Original Film Posters

The Exorcist (1973) Poster, British, First British release 1974, Signed by William Friedkin (director) and Linda Blair

The Exorcist (1973) Poster, British, First British release 1974, Signed by William Friedkin (director) and Linda Blair Unframed: 30 x 40 in. (76 x 102 cm) Mr. Sohal met William Friedkin at the BFI, London, when was promoting his film Killer Joe, and Linda Blair at a convention in Birmingham. It is rare for anyone to have an original poster signed, as the majority of signatures are on pieces of paper, photographs, and video/DVD sleeves. This cult horror film was directed by William Friedkin and stars Ellen Burstyn, Max von Sydow, and Linda Blair. It paved the way for a new generation of horror films.

View 1 of Lot 233: The Exorcist (1973) Poster, British, First British release 1974, Signed by William Friedkin (director) and Linda Blair

the exorcist (1973) poster, british, first british release 1974, signed by william friedkin (director) and linda blair

Contemporary Day Auction

Luc Tuymans b. 1958 The Exorcist signed and dated 007 (on the reverse) oil on canvas 33 ¼ by 46 ½ in. 84.5 by 118.1 cm. Executed in 2007.

the exorcist

Original Film Posters Online

THE EXORCIST (1973) FIRST BRITISH RELEASE POSTER, 1974

THE EXORCIST (1973) FIRST BRITISH RELEASE POSTER, 1974 SIGNED BY WILLIAM FRIEDKIN, DIRECTOR 30 x 40 in. (76 x 102 cm) This cult horror film was directed by William Friedkin, and stars Ellen Burstyn, Max von Sydow and Linda Blair. It paved the way for a new generation of horror films. This poster was signed by William Friedkin at the BFI, London. It is rare for anyone to have an original film poster signed, as the majority of signatures are on pieces of paper, photographs and video/dvd sleeves. It is unusual to have the film's poster with you when you try to obtain signatures. To view shipping calculator, please click here

the exorcist (1973) first british release poster, 1974, signed by william friedkin

L12241

eight leaves (including 2 bifolia): (a) fragment of a leaf from Saint Augustine, Commentary on John (Migne, Pat. Lat., 35, cols.1766-67), 160mm. by 104mm., remains of two columns with 11 lines in black ink in a fine Beneventan minuscule, capitals touched in orange, offset in places from another leaf, verso blank, Italy (probably Montecassino), c.1100; (b) bifolium (each leaf 345mm. by 215mm.) and a cutting with one column (325mm. by 120mm.) from a lectionary with readings for 2 June: the feasts of SS. Erasmus of Formiae (St. Elmo, d.303), Marcellinus (d.304) and Peter the Exorcist (associate of Marcellinus, d.304), double column, 30 lines in black ink in a fine early Carolingian minuscule, rubrics in ornamental red capitals, 15 red penwork initials, probably Germany, late tenth century;  (c) small fragment of Saint Augustine, Sermon CLXI for Easter, 153mm. by 73mm., remains of double column, 10 lines in black ink in a rounded early gothic bookhand, Italy, mid-twelfth century; (d) leaf from an early choirbook, 287mm. by 205mm., with readings for Saint Mauricius the martyr (d.287), the leader of a Theban Roman legion who refused to harass Christians in Switzerland and was murdered along with his 6000 soldiers (the saint became the patron of the Holy Roman emperors, and in 926 Henry I gave up the canton of Aargau to the abbey of Saint Maurice-en-Valais in exchange for Maurice's lance, sword and spurs; these in turn becoming part of the coronation regalia used by the Austro-Hungarian emperors until the First World War), single column, 12 lines of dark brown ink in a spiky Germanic bookhand, with neumes on a red and green stave, red initials with simple flourishes, the saint’s name in alternate red and brown capitals, Germany or Switzerland, late twelfth century; (e) bifolium from a choirbook, each leaf 380mm. by 275mm., 14 lines of brown script with music arranged around a red stave-line, rubrics in red, simple red initial, Germany, thirteenth century; all recovered from bindings and with small holes, scuffs and stains, overall fair condition

collection of leaves from early manuscripts, one in beneventan script, in latin, on vellum [tenth to thirteenth century]

Twentieth Century Crime, Adventure and Horror Fiction. A collection of 70 volumes, including:

Twentieth Century Crime, Adventure and Horror Fiction. A collection of 70 volumes, including: Wheatley, Dennis. (and J.G. Links) Pripad Roberta Prentice. 1939, author's own copy with inscription: "My own copy of the second Murder Dossier, and the first to be published in Czech. Published the day before Hitler entered Prague. March 1939, Dennis Wheatley"' sealed section unopened, with tipped-in 'evidence'' one item of 'evidence' loose; Curtain of Fear. 1953, inscribed and signed by the author-Flammarion, Camille. Death and its Mystery. 1921-1923, 3 volumes, each volume inscribed and signed by dennis wheatley ("All these volumes most useful / to me while writing my books / with supernatural background. / Dennis Wheatley")-Christie, Agatha. Five Little Pigs. 1942; The Pale Horse. 1961-MacLean, Alistair. H.M.S. Ulysses. 1955; The Guns of Navarone. 1957-le Carre, John. The Spy who came in from the Cold. 1964, 28th impression, signed by the author, price clipped; The Looking-Glass War. 1965-Yates-Benyon, John. The Weak and the Wicked. 1959, presentation copy, inscribed and signed by the author-Fowles, John. The Aristos. 1965; The Collector. 1963; The Magus. 1966; Mantissa. 1982-Blatty, William Peter. The Exorcist. 1971, first english edition-Forsyth, Frederick. The Day of the Jackal. 1971; The Odessa File. 1972-Rice, Anne. Interview with the Vampire. 1976, first english edition-Francis, Dick. Trial Run. 1978, inscribed and signed by the author; Great Racing Stories. 1989, inscribed and signed by the author-King, Stephen. The Shining. 1977, first english edition; Christine. 1983, first english edition; The Eyes of the Dragon. 1987, first english edition; Nightmares and Dreamscapes. 1993, limited english edition, slipcase; Insomnia. 1994, one of 200 signed copies, without dust-jacket (?as issued)-Harris, Thomas. The Silence of the Lambs. 1988-Walters, Minette. The Ice House. 1992-Banks, Iain. The Wasp Factory. 1984, signed by the author; Walking on Glass. 1985; Whit. 1995, signed by the author; Excession. 1996, signed by the author; 8vo, first editions, original bindings, dust-jackets, except where noted, occasional light spottingor soiling, some ownership inscriptions, bindings and dust-jackets with some wear or fading, some with loss; together with 37 similar (70)

twentieth century crime, adventure and horror fiction. a collection of 70 volumes, including:

Precious Remedies against Satans Devices. London: J. Hancock, 1661, fifth edition, 8vo, longitudinal half-title, 2 advertisement leaves at end, modern calf, [Wing B4957], some soiling and spotting

Precious Remedies against Satans Devices. London: J. Hancock, 1661, fifth edition, 8vo, longitudinal half-title, 2 advertisement leaves at end, modern calf, [Wing B4957], some soiling and spotting [Aubin, N.] The Cheats and Illusions of Romish Priests and Exorcists. Discover’d in the History of the Devils of Loudun. London: W. Turner and R. Bassett, 1703, 8vo, contemporary calf, some soiling, title repaired, rebacked, corners repaired, edges rubbed Le Sage, A.R. The Devil upon Crutches. London: T. Osborn, A. Millar [& others], 1759, 2 volumes, 12mo, engraved plates, contemporary mottled calf, rubbed [Defoe, D.] The History of the Devil. London: G. Hay, 1777, 12mo, contemporary sheep, slight worming affecting text, title repaired in inner margin, worn Keach, B. War with the Devil. London: E. Johnston, 1776, 12mo, woodcuts in text, old boards, initial blank A1 loose, shaken, upper hinge broken, binding repaired [Leslie, C.] The Snake in the Grass. London: C. Brome, 1698, 8vo, engraved frontispiece, contemporary calf, lacking one leaf at end, A5-6 torn without loss, worn Gilpin, R. Demonologia Sacra. Edinburgh: R. Fleming, 1735, 8vo, modern half calf together 8 volumes

demonology--brookes, thomas.

The Exorcist, uncorrected proof and first edition, New York: Harper and Row, 1971

blatty, william peter.

The Supreme Vault: 1998 - 2018

Dollar, 2017 Dead Kennedys Cross, 2014 Red Limonious 1, 2016 Diecut Frost White Piss Blue, 2013 Still Suck Black, 2016 Everlast Grey, 1999 Brillo Mini Sheet, 2005 Supreme Team Red, 2012 Disrupt Blue, 2015 911 Sticker, 2002 Joe Roberts, 2017 Phone Set Mini, 2010 Brillo, 2001 They F*ck You Up White, 2017 Crumb Mini Sheet, 2008 Cliver Dick & Jane, 2008 Bottle Cap, 2017 Phone Set Large, 2010 Crumb Red, 2008 Pink Panther Red, 2014 Chicken Dinner, 2018 Daniel Johnston Love Pink, 2017 Les Enfants White, 2012 Plastic Silver, 2017 Exorcist, 2009 Restless Youth Bred, 2005

supreme stickers [28 pieces]

