Original Film Posters 

Unframed: 8 x 10 in. (25 x 20 cm) Framed: 12 1/2 x 14 3/8 in. (31.8 x 36.5 cm) This is the best still on the film as it shows the words 'Love' and 'Hate' tattooed on the fingers of Robert Mitchum. The Night of the Hunter is a classic film noir, directed by Charles Laughton and starring Robert Mitchum, Shelley Winters and Lillian Gish. Mitchum brilliantly plays Harry Powell, a conman and murderer. It is easy to see why he was later chosen to play Max Cady in Cape Fear (1962).

View 1 of Lot 115: The Night of the Hunter (1955), original photographic production still, US

the night of the hunter (1955), original photographic production still, us

the night of the hunter, 1955, united artists, u.s. one-sheet, linen backed,...

night of the hunter

Some Came Running. New York: Scribner’s, [1957]. Cloth-backed boards. Dust jacket; slightly worn at edges, price-clipped. The author’s second book  INSCRIBED on the half-title to the author of The Night of the Hunter (1953): “For cousin Davis Grubb – a man who –despite his protests; whatever – has never done a bad thing, mothers notwithstanding. Love & piece, Jim (J. Jones, novelist).” – The Ice-Cream Headache and Other Stories. [New York]: Delacorte Press, [1968]. Red cloth; ends of spine and fore-corners a trifle rubbed. Dust jacket; spine faded. INSCRIBED on the front free endpaper: “Herb [possibly the writer Herb Gold?] – The English paperback [published by Fontana, the front cover is laid in] had a cover with a cute blonde licking a big ice cream cone & wearing an old-army cuntcap. I guess they sold four times what the Dell edition sold. So we know what’s important, right? Best Jim / James Jones.”

jones, james

The Night of the Hunter. [New York]: Harper, [1953]

grubb, davis

The Library of an English Bibliophile Part VII

i. "Sapper" [H.C. McNeile]. The Lieutenant and Others. London: Hodder and Stoughton, 1915

i. "Sapper" [H.C. McNeile]. The Lieutenant and Others. London: Hodder and Stoughton, 1915ii. Ibid. Knock-Out. London: Hodder and Stoughton, 1933, spine very slightly fadediii. Haggard, H. Rider. Allan and the Ice-Gods. London: Hutchinson, [1927]iv. Sabatini, Raphael. The Hounds of God. London: Hutchinson, [1928]v. Du Maurier, Daphne. My Cousin Rachel. London: Gollancz, 1951vi. Grubb, Davis. The Night of the Hunter. New York: Harper, [1953] all 8vo, FIRST EDITIONS, original cloth, DUST-JACKETS, some jackets with minor wear, but overall good copies

a collection of 6 volumes in dust-jackets, comprising:

Cornell Woolrich (The Black Curtain, 1944; [as William Irish:]Strangler's Serenade, 1951), Davis Grubb (The Night of the Hunter, 1953, in facsimile jacket), W.R. Burnett (Little Caesar, 1929, without jacket; Vanity Row, 1952), Evans, John (Halo in Blood, 1946. presentation copy inscribed by the author ), Robert Reeves (Dead and Done For, 1939, presentation copy inscribed in year of publication to ellyson pope, "that rare thing--a Hollywood lady..."; another copy, without jacket; No Love Lost, 1941), Ed Lacy (Lead with your Left, 1957; ...The Men from the Boys, 1956; Room to Swing, 1957), Thomas B. Dewey (A Sad Song Singing, 1963; The Case of the Chased and the Unchaste, 1959; and seven others by him, two of them first English editions); these all first american editions except where stated, in dust-jackets; together with works by Frederic Brown (9 works), John D. MacDonald (13), Elmore Leonard (6), Ed McBain (19), Robert B. Parker (12), Donald E. Westlake ("Richard Stark": 5), Charles Willeford (4), Lawrence Block (5), Bill Pronzini (15), Jonathan Valin (8), Michael Connelly (5), 21 volumes published by The Mysterious Press, 5 published by Zomba Books, and 32 others, similar; these chiefly first American editions (some English editions), original cloth bindings, dust-jackets; 8vo (179)    

a collection of 179 works, chiefly first editions, by american authors, including

