to the newspaper world, including his opinion that "Australia is indeed a good country for the newspaper owner" (22 September 1936) and suggestion that Aitken discuss the subject with Keith Murdoch, father of Rupert Murdoch, who was then in London. PROVENANCE: Sotheby's, London, 23 July 1979, lot 101

View 1 of Lot 11: Brendan Bracken | Series of c.140 letters to Lord Beaverbrook, on Churchill, British politics, and other subjects, 1925-58

brendan bracken | series of c.140 letters to lord beaverbrook, on churchill, british politics, and other subjects, 1925-58

A Worldwide Grand Tour: The Sven A. Behrendt Collection

Captain James Cook A complete set of the voyages, comprising: i) [First Voyage] John Hawkesworth. An Account of the Voyages undertaken by the order of his present Majesty for making discoveries in the Southern Hemisphere, and successively performed by Commodore Byron, Captain Wallis, Captain Carteret and Captain Cook, in the Dolphin, the Swallow, and the Endeavour. London: Printed for W. Strahan and T. Cadell, 1773. FIRST EDITION, 3 volumes, 4to (290 x 231 mm), 52 engraved plates, charts and maps, most folding or double-page (including the map of the Straits of Magellan), [Beddie, BCJC 648; Hill (2004) 782; Sabin 30934] ii) [Second Voyage] James Cook. A voyage towards the South Pole, and round the world… in the years 1772, 1773, 1774, and 1775. London: Strahan and Cadell, 1777. FIRST EDITION, 2 volumes, 4to (290 x 231 mm), engraved portrait and 63 engraved plates, maps and charts, [Beddie, BCJC 1216; Hill (2004) 358; Sabin 16245] iii) [Third Voyage] James Cook. A voyage to the Pacific Ocean… 1776, 1777, 1778, 1779 and 1780. London: Strahan for Nicol and Cadell, 1784. FIRST EDITION, three volumes, 4to (290 x 231 mm), plus large folio atlas (570 x 412 mm), containing folding charts and large folio engraved plates, text volumes with 24 plates, maps and charts, atlas with 63 plates and maps, [Beddie, BCJC 1543; Hill (2004) 361; Sabin 16250] together 3 works in 9 volumes (including large folio atlas volume), uniformly bound in contemporary russia gilt, linen-mounted "Straights of Magellan" chart in First Voyage stained at central fold with minor loss, 6 further plates with minor tears at folds (of which 2 repaired), atlas volume with some marginal dampstaining, some browning and offsetting to plates, bindings rebacked and recornered ALL FIRST EDITIONS, INCLUDING THE MAP OF THE STRAITS OF MAGELLAN AND THE DEATH OF COOK PLATE. "Captain Cook's three great voyages form the basis for any collection of Pacific books. In three great voyages Cook did more to clarify the geographical knowledge of the southern hemisphere than all his predecessors together had done. He was the first really scientific navigator, and his voyages made great contributions to many fields of knowledge" (Hill). Cook's first voyage included visits to Tahiti and New Zealand, and the tracing of the east coast of Australia was one of the most perilous feats of navigation in the whole recorded history of exploration. The second voyage pushed further south in search of a southern continent than any previous navigators, as well as visiting numerous Pacific islands. The third voyage returned to islands previously visited, discovered Hawaii, and explored the northwest coast of America from Alaska to Oregon. The text of these official reports form an invaluable record of the voyages, but they are enhanced enormously by the plates, maps, charts, and views which include the work of one of the most important cartographers of his day as well as images from the three most important artists to visit the Pacific during the eighteenth century. PROVENANCE: Atlas volume with bookplates of Henry Labouchere; all volumes with bookplate of Charles Carrol Bagg; Mrs W. Dimmock Buxton, her sale Christie's New York, 20 May 1988, lot 25

View 1 of Lot 59: Captain James Cook | An Account of the Voyages… London, 1773-1784, first  editions, 9 volumes in all (8 text volumes plus atlas  volume) 

captain james cook | an account of the voyages… london, 1773-1784, first editions, 9 volumes in all (8 text volumes plus atlas volume)

Frames from the Collection of the Richard Green Gallery | Part II

A Louis XIV carved giltwood frame convex profile; with C-scroll foliate corners and leaf-bud lateral centres on a diapered ground, and misaligned and skewed upper and lower C-scroll and bud centres on a diapered ground, all separated by leaf-buds on a cross-hatched ground; sanded frieze; dentil sight edge; the ornament worn, obscured and pushed out of true by alteration Overall: 36.2 x 31.5 cm. Rebate: 26.6 x 21.2 cm. Sight size: 24.5 x 19.3 cm.

View 1 of Lot 29: A Louis XIV carved giltwood frame

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