Bibliotheca Brookeriana VIII

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

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

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

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

Bibliotheca Brookeriana III: Art, architecture and illustrated books

Alciati, Andrea Viri clarissimi D. Andree Alciati Iurisconsultiss. Mediol. ad D. Chonradum Peutingerum Augustanum, Iurisconsultum Emblematum liber. (Augsburg: Heinrich Steiner, 28 February) 1531 First edition of the first emblem book. It was published by Conrad Peutinger, a friend of Alciati's, though quite possibly without Alciati's approval or involvement. It was printed by Heinrich Steiner, who quickly reprinted it in April that same year with the errata corrected (lot 436). The woodcut illustrations are now attributed to Jörg Breu the elder (c. 1475/80-1537), who provided numerous illustrations for Augsburg printers. Alciati's emblems were derived from nature, mythology and history, mostly via classical or medieval sources, as well as Erasmus's Adagia. They each contain a motto with an epigram, to which illustrations were subsequently added by the printers. Alciati described his compilation as taking something from history or nature and giving it meaning which could then be used by an artist or craftsman to provide a badge or device; he mentions the dolphin and anchor device of Aldo Manuzio as well as Francesco Calvo's elephant printer's device (Karl Enenkel, The Invention of the Emblem Book and the Transmission of Knowledge, Brill, 2019, p. 4). It has also been suggested that Alciati could have devised his work as a literary coin and medal cabinet for his friend Peutinger. Alciati's little book proved a commercial success and was subsequently translated into various languages with illustrations by artists such as Jost Amman, Virgil Solis and Bernard Salomon (see lots 436-446) and expanded over time from around 100 to over 200 emblems. Its influence on European culture led to the production of other emblem books and the extensive use of Alciati's symbolism in diverse contexts. Together with an autograph letter by Alciati, addressed to the bookseller and printer Francesco Minizio Calvo (active 1516-1545, in Pavia, Rome and Milan), who moved to Rome in 1521. One of Calvo's first publications in Rome was Marliani's Oratio in Martinum Lutherum, with some anti-Lutheran verses signed "Paulus exorcista", who has been identified as Alciati, though Calvo does not seem to have published any of Alciati's own works. Alciati and Calvo were regular correspondents during the 1520s, when Calvo had connections to the Papal Curia. Loosely inserted in the volume is a printed form headed "Report from Messrs. Ellis, 29 New Bond Street" with four extracts from sale catalogues pasted onto it, and dated 24 December 1912; one of the four is for a copy of the 1531 Alciati in vellum. There is also the extract from the Sotheby's 1916 catalogue of autographs, with the price £6-10-0. 8vo (147 x 96 mm). Italic type. collation: A-E8 F4: 44 leaves (last leaf blank), with errata on F3v verso. Title within a woodcut border, woodcut initials and illustrations. Autograph letter signed ("Alciatus tuus"), to Francesco [Minizio] Calvo, "mercante de libri" (bookseller) in Rome, dated 13 June 1521, arranging letters of introduction on behalf of his friend M. Antonio Capello, and Capello's friend Giovanni Matteo Colombo, which Alciati has already requested from [Mario] Salamonio, 7 lines, tipped onto flyleaf. (Folded with small tear along crease, a few very small holes, address panel slightly browned.) binding: Modern vellum (152 x 104 mm), spine lettered in black, in black leather folding box. provenance: book: [perhaps William Wheeler Smith of New York, sale, Sotheby's, London, 13 December 1909, lot 15, described as having a vellum binding in a black pigskin slipcase] — Allan Heywood Bright (1862-1941), bookplate dated 1912 — Yates, Thompson and Bright: a family of bibliophiles, sale, Christie's, London, 16 July 2014, lot 40; letter: sale, Sotheby's, 31 July 1916, £6-10s, presumably added to the book by Allan Heywood Bright. acquisition: Purchased at Christie's sale in 2014. references: Green, Alciati 2; Landwehr, German Emblem Books 23; VD16 A 1641

View 1 of Lot 435: Alciati, Emblematum liber, Augsburg, 1531, with an autograph letter by Alciati, later vellum

atque conjurationum terribilium, potentissimorum, efficacissimorum, cum practica probatissima... ad maximam exorcistarum commoditatem in lucem editus & recusus. Cologne: Lazarus Zetzner, 1608

atque conjurationum terribilium, potentissimorum, efficacissimorum, cum practica probatissima... ad maximam exorcistarum commoditatem in lucem editus & recusus. Cologne: Lazarus Zetzner, 1608 8vo (157 x 100mm.), woodcut device on title-page, woodcut initials, contemporary calf, some damp-staining throughout, some pages chipped, rebacked

thesaurus exorcismorum

Russian Works of Art, Fabergé and Icons

holding the gospel and giving a blessing towards the tree at centre, beside a figure holding an axe, a black devil jumping out of the well

st nicholas exorcising the devil from a well, probably pskov area, first half of the 16th century

bolognese school, 18th century, st. benedict exorcising the devil as he attempts to...

American Beauty: The American Folk Art Collection of Stephen and Petra Levin, Part I

the exorcism of a small child

including a circular fruitwood box, on the inside a human face, surrounded by symbols of stars and other; together with five scrolls with symbols and mysterious inscriptions, one forming a belt, the other a collar.

a group of objects relating to the exorcism of lucifer, north german, 17th/18th century