Fine Books & Manuscripts Online

THOMPSON, HUNTER S. An Archive of Material by Hunter S. Thompson — 17 Autograph Letters Signed, 5 Typed Letters Signed, and a collection of notes, faxes, photographs and negatives, newspaper clippings, and additional material; written between 1974-1993, sent to William P. Dixon, a longtime friend of the Author Over 30 pages of autograph correspondence, 5 pages of typed correspondence, 50 pages of faxed correspondence, on various sizes and colors or papers, including HST's letterhead from Rolling Stone Magazine, and letterhead from the White House, United Airlines, Woody Creek Rod & Gun Club, Coconut Grove Hotel, Paul J. Davidson (Private Investigator), Jann Wenner, and Friends of Gary Hart; signed ("H," "HST," "Doc," "Sadia," "Mr. Flood," "J" (for Jann Wenner), "Emil," and more. With additional material, including: Fear and Laughter, Kitchen Sink Enterprises: 1977, letterpress invitation to Thompson's memorial, Napkin printed "Never call 911 | never | this means you | HST," Polaroid signed "Good Luck, H," 11 black and white photographs circa 1970s of Thompson in New Orleans watching TV and eating oysters (with negatives and contact sheet), a handwritten delegate count in anticipation of the 1988 Democratic Primary (in Dixon's hand), and more. Gonzo journalist Hunter S. Thompson on George McGovern, Jimmy Carter, Gary Hart, Bill Clinton, and more. A diverse collection of unpublished correspondence from HST to a longtime friend of the Author Hunter S. Thompson met Bill Dixon in 1972 while he was covering the presidential campaigns of Richard Nixon and George McGovern for Rolling Stone— work which would later be published under the title Fear and Loathing on the Campaign Trail '72. At the time Dixon was managing the McGovern's Wisconsin campaign, and their correspondence, which begins two years after McGovern's loss, includes multiple references to the one-time Democratic hopeful. In their correspondence throughout the 70s and into the 80s, the pair continue to touch on politics and Thompson's writing work, while also discussing everything from weaponry to massage parlors. HST references working on multiple stories for Rolling Stone, including the '76 Florida primary ("It's the only primary on the schedule with a guaranteed weirdness quotient"), and his disastrous '75 trip to Saigon ("I just got back + the whole fucking roof has caved in — madness on all fronts"), where he conducted a series of lengthy interviews with Jimmy Carter, only to lose the tapes (and the story) owing to drunken carelessness. A year later, on a flight from Aspen to New York for the '76 Democratic Convention, HST passes a note to Dixon which reads: "You are right about this soft-core Nazi bastard, Jimmy Carter. He must be stopped — + I think we can do it if we start tonite! — by exposing the degenerates — + you know what that means. Come visit at once — to consult with yr Doctor..." Later correspondence reveals the author's impish sense of humor. In 1985, he writes to Dixon on Jann Wenner's personal stationary posing as Wenner: "I understand you have a project for 1988. What is it? And how can it make me even more powerful, rich, and famous than I already am? I have, as you know, elected the last two presidents. And I don't mind going for three (3)... I love power, Billy, But mainly I love rock & roll". Other correspondence hints that Thompson's teasing may in fact belie a thin skin. Writing of his less than positive portrayal in Gary Trudeau's Doonesburycartoon, Thompson writes:“It may be time to move on this Doonesbury gig – so consider this a serious request that your firm find a mutually-advantageous way to represent me in whatever legal action might result from the possibilities. Please respond ASAP.” In the mid-1980s, when Thompson got a fax machine at Owl Farm, that medium rapidly became his preferred mode of communication. His fax correspondence would often appear in the middle of the night, and a representative sampling includes an annotated article on horse mutilations in England, a copy of a letter sent to Random House's Jim Silberman attempting to negotiate a million-dollar advance for The Silk Road, and numerous missives on his "VULTURES ATTACK FUNERAL — AND EAT THE CORPSE!" letterhead. In keeping with their history, the pair continues to discuss the political scene in America. A 1992 June fax finds Thompson continuing to bemoan the state of American politics: "My TV set is alive with rude politics tonight. Ted Koppel is pimping for the White House again & Bill Clinton is blowing a weak Saxaphone (sic) on the Arsenio Hall show... Jesus! How low, O Lord, how low? Politics has always been an ignoble, knee-crawling spectacle with no visible bottom -- but this is the 90's, and we are growing accustomed to seeing new lows in almost everything." Unpublished political commentary from Dr. Hunter S. Thompson

thompson, hunter s. | an archive of material by hunter s. thompson — 17 autograph letters signed, 5 typed letters signed, and a collection of notes, faxes, photographs and negatives, newspaper clippings, and additional material; written between 1974-1993, sent to william p. dixon, a longtime friend of the author

Fine Books and Manuscripts, Including Americana

Thompson, Hunter S. Archive containing a copy of an early Better Than Sex manuscript, a signed first edition, and accompanying material [ca. 1992-1994] An early manuscript of Better Than Sex. [1992]. 260 photocopied sheets (279 x 216 mm), each in plastic protectors, compiled in a red three-ring binder (292 x 286 mm). Stray staining and creasing to some sheets, likely contemporary to its compilation. Housed in a quarter black morocco clamshell box. — Better Than Sex: Confessions of a Political Junkie Trapped Like a Rat in Mr. Bill's Neighborhood. New York: Random House, 1994. 8vo (240 x 155 mm). Signed on the half-title, numerous illustrations throughout. Publisher's black cloth over black boards, spine and upper board gilt lettered, in original photographic dustjacket with portrait of Thompson on the rear panel; lightly rubbed at tail of spine. Housed in a black quarter morocco clamshell box. [With]: Rolling Stone. Issue 619, 17 September,1992. Side-stapled magazine (304 x 254 mm). Browning. Photographic wrappers; light wear at spine. [And]: Rolling Stone. 14-28 July, 1994. Side-stapled magazine (304 x 254 mm). Browning. Photographic wrappers; light wear at spine, closed marginal tears to front wrapper. Both issues housed in a black slipcase with folding chemise. The material that led to Better Than Sex and a signed first edition The present binder was one of three sent by Thompson to his editor during his drafting of Better Than Sex, as was his custom. Thompson would carefully select content from his working manuscripts, notes, and correspondence, photocopy the original pages at his home, paginate them, compile them into binders, and mail them to the publisher—he would never send the originals, which he kept in his basement. This is presumably the first or second of the three binders, given the content and the dates on various documents. The binder includes photocopies of Thompson's various letterheads, typed drafts, drawings, notes, ideas for the structure of the book, and extensive correspondence—including with Bill & Hillary Clinton, his editor David Rosenthal, Jann Wenner, Ross Perot, P.J. O'Rourke, John Cusak, editors at Playboy and Esquire, among numerous others. The pages contain quintessential Thompson musings—from humorous scrawls containing the genesis of later ideas ("Ho, ho, ho—welcome to Rock & Roll Bubba. We will kick yr lame ass until yr nose bleeds. You won't win two (2) goddamn states! Jesus! Tipper Gore! ... Ho, ho, ho Good ole Bill...Hi. Welcome to Mr. Bill's Neighborhood. Sodomy, weirdness + dumb treachery are seen as Normal here, & don't worry about anything Brutal. Remember I am He, & you're not") to distraught reflections on the state of the world ("We live in hideous times, Jann. The 90's will go down in history as one of thos [sic] nasty little back-waters when bad things happened to dumb people and things went wrong and nobody cared and nobody laughed and Fear was the governing ethic"). Many pages are either executed or annotated in marker with a large, bold hand, showcasing Thompson's stylistic flourishes at every turn. A substantial amount of the content here is unpublished, and reveals a raw, unedited version of the story of Better Than Sex. Though a number pages correspond to their polished counterparts in the book, and Thompson notes the process of drafting the complete manuscript at several points. Pages 221 and 222 list working titles for the manuscript: "Fear and Loathing inside [struck through] on the Campaign Trial '92," "Paranoia | Survival | Victory," "Notes from the Garden of Agony," and "Better Than Sex" boldly circled. On page 223, Thompson writes to his editor David Rosenthal, "In any case, we have made a great leap forward & now we must stomp on the gas. I think we have a book on our hands, here—for more or less Immediate Publication. You should have on yr. fruit-warped desk, by now, some 220 pages of a saga that will soar instantly to the top of the NYTimes list & make us both Wise, Rich & Powerful for the rest of this evil Century. ... The 220 pages that I sent you by FedXp yesterday are only the first wave of a living, throbbing Document ... All we need now is the red thread of Narrative & the unholy climax of Dramatic Tension that will erupt in [struck through] from the bowells [sic] of Arkansas when I journey there in the first week of November to somehow bring back The Story of ELECTION NIGHT IN LITTLE ROCK." Also included are the 17 September 1992 and the 14-28 July 1994 issues of Rolling Stone, which published "Bill Clinton: The Rolling Stone Interview by William Greider, P.J. O'Rourke, Hunter S. Thompson, and Jann S. Wenner" and "Trapped in Mr. Bill's Neighborhood" respectively. We can locate no other examples of Thompson's binders being offered at auction. All together, these offer a singular look into the the gonzo journalist's process.