Books, Manuscripts and Music from Medieval to Modern

From the Library of Clayre and Jay Michael Haft

From the Library of Clayre and Jay Michael Haft Felix Hemmerlin Opuscula et tractatus. [Strassburg: Printer of the 1483 Jordanus de Quedlinburg (Georg Husner), after 13 August 1497] Chancery folio (258 x 182mm.), 182 leaves (of 184, without blank leaves *4 and gg6), [*4] a–z aa–gg6, 47 lines plus headline, gothic type, woodcut illustration on first page, larger initials supplied in red with some red underlining, a few early annotations, late seventeenth- or early eighteenth-century red morocco gilt, spine gilt in compartments (lettered EX BASILEA ANNO MCCCCXCVII), gilt edges, first leaf slightly browned and worn with a few small wormholes, occasional light staining, x1 somewhat discoloured, plausibly washed in places, extremities slightly rubbed, small area of damage at foot of upper cover Felix Hemmerlin (1388/89-c. 1460) was a Swiss cleric of reforming tendencies, attending the Council of Constance, though he spent his last years incarcerated in a Franciscan monastery. This edition of his writings (on religious matters and politics, including exorcism and the theft of relics from a local monastery) contains a verse preface by Sebastian Brant, dated 13 August 1497. LITERATURE: ISTC ih00017000

View 1 of Lot 201: Hemmerlin, Opuscula et tractatus, [Strassburg, 1497], later red morocco gilt

hemmerlin, opuscula et tractatus, [strassburg, 1497], later red morocco gilt

The Ricky Jay Collection

Dugdale, Richard The Surey Demoniack: or, An Account of Satans Strange and Dreadful Actings, In and about the Body of Richard Dugdale of Surey … in Lancashire. London: Printed for Jonathan Robinson, 1697 4to (210 x 159 mm). Title-page within double-ruled border. First edition. Richard Dugdale ("the Surey demoniac"), born around 1660, was a gardener and servant to Thomas Lister of Westby in Yorkshire. About 1678 he went to a fair and, getting drunk, quarrelled and fought with one of the revellers. Returning to his master's house he claimed to have seen apparitions. The next day, feeling unwell, he was alarmed by a door opening on its own and a mist entering, followed by supernatural appearances. Violent fits ensued. A number of ministers endeavored to exorcise the devil, which Dugdale affirmed possessed him, but without result for at least a year. Dugdale's notoriety spread and he was visited by several thousand persons. Many made declarations of Dugdale's strange condition. It was claimed that he foretold future events, spoke languages of which he was ignorant, and sometimes with two voices at once, both blasphemous and reverential. He was also reported as possessing extraordinary strength and vomiting a large hair broom. Lord-Chief-Justice Holt is said to have discovered that the whole affair was an imposture. Dugdale appears to have been hysterical, and with the assistance of his relations seems to have traded on the credulity of his visitors. A number of pamphlets were written, some denouncing him as a cheat, and others supporting the theory of his demoniacal possession.

View 1 of Lot 225: Dugdale, Richard |  A devil of a tale!

dugdale, richard | a devil of a tale!

Japanese Woodblock Prints from an Important Private European Collection

Kubo Shunman (1757-1820) Green peas in a measure and sprays of hollyhock with heads of sardines Edo period, early 19th century woodblock print, surimono, embellished with metallic pigments and embossing, depicting green peas in a wood jointed measure beside sprays of hollyhock with heads of sardines, symbols representing the ceremony of exorcising demons (Setsubun), from the series Essays in Idleness for the Asakusa Group (Asakusagawa Tsurezuregusa), signed in title cartouche Shunman sei (made by Shunman), privately issued, 1811; with collectors’ seals of Gerhard Pulverer and Theodor Scheiwe to verso Shikishiban surimono: 21.3 x 18.6 cm., 8⅜ x 7⅜ in. __________________________________________________________________________ Kubo Shunman (1757-1820), Pois verts dans un récipient et branches d'althéa avec têtes de sardines, époque Edo, début du XIXe siècle

View 1 of Lot 616: Kubo Shunman (1757-1820) | Green peas in a measure and sprays of hollyhock with heads of sardines | Edo period, early 19th century

kubo shunman (1757-1820) | green peas in a measure and sprays of hollyhock with heads of sardines | edo period, early 19th century

The Library of the Earls of Macclesfield Removed from Shirburn Castle, Part Eight:  Theology, Philosophy, Law, and Economics

Ibid. An Apologetical Vindication of the Church of England: in answer to her adversaries who reproach her with the English heresies and schisms. London: for Walter Kettilby, 1706, very light spotting, binding scratched

Ibid. An Apologetical Vindication of the Church of England: in answer to her adversaries who reproach her with the English heresies and schisms. London: for Walter Kettilby, 1706, very light spotting, binding scratchedIbid. Devotions in the ancient way of offices. London: E. Mead, for John Nicholson and John Sprint, 1706, engraved frontispiece by Michael van der Gucht, light spotting, binding scratchedIbid. Two treatises, one of the Christian priesthood, the other of the dignity of the episcopal order. London: W.B. for Richard Sare, 1707Ibid. A second collection of controversial letters relating to the Church of England, and the Church of Rome. London: W.B. for Richard Sare, 1710, bookplate of Robert Cony, MD (born c. 1655), price paid (two shillings and sixpence) on front pastedown, a few tears with loss not affecting text, spotting, binding wornIbid. Two treatises, one of the Christian priesthood, and the other of the dignity of the episcopal order. London:  W.B. for Richard Sare, 1707, 2 volumes, inscription on flyleaf  "The gift of ye Reverend Dr Hicks"Ibid. The spirit of enthusiasm exorcised. London: for Richard Sare, 1709, spotting, binding wornIbid. A collection of sermons. London: for John Churchill, 1713, 2 volumesIbid. The Constitution of the Catholick Church, and the nature and consequences of Schism. [London], 1716, spotting to first and last leavesFénelon, François de Salignac de la Mothe (1651-1715). Instructions for the education of a daughter...Done into English, and revised by Dr. George Hickes. London: for Jonah Bowyer, 1708, 12mo, engraved frontispiece by Michael van der Gucht, spotting, binding slightly worn together 12 volumes, all 8vo (except the last volume), contemporary calf