View 1 of Lot 111: Thompson, Hunter S. | "Right now I'm involved in a Holy War and I think we might win. If not—I'll have a book anyway. But it will have a very ugly ending."

thompson, hunter s. | "right now i'm involved in a holy war and i think we might win. if not—i'll have a book anyway. but it will have a very ugly ending."

L13404

Hunter, Norman. The Incredible Adventures of Professor Branestawm. John Lane, 1933, small 4to, first edition, coloured frontispiece and other illustrations by W. Heath Robinson, original orange cloth lettered in black, dust-jacket, very minor fraying at head of dust-jacket spine--Robinson, W. Heath. The Child’s Arabian Nights. Grant Richards, 1904, small 4to, second edition, 12 coloured plates by W. Heath Robinson, original red cloth-backed pictorial boards, occasional minor tears, browning to endpapers, extremities slightly chipped--Shelley, P.B. The Sensitive Plant. William Heinemann, [1911], small 4to, first edition, 18 plates and other illustrations by Charles Robinson, original parchment lettered and with design in gilt, dust-jacket, professional restoration to dust-jacket spine, minor white paint dots on dust-jacket (3)

collection of three volumes, comprising:

The Jay T. Snider Collection of Benjamin Franklin

Benjamin Franklin Letterpress broadside document signed (“BFranklin”) as Postmaster General of British America, printed on a half-sheet of laid paper (227 x 370 mm; watermarked posthorn | D & C Blauw), [Philadelphia,] 10 January 1764, accomplished in a clerical hand, also signed by the joint Postmaster General (“John Foxcroft”), heraldic red wax seal of the Post Office; browned, rebacked with paper, closing some fold separations and a couple of small holes, with one letter and portions of two others supplied in ink facsimile. Headed “Benjamin Franklin, and John Foxcroft, Esquires, Post-Masters-General of all His Majesty’s Provinces and Dominions on the Continent of North-America,” this appointment reads, “To All to whom these Presents shall come, Greeting, Know ye, That We the said Benjamin Franklin and John Foxcroft, having received good Testimony of the Fidelity, and Loyalty to His Majesty, of Abraham Hunt, of Trenton, in New-Jersey, Gent. and reposing great Trust and Confidence in the Knowledge, Care, and Ability of the said Abraham Hunt, to execute the Office and Duties required of a Deputy Post-Master, have Deputed, Constituted, Authorized, and Appointed, and by these Presents do Depute, Constitute, Authorize, and Appoint the said Abraham Hunt, to be our lawful and sufficient Deputy, to Execute the Office of Deputy Post-Master at Trenton in New-Jersey, aforesaid, to have, hold, use, exercise and enjoy the said Office, with all and every the Rights, Privileges, Benefits and Advantages, to the same belonging, from the Day of the Date hereof for the Term of three Years, unless sooner removed by us, under such Conditions, Covenants, Provisoes, Payments, Orders and Instructions, to be faithfully observed, performed, and done, by the said Deputy, and Servants, as he or they shall, from Time to Time, receive from Us, or by our Order. In Witness whereof, We the said Benjamin Franklin, and John Foxcroft, have hereunto set our Hands, and caused the Seal of our Office to be affixed: Dated the Tenth Day of January, 1764, in the Fourth Year of His Majesty’s Reign.” Of all of his civil posts, Benjamin Franklin was a postmaster for the longest period: he became the postmaster of Philadelphia in 1737 under the British Parliamentary postal system; in 1753 he was appointed one of two Postmasters-General for the North American colonies (first with William Hunter and, after Hunter’s death, with John Foxcroft) and held this post until January 1774, when his growing sympathy for American independence led