several letters which passed between dr george hickes, and a popish priest. london: w.b. for richard sare, 1705, a few tears with loss not affecting text, spotting, binding worn

Saint Nicholas portrayed full length, holding the book of Gospels in his left hand, surrounded with sixteen scenes showing events in his life, from the upper left corner: birth of Nicholas; baptism of Nicholas; Nicholas cures the woman with the paralysed hand; Nicholas attends to school; being inaugurated as Bishop; Nicholas appearing in a dream to the Emperor Constantine; Nicholas exorcising the Devil from the spring; Nicholas prevents the execution of the three Generals; the rescue of the Merchant from Pskov; the rescue of ship wreck sailors during a storm; the rescue of Dimitri from drowning at sea; visit to the three Generals in prison; Nicholas returns the young Basil, captured by Arabs as a slave for the emir, to this parents; Nicholas saving a girl from dishonour; in Constantinople Nicholas buys the robe from an old, impoverished man, Kozlok to return it to the man's wife; funeral of Nicholas

saint nicholas surrounded with scenes from his life, 18th century

Music, Continental and Russian Books and Manuscripts

WAGNER, RICHARD. Parsifal, Ein Bühnenweihfestspiel, [vocal score], Mainz: Schott, [1882],  first edition, Ernest Chausson's copy, with his bookplate, folio (c.34.3 x 27.5cms), plate number 23406 on the title, the music beginning on the verso of the cast list, contemporary quarter calf, gilt titles and initials ("E.C.") to spine, [Fuld, p.445; WWV 111 XI], corners worn, containing:

WAGNER, RICHARD. Parsifal, Ein Bühnenweihfestspiel, [vocal score], Mainz: Schott, [1882],  first edition, Ernest Chausson's copy, with his bookplate, folio (c.34.3 x 27.5cms), plate number 23406 on the title, the music beginning on the verso of the cast list, contemporary quarter calf, gilt titles and initials ("E.C.") to spine, [Fuld, p.445; WWV 111 XI], corners worn, containing: Debussy's autograph "singing translation", dating from the mid-1890s, of the opening scenes in Acts Two  and Three of Parsifal,  written by him in pencil on about 80 pages, include some 120 alterations to the rhythms of the vocal lines, beginning with Klingsor's entrance in Act Two, and covering the opening scenes of both Acts Two and Three (pp.97-116, 130-157, 204-238 & 241), and a few passages in another hand (pp.123-137); the text taken from the libretto translated by Victor Wilder and published in 1886 This is an extraordinary association copy of Parsifal, linking Debussy and Wagner.  It reflects the very complex and productive relationship that Debussy had with Wagner's music in general, and with Parsifal in particular.   He saw Parsifal at Bayreuth in 1888 and again in 1889 and found the experience overwhelming (he also attended Die Meistersinger and Tristan und Isolde).  Parsifal was not staged in Paris until 1914, when Debussy was again present, describing it as "one of the loveliest monuments of sound ever raised to the serene glory of music".   During the 1890s, Debussy gave a number of recitals where he played and sang complete acts of Wagner's music dramas, and he may have made the present "singing translation", with alterations to the vocal line, for one such performance.  This volume belonged to the composer Ernest Chausson (1855-1899), and bears his bookplate and initials on the binding.  Chausson had attended the première of Parsifal at Bayreuth on 26 July 1882, and, as with Debussy, was strongly influenced by Wagner.  Debussy most probably borrowed this score to prepare for his recitals at the house of Chausson's mother-in-law Madame Philippe Escudier in the spring of 1894.  The first of these "séances" on 5 February included the first act of Parsifal, for which Debussy was paid a thousand francs (for a description of Debussy's performance, see the Correspondance, p.192n).  He gave five such performances out of a planned series of ten; the series ended abruptly in March 1894, when Chausson broke off all relations with Debussy over his abandoned marriage to his protégée Thérèse Roger.   Debussy continued to give other Wagner performances until 1896, and Pierre Louys wrote to him about precisely the scenes translated here in October 1896 (see Correspondance, p.331), although not apparently in connection with any performance.   Debussy's relationship with Wagner's music was very complex.  Although fascinated by the orchestral splendour, he quickly sensed that an obsession with Wagner posed a threat to French composers (including Chausson) and also to his own music.  During the composition of his opera Pelléas et Mélisande, he strove at length to exorcise the influence of Wagner on his music .  He wrote to Chausson on 2 October 1893 that he found it very difficult to avoid "the ghost of old Klingsor, alias R. Wagner" at every turn of phrase.   Indeed, it was on that day that he tore up his work on Pelléas, and began a completely new draft of the opera.  Nevertheless, Robin Holloway concludes that Debussy "must be recognized to be, within the limits of a subtle and specialized relationship, the most profoundly Wagnerian of all composers" (Holloway, p.21).  "Of all the works of Wagner relished by Debussy, Parsifal had the deepest influence, and it was the work to which he responded more and more acutely until the end of his life." (E. Lockspeiser,  Debussy. His Life and Mind, I, 95).