to his dismissal; and, finally, during a brief sojourn in Philadelphia between long stays in London and Paris, he served as the first Postmaster General of the Unted States from July 1775 to November 1776. Despite his lengthy tenure, postal service appointments signed by Franklin are of the greatest rarity. The Papers of Benjamin Franklin located five colonial post-office commissions signed by Franklin—all in institutional collections—in addition to the present: Thomas Vernon, Newport, Rhode Island, 24 December 1754 (New York Public Library); Woodward Abraham, Marblehead, Massachusetts, 10 April 1758 (American Philosophical Society); Thomas MacKreth, Charles Town, South Carolina, 11 July 1760 (New York Public Library); William Ellery, Hartford, Connecticut, 22 October 1767 (Beinecke Library, Yale); and Philip Skene, Skenesborough, New York, 5 June 1771 (Fort Ticonderoga Museum). Only one example appears in the auction records: Woodward Abraham’s appointment was sold at Charles Hamilton Galleries, 25 March 1971, lot 154. In addition, we have identified two United States post-office commissions signed by Franklin that extended the service of recipients of his colonial appointments: Abraham Hunt, 13 October 1775, is described in the Papers, 11:3–6 (then the property of Theodore Sheldon, Chicago; current location unknown); and William Ellery, 25 September 1775 (sold, Heritage Auctions, 8 August 2025, lot 47072). “Franklin had been appointed joint deputy postmaster general of North America in 1753 and had journeyed as far as New Hampshire and Williamsburg, Virginia, to plot the best postal routes and set up new post offices. Over the next few years he enlarged the reach of the post office north, south, and west, and made mail delivery along the major routes quicker and more frequent. He designed forms for postmasters, instituted home delivery of letters in the cities, advertised uncollected mail, created a dead-letter office, and began delivering newspapers and magazines (and charging for doing so). He was the most entrepreneurial, efficient postmaster America ever had—and the only one under whom the post office ever made a profit” (Lemay). Abraham Hunt was the principal merchant of Trenton and an ardent supporter of the American cause. He was a member of the New Jersey Committee of Correspondence and a lieutenant colonel in the Hunterdon County militia. On Christmas evening, 1776, Hunt entertained at his home, among other guests, Hessian Colonel Johann Rall, who became so engrossed in card playing and general revelry that he paid no attention to a Loyalist informant who tried to warn him of Washington’s planned crossing of the Delaware River. Hunt’s sociability threw him under patriot suspicion, from which he was exonerated, and the Papers note that “Rall enjoyed, somewhat to excess, his Christmas revels the night before Washington’s surprise attack in 1776, and Hunt’s ‘hospitality’ doubtless contributed to the success of the Americans.” Rall was killed during the Battle of Trenton. REFERENCES Papers of Benjamin Franklin, ed. Labaree, 11:3–6; J. A. Leo Lemay, in Benjamin Franklin: In Search of a Better World, pp. 34–36 PROVENANCE Theodore Sheldon, Chicago (credited in Papers)

View 1 of Lot 91: Benjamin Franklin | An appointment for a Deputy Postmaster 

benjamin franklin | an appointment for a deputy postmaster

The Wine Hunter’s Cellar

Château Trotanoy 2016 Pomerol Merlot 95%, Cabernet Franc 5%. In 2021, a complex, multi-dimensional nose - Arabian nights! Full of extraordinary, plummy fruit on the palate, with irony backbone and inimitable class. A giant Trotanoy. Serena Sutcliffe, MW 6 bts (owc) 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。 Image is for Reference only. For bottle condition please refer to cataloguing notes.

View 1 of Lot 7461: Château Trotanoy 2016  (6 BT)

château trotanoy 2016 (6 bt)

Books, Manuscripts and Music from Medieval to Modern 

Martin Luther King, Jr. Why We Can't Wait. New York: Signet Books, 1964 WITH A PRESENTATION INSCRIPTION FROM MARTIN LUTHER KING, JR. to the English author, broadcaster, and parapsychologist Peter Underwood (1923-2014) in pencil to the title-page: "To Mr. Peter Underwood | With Best Wishes | Martin Luther King", first paperback edition, 8vo (180 x 110 mm.), photographic illustrations, original card wrappers, text leaves slightly browned at extremities, lower wrapper with 5mm. closed tear, a very good copy In his autobiography, Underwood recounts how, early on in his career with Dent's publishing house, he was fortunate enough to interview Martin Luther King, Jr., as part of a profile series called "Meet the Author": "Meeting Dr Martin Luther King was [...a] never-to-be-forgotten moment. He sat on a hard chair and talked in a quiet voice, eloquently articulate and delightfully informal. He told me, 'People are often surprised to learn that I am an optimist. They know how often I have been gaoled, how frequently the days and nights have been filled with frustration and sorrow, how bitter and dangerous are my adversaries.' It wasn't long beofre he was tragically assassinated, and how well I remember some of the things he said to me: 'An eye-for-an-eye philosophy eventually leads to everyone being blind...violence creates many more problems than it solves...I have no fear of death...it is not important how long you live but how well you live...' I treasure the copy of his Why We Can't Wait (New American Library, 1964) that he autographed for me" (Underwood, Autobiography of a Ghost-Hunter, p. 179). PROVENANCE: Peter Underwood, by descent to the present owner LITERATURE: Peter Underwood, No Common Task: Autobiography of a Ghost Hunter. London: George G. Harrap & Co., 1983, pp. 178-9.

View 1 of Lot 47: Martin Luther King, Jr. | Why We Can't Wait, 1964, inscribed by Martin Luther King, Jr. to the parapsychologist Peter Underwood

martin luther king, jr. | why we can't wait, 1964, inscribed by martin luther king, jr. to the parapsychologist peter underwood

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

discussing guinea-pigs (‘…The pig in the picture was a short haired guinea pig, who was very anxious to get his hair to grow, and he had misfortunes with it, he used too much hair oil, with dreadful results!’), noting Warnes’ preference to publish stories (‘…I wrote it out in a copy-book with the stories of the “Two Bad Mice” and the “Pie and the Patty Pan”, and the gentleman who prints my books said he liked the other stories best, so the guinea pigs did not get finished…’), mentioning fan letters and autograph hunters (‘…I get so many letters that I keep them until there are a heap, and then I put half of them in the fire! but I shall tie yours up in a bundle with the rest of the nice letters from real boys and girls. I think some of the letters I get are written by grown-ups, who want… an autograph…’), providing details of future books (‘…you must look out for a picture book about a frog next autumn… I think your little sister will like another rabbit story better… a very simple short one…’) and giving details of her pet rabbits and recently deceased hedgehog, 4 pages, Sawrey, 12mo, 6 May 1906, mourning stationery, with remnants of envelope, creases and tears along creases