claude debussy's marked-up copy of wagner's opera parsifal, the first edition (1882), containing a translation into french of acts 2 and 3, written by him into the score and including his musical alterations to the vocal lines to accommodate the french words, being:

Of all the larger than life athletes that dominated the roaring twenties -- Red Grange, Jack Dempsey, Bobby Jones, Bill Tilden, Man o' War -- none was bigger than Babe Ruth. In Ruth, Yankees owner Jacob Ruppert had both a player of unrivaled ability and a gate attraction unmatched in the history of American spectator sports. He also had a manchild whose gargantuan appetites, charisma, and ego kept the media scurrying in the wake of his latest generosities and indiscretions. Of Ruth’s constant carousing, roommate Ping Bodie once famously quipped, "I don't room with him. I room with his suitcase." In April of 1922, the Yankees signed Babe Ruth to a three-year contract for a salary of $52,000 per year. The odd salary figure was reached based on Ruth’s simplistic desire to receive the round sum of $1,000 per week. Though it was the highest salary for a ballplayer up to that time, and equal to about 40 percent of the entire Yankees payroll, owner Jacob Ruppert was happy to oblige. However, the 1922 season would see Ruth’s excessive behavior come to a head. The late nights and the Babe’s unbridled gluttony took its toll on Ruth physically, while his notorious disregard for authority resulted in dissention throughout the club. Ruth's health and his continued defiance of manager Miller Huggins resulted in fines and even a suspension. The same Ruth who would happily spend hours of free time with needy children was ejected from games for feuding with umpires and regularly engaging in heated exchanges with heckling fans. Ruth, who was used to being the fan favorite, began hearing boos. His stats plummeted, dropping him to third in homers (with thirty-five) and out of the top five for RBI's (with ninety-nine). Given all this, the Yankees still managed to hold onto their American League crown and prepared for a rematch against the defending World Champion New York Giants. The Yankees were dispatched in five games. Ruth’s miseries continued, with Giants pitching holding baseball's greatest slugger to two hits in seventeen at-bats for a .118 average in the series. The Bambino had hit a low point, personally and professionally. Soon after the season ended Yankees owner Jacob Ruppert took drastic action. The result was this five-page amendment to Ruth’s contract that was drafted and signed on November 13, 1922. In the season prior Ruth had been fined a grand total of $9,000 by the team, which had been deducted from his salary. The amendment allowed Ruth to be repaid that amount along with establishing a revised pay schedule based on defined “regulations” which Ruth had to abide by. Among these outlined in the offered document include abstaining entirely from the use of intoxicating liquors and not staying up past 1:00 am. Both Ruppert and Ruth have initialed the first, second, and fourth pages in black ink (“GHR”, averaging 8/10). The document has been signed on the final page in black ink by “Geo. H. Ruth” (9/10), and “Jacob Ruppert” (8/10). It has been notarized and features several handwritten changes throughout. There are slight tears along the fold lines, otherwise the contract is in excellent condition. Its original envelope is included. The impact of this historic maneuver on the part of Ruppert is legion. The following season marked the opening of Yankees Stadium. A revitalized Bambino christened “The House That Ruth Built” with a historic home run on opening day of baseball's grand cathedral. He would go on to enjoy his finest season In 1923, hitting .393, with 41 homers and 131 RBI on his way toward winning the league’s Most Valuable Player award. In their brand new stadium (which featured crowds in excess of 62,000 and over $1 million dollars in ticket sales) Babe Ruth led the Yankees to a division title by sixteen games. He also exorcised his post-season demons carrying the Yankees to a World Series title, hitting three home runs, a triple, a double and two singles while batting .368 in a six game series over the Giants. This historic document represents a critical turning point, if not salvation, of the most prolific career in sports history. LOA: PSA/DNA.

1922 babe ruth multi-signed contract amendment

Sculptural Fantasy: The Important American Folk Art Collection of Stephen and Petra Levin

VERY RARE CARVED AND POLYCHROME PAINT-DECORATED WOOD SCULPTURE OF AN EXORCISM SCENE, MID-WESTERN, CIRCA 1910

VERY RARE CARVED AND POLYCHROME PAINT-DECORATED WOOD SCULPTURE OF AN EXORCISM SCENE, MID-WESTERN, CIRCA 1910 depicting a group of people surrounding a child in bed with a demon. Height 6 in. by Width 7 in. by Depth 7 ½ in.

very rare carved and polychrome paint-decorated wood sculpture of an exorcism scene, mid-western, circa 1910

Dracula Has Risen From the Grave (1968) Poster, US

Dracula Has Risen From the Grave (1968) Poster, US Unframed: 41 x 27 in. (104 x 69 cm) This British film was directed by Freddie Francis and was the fourth film in the Dracula series produced by Hammer Film Productions. It was the third time that Christopher Lee played Count Dracula. The cast also includes Rupert Davies, Veronica Carlson, and Barry Andrews. Count Dracula is unintentionally resurrected by a clergyman who exorcises Dracula's castle.

View 1 of Lot 232:  Dracula Has Risen From the Grave (1968) Poster, US

dracula has risen from the grave (1968) poster, us

Fine Books and Manuscripts, Including Americana. Part 2

Doyle, Arthur Conan, Sir Autograph psychical casebook, containing spiritualist notes and commentary penned by Doyle, with two leaves reversed at the end with botanical writings, lettered to upper cover "Spiritual III" and to the lower cover "Book of Nature 1919." [England, ca. 1919-1921] 4to (199 x 153 mm). 47 pp; first four leaves removed (possibly by Doyle), tear to lower outer corner of pp. 31-32, affecting a few words, small portion of lower outer corner of remaining leaves lacking, occasional spots, occasional smudging to text. Red wrappers; light creasing, lower outer corner of lower cover chipped. A remarkable collection of Doyle's spiritualist observances, in his hand. In the years following the First World War—a period of profound personal loss and public disillusionment—Arthur Conan Doyle became an impassioned advocate of spiritualism. What had begun as a private curiosity deepened into a moral and intellectual crusade; Doyle lectured widely, conducted first-hand investigations, and published a series of books on the subject, including The New Revelation (1918), The Vital Message (1919), and The Wanderings of a Spiritualist (1921). He was a member of the Ghost Club. Founded in London in 1862, its focus was the scientific study of alleged paranormal activities in order to prove (or refute) the existence of paranormal phenomena. Fellow members included Charles Dickens and W.B. Yeats. The present casebook, compiled circa 1919–1921, is an extraordinary artifact from the heart of this period. It contains dozens of entries in Doyle’s hand—records of séances, spirit messages, personal reflections, and notes on occult literature. Among the spirits contacted are “Stella” and “Zeda”; references appear to séances with the celebrated English medium George Vale Owen, and to figures such as Madame Blavatsky, co-founder of the Theosophical Society. Doyle notes spirit communication through planchettes and trances—"Beale had a mirror in which one could see any earth scene he desired”—and records haunting accounts of poltergeist phenomena in Scotland and automatic writing. He observes: "There is a certain analogy between the passing of the body into this world, and the passing of the soul into the next one. That is what is meant when the Bible says "a man must be born again before he can enter the Kingdom of Heaven." The casebook includes summaries from the works by figures like Augustus Le Plongeon (Sacred Mysteries of the Mayas), and vivid anecdotal recollections—one passage capturing a dying man’s final words: “Alf, Alf. I’m through. It is all splendid.” Another describes “a half-mad housemaid” attended to by Dr. Cameron: "He was called in to attend people at Balham. Polter case. A priest was exorcising. He said "Now you will have no more trouble." The rug at once got up & lay over the spirit's head who fled with a yell. The disturbances centred around a half-mad house-maid. Afterwards Cameron was in the house when the maid was thrown out the room...The clothes followed her one by one through the ceiling (!)" The manuscript concludes with botanical notes in Doyle’s hand, concerning spring blossoms, warblers, and flowering thyme. A rare record at the height of Doyle's spiritualist era. PROVENANCE: Sotheby's London, 30 June 1982, Lot 456

View 1 of Lot 1036: Doyle, Arthur Conan, Sir | Autograph psychical casebook from the heart of his spiritualist period

doyle, arthur conan, sir | autograph psychical casebook from the heart of his spiritualist period

da disfare ogni sorte de Maleficii, & da cacciare li Demonii, probato & per un devoto Religioso composto, & novamente stampato. [?Venice, c.1515]

da disfare ogni sorte de Maleficii, & da cacciare li Demonii, probato & per un devoto Religioso composto, & novamente stampato. [?Venice, c.1515] 8vo (151 x 103mm.), 28 leaves, woodcut illustration on title page of a priest chasing demons into the mouth of Lucifer, modern calf gilt

exorcismo mirabile

Science: Books and Manuscripts

Guazzo, Francesco Maria Compendium maleficarum in tres libros distinctum, ex pluribus authoribus... collectum, & pluribus figuris, ac imaginibus perornatum. Milan: heirs of Augusto Tradati (Bernardino Lantoni), 1608 4to (205 x 135mm.), woodcut printer's device on title-page, woodcut armorial on verso of title-page, woodcut initials and headpieces, woodcut illustrations, with final blank, contemporary vellum, occasional light foxing or staining FIRST EDITION of this manual of witchcraft from the Ambrosian cleric Guazzo (or Guaccio), written in around 1605 while he was at the court of Cleves for the trial of a priest accused of bewitching the duke of Jülich-Cleve-Berg. Guazzo is clear that witches fly at night and he explains the various forms of bewitchment, including illnesses both cured and caused. The final book contains liturgical passages to be used for exorcisms. LITERATURE: Norman 951; USTC 4031549 PROVENANCE: Convent of San Francesco a Ripa, Rome, inscription on title-page and faded ink stamp