discussing guinea-pigs (‘…The pig in the picture was a short haired guinea pig, who was very anxious to get his hair to grow, and he had misfortunes with it, he used too much hair oil, with dreadful results!’), noting Warnes’ preference to publish stories (‘…I wrote it out in a copy-book with the stories of the “Two Bad Mice” and the “Pie and the Patty Pan”, and the gentleman who prints my books said he liked the other stories best, so the guinea pigs did not get finished…’), mentioning fan letters and autograph hunters (‘…I get so many letters that I keep them until there are a heap, and then I put half of them in the fire! but I shall tie yours up in a bundle with the rest of the nice letters from real boys and girls. I think some of the letters I get are written by grown-ups, who want… an autograph…’), providing details of future books (‘…you must look out for a picture book about a frog next autumn… I think your little sister will like another rabbit story better… a very simple short one…’) and giving details of her pet rabbits and recently deceased hedgehog, 4 pages, Sawrey, 12mo, 6 May 1906, mourning stationery, with remnants of envelope, creases and tears along creases At the end of the letter Beatrix Potter signs off with two miniature pen and ink sketches of Jeremy Fisher (approximately 20 by 50mm. and 22 by 30mm.) A charming letter which presumably makes reference to The Tale of Tuppenny. Leslie Linder notes that ‘three stories [were] contained in a stiff-covered exercise book inscribed, ‘Hastings, Nov. 26th – Dec. 3rd.’ The stories are Something very very NICE, The Tale of Tuppenny, and The Tale of Hunca Munca or The Tale of Two Bad Mice… [Potter] hoped that Warnes would choose one of them to be published in 1904.’ (see Linder, A History of the Writings of Beatrix Potter, London, 1971, p. 149). It is rare to find a letter from Potter discussing the selection of stories by her publisher. The Tale of Tuppenny would later be rewritten for The Fairy Caravan and, in the early 1920s, Beatrix Potter would call her own pet guinea pig by the name of Tuppenny. Verse (and illustrations) about ‘an amiable guinea-pig’ appeared within Appley Dapply’s Nursery Rhymes in 1917. Potter notes, in this letter, that the model for Tuppenny ‘didn’t belong to me, he belonged to a little girl…’ She neglects to mention that when she borrowed a guinea pig, named Queen Elizabeth, from Miss Paget in 1893 it died during the night and had to be returned to its owner as ‘a damp and disagreeable body’ (see Taylor, Whaley, Hobbs and Battrick, p.159). There are references in the letter to the forthcoming The Tale of Jeremy Fisher (published two months later) and The Story of a Fierce Bad Rabbit (published six months later).

autograph letter signed (“beatrix potter”) to victor clarke

Indian and Southeast Asian Works of Art

As the swiftest of hounds, the saluki commanded special respect in India, and was associated with the royal hunt. Traditionally, the dog is regarded as unclean in both Hindu and Muslim cultures, but the gazelle-like saluki, which was originally bread by the Bedouin Arabs for its speed and endurance, was always an exception.

As the swiftest of hounds, the saluki commanded special respect in India, and was associated with the royal hunt. Traditionally, the dog is regarded as unclean in both Hindu and Muslim cultures, but the gazelle-like saluki, which was originally bread by the Bedouin Arabs for its speed and endurance, was always an exception. According to Hindu myth, the dog was originally created by Brahma who then asked him to find and serve the greatest creature on earth. The dog, understandably, settled upon the elephant as his master. However, when he was rebuked for barking at night, lest he attract the attention of a lion, he realized he had made the wrong choice and decided to serve the lion instead. But the lion in turn complained that his bark would attract a hunter. Finally the dog found its right master, the hunter, who abided his barking without fear of a more powerful creature (Toby Falk, Elephants of Fame and Other Animals in Indian Painting, London, 1988). This large study, possibly from a Rajasthan court, is noteworthy for its focus on the power of the animal. The artist has chosen not to elaborate on surface details such as the animal's coat or collar but to emphasize instead the physical power and presence of the beast. For an earlier, more stylized depiction of a saluki with its keeper, from Mewar, see Daniel Ehnbom, The Ehrenfeld Collection, New York, 1985, pp. 122-23.

a black hunting saluki

gilt-metal verge movement with long fusee, later white enamel dial, roman numerals, the movement housed within a gilt-metal hexagonal case visible through glazed panels, the base applied with metal figures of hunting dogs, deer, boar and a hunter astride a horse, surmounted by a galleried balustrade applied with a painted blackamoor who stands on a later plate and leans on an articulated post with one hand, while the other hand holds a pointer that indicates day and night time on a revolving globe, the blackamoor's head turns in unison with the revolving of the globe, later restoration to case and movement.