View 1 of Lot 23: Guazzo | Compendium maleficarum, Milan, 1608, contemporary vellum

guazzo | compendium maleficarum, milan, 1608, contemporary vellum

Antiquarian Books

Liber sacerdotalis Liber sacerdotalis nuperrime ex libris s[an]c[t]e Romane eccl[es]ie et q[uo]rundam aliarum ecclesiarum, & ex antiq[ui]s codicibus apostolicae bibliothece... [compiled by Alberto da Castello]. (Venice: Melchiorre Sessa and Pietro Ravani, 20 July 1523) 4to (213 x 155mm.), title printed in red with a woodcut of the pope presenting a book to a kneeling priest, printed in red and black throughout, woodcut initials and illustrations, typeset music, woodcut Sessa device beneath colophon, with final blank leaf, contemporary calf-backed wooden boards, two clasps, title-page repaired at foot, L1 repaired at upper corner, occasional light damp-staining, binding rubbed with some wormholes, joints cracked, spine chipped, lacking one strap FIRST EDITION of Alberto da Castello's influential compilation of rituals, comprising sacraments (including exorcism), blessings, and processions, including musical instructions. The woodcuts in the text illustrate liturgical ceremonies and episodes from the New Testament. Alberto was in Rome in 1520, preparing the materials for this edition, and the archives record a payment to him of 25 ducats for a printed Pontificale and a manuscript Liber sacerdotalis provided to Leo X (Daniela Fattori, "Frate Alberto da Castello, un domenicano in tipografia", La Bibliofilia 109 (2007), 143-168, pp.146 & 152). Leo provided the privilege for this work on 2 November 1520 but it was not printed until 1523. LITERATURE: Edit16 11931; Sander 3951

View 1 of Lot 141: Liber sacerdotalis, Venice, 1523, contemporary half calf over wooden boards

liber sacerdotalis, venice, 1523, contemporary half calf over wooden boards

Music, Continental Books and Medieval Manuscripts

GUAZZO, FRANCESCO MARIA Compendium maleficarum... in hac autem secunda aeditione ab eodem authore pulcherrimis doctrinis ditatum, exemplis auctum, & remediis locupletarum. Milan: ex Collegii Ambrosiani typographia, 1626 4to (204 x 146mm.), engraved title-page, woodcut initials and headpieces, old vellum, new endpapers, occasional light browning, section of spine repaired ﻿A noted manual of witchcraft from the Ambrosian cleric Guazzo (or Guaccio), written in around 1605 while he was at the court of Cleves for the trial of a priest accused of bewitching the duke of Jülich-Cleve-Berg. This second edition is much explanded to accommodate new information, though much of Guazzo's text is compiled from other similar works. Guazzo is clear that witches fly at night and he explains the various forms of bewitchment. The final book contains liturgical passages to be used for exorcisms.

View 1 of Lot 101: Guazzo, Compendium maleficarum, Milan, 1626, contemporary vellum

guazzo, compendium maleficarum, milan, 1626, contemporary vellum

Compendium Maleficarum, ex quo nefandissima in genus humanum opera venefica, ac ad illa vitanda remedia conspiciuntur... In hac autem secunda editione... auctum... His additus est Exorcismus potentissimus. Milan: Typographia Collegii Ambrosiani, 1626

Compendium Maleficarum, ex quo nefandissima in genus humanum opera venefica, ac ad illa vitanda remedia conspiciuntur... In hac autem secunda editione... auctum... His additus est Exorcismus potentissimus. Milan: Typographia Collegii Ambrosiani, 1626 4to (190 x 135mm.), engraved title, woodcuts, modern vellum, ties, a few quires lightly browned, title-page slightly shaved, A2 repaired

guazzo, francesco maria.

De magicis affectibus lib. VI. medice, stratagemmatice, divine, cum remediis electis, exorcismis, phisicis, ad curiosis. & de nuce Beneventana maga. Naples: J.D. Montanari, 1635

De magicis affectibus lib. VI. medice, stratagemmatice, divine, cum remediis electis, exorcismis, phisicis, ad curiosis. & de nuce Beneventana maga. Naples: J.D. Montanari, 1635 2 parts in one volume, 4to (205 x 146mm.), engraving of Benevento on title-page, woodcut on second title-page, woodcut initials, head- and tailpieces, later half morocco, red edges, first few leaves water-damaged and repaired, several leaves remounted, some spotting throughout, quire K browned

piperno, pietro.

Malleus daemonum, sive quatuor experimentatissimi exorcismi, ex evangeliis collecti. Verona: Bartolommeo Merlo, 1620

Malleus daemonum, sive quatuor experimentatissimi exorcismi, ex evangeliis collecti. Verona: Bartolommeo Merlo, 1620 8vo (150 x 100mm.), title printed in red and black, woodcut initials, contemporary vellum, tear in spine

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