a gilt-metal blackamoor automaton clock, 17th century with alterations

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

Shakespeare, William — Alberto Sangorski [illuminator and calligrapher]

Shakespeare, William — Alberto Sangorski [illuminator and calligrapher] Selected Songs from the Plays of William Shakespeare. Colophon in MS: "Was designed, written out, and illuminated by Alberto Sangorski," [1920] Illuminated manuscript on vellum (248 x 199 mm). Four vellum leaves at front, illuminated title with Chandos portrait, 25 numbered pages, 2 unnumbered pages, the majority illuminated in gold and color, featuring 8 large miniatures within extraordinarily elaborate illuminated borders, 5 fine roundels, 4 large historiated initials (a portrait of a young woman, a leaping stag, a scull, and a landscape with a castle tower ), 25 illuminated initials all with burnished gold, 3 flyleaves at back, watered silk guards; some deterioration to guards. Contemporary green morocco bound by Charles J. Sawyer, cover elaborately stamped in gilt, green, and red, with central lyre device, spine with raised bands in six compartments, second gilt-lettered, others with repeat overall decoration in gilt and green, edges gilt, turn-ins elaborately ruled in gilt, with decorative cornerpieces stamped in green, red, and gilt, cream watered silk endleaves; some fading, one small scuff to edge. Signed by Sagnorski in the colophon, following the statement: "This manuscript will not be duplicated" This richly illuminated work was accomplished by Alberto Sangorski, who was relatively late to the world of calligraphy. At the 43, he began to work for his younger brother Francis, half of the famous Sangorski and Sutcliffe bookbinding firm. The present volume richly illustrates songs from some of Shakespeare's most famous plays, including: "Sea Dirge" from The Tempest; "The Hunter's Song" from As You Like It; "Lullaby" from A Midsummer Night's Dream, and many others. A remarkable work, celebrating the Bard's best-loved verses

shakespeare, william — alberto sangorski [illuminator and calligrapher] | a sumptuously illuminated work, celebrating some of shakespeare's best-loved verses

Shakespeare, William — Alberto Sangorski [illuminator and calligrapher] The Potency of Love and Love Sonnets. Colophon in MS: "Was designed, written out, and illuminated by Alberto Sangorski," [1927] Illuminated manuscript on vellum (245 x 195 mm). One vellum leaf at front, illuminated title with Chandos portrait, 20 numbered pages, 2 unnumbered pages, the majority illuminated in gold and color, featuring 4 large miniatures within extravagantly illuminated borders, 1 historiated initial (Tudor home with couple in the foreground), 8 large illuminated initials (featuring intricate flowers and vines), 3 illuminated initials all with burnished gold, 1 leaf at back, silk guards; some minor creasing and spotting to guards. Contemporary red morocco bound by Riviere & Son, upper cover with green, white, and black morocco inlays, profusely stamped in gilt with central laurel device surrounding Shakespeare's initials, jeweled flower cornerpieces, lower cover with blue and black morocco inlays, profusely stamped in gilt with with double gilt rules surrounding gilt crest, spine with raised bands in six compartments, second and third gilt-lettered, others with repeat overall decoration in gilt and green, edges gilt, turn-ins elaborately gilt, cream watered silk endleaves; some deterioration to front free endleaf. House in dark green morocco case lined with velvet and watered silk. Signed by Sangorski in the colophon, following the statement: "This manuscript will not be duplicated" This richly illuminated work was accomplished by Alberto Sangorski, who was relatively late to the world of calligraphy. At the 43, he began to work for his younger brother Francis, half of the famous Sangorski and Sutcliffe bookbinding firm. The present volume richly illustrates songs from some of Shakespeare's most famous plays, including: "Sea Dirge" from The Tempest; "The Hunter's Song" from As You Like It; "Lullaby" from A Midsummer Night's Dream, and many others. A remarkable work, celebrating the Bard's best-loved verses

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