<a href="https://www.sothebys.com/en/search?query=The+Simpsons&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">The Simpsons</a> production <a href="https://www.sothebys.com/en/search?query=animation&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">animation</a> background cel of the family's living room.<ul><li>Fox Studios.</li><li>Hand-painted background cel of the Simpsons' living room.</li><li>Labeled "STD BG - TV Room East," "Downstairs," "The Simpsons."</li><li>This work is presented unframed.</li></ul> Likely used early, potentially in the first season, the background is labeled as 'Std Bg.,' meaning standard background, and was likely used more than once.

The Simpsons Production Animation Background Cel

A <a href="https://www.sothebys.com/en/search?query=production%20animation%20cel&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">production animation cel</a> setup and hand-painted background from the series <a href="https://www.sothebys.com/en/search?query=The%20Simpsons&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Simpsons</a>, featuring the whole family.<ul><li>From Episode 4, "There's No Disgrace Like Home," 1990.</li><li>This work is presented unframed.</li></ul>

The Simpsons Production Animation Cel Setup and Background

A <a href="https://www.sothebys.com/en/search?query=production%20animation%20cel&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">production animation cel</a> setup and drawing of <a href="https://www.sothebys.com/en/search?query=The%20Simpsons&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Simpsons</a>.<ul><li>A hand-painted production cel setup comprised of 4 cels and a matching production drawing.</li><li>From the 1988 season of The Tracy Ullman Show, "Simpsons Christmas" episode.</li><li>This work is presented unframed.</li></ul>

The Simpsons Production Animation Cel Setup and Drawing

The Jay T. Snider Collection of Benjamin Franklin

Benjamin Franklin Works of the Late Doctor Benjamin Franklin: Consisting of His Life Written by Himself, Together With Essays, Humorous, Moral & Literary, Chiefly in the Manner of the Spectator. London: Printed for G. G. J. and J. Robinson, [no date, ca. 1793] 2 volumes, 8vo (173 x 117 mm). Engraved title-pages with portrait vignettes of Franklin in a fur hat, errata at rear of volume 1, both volumes with Benjamin Franklin's "Mr. Franklin" bookplate stenciled on the front flyleaves by his descendant Franklin Bache in 1939; title-pages foxed, occasional light spotting and soiling in the text, a few dog-eared corners, volume 1 with a short tear in the margin of leaf M3, volume 2 with a short marginal tear in leaf B8. Later three-quarter green leather, gilt, green cloth boards, top edge gilt; a few small spots of wear at the joints, spines, and corners. The first edition of this much-improved translation of Franklin's autobiography, the third edition overall, the first issue with the errata leaf present in volume 1. Franklin's original bookplate stencils were acquired by the American Philosophical Society in 1947. REFERENCES ESTC N26015; Ford, Franklin Bibliography, 438 PROVENANCE Dan Stroud (1772–1846; a founder of Stroudsburg, Monroe County, Pennsylvania; ink signature dated 1794) — Simpson Stroud (ink gift annotation, dated 22 December 1814) — Franklin Bache (ink bookplate-stencil of his relative Benjamin Franklin) — S. L. Nicholson (a gift from Frankin Bache, with a tipped-in note in volume 1 and a laid-in note in volume 2 explaining the stencil and with some bibliographic details) — National Book Auctions, 8 October 2016, lot 8340 (undesignated consignor)

View 1 of Lot 148: Benjamin Franklin | The best early edition in English of Franklin's works, with intriguing provenance

benjamin franklin | the best early edition in english of franklin's works, with intriguing provenance

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

Ludwig van Beethoven Autograph sketches for the overture Die Weihe des Hauses ("The Consecration of the House"), op.124 a multi-layered four-page composing manuscript, a sketch-draft for the first section [maestoso and sostenuto], bb.19–50, including the whole of the main theme from the forte restatement, and the following fourteen bars [un poco più vivo], notated in dark brown ink and pencil on two eight-stave systems per page, without instrumental designations, the upper half of the system containing music for violin I and bass, the lower half music for winds, the chief parts entered first in ink, with additional entries and corrections made later in pencil and also in ink with a thicker nib 4 pages, oblong 4to (c. 248 x 310 mm), a bifolium of 16-stave paper, bookplates of Yale University Music Library and Edward Francis Searles to lower pastedown, with a letter signed from Sir George Grove to Arthur Hill, advising that the manuscript be shown to the Beethoven scholar J.S. Shedlock, 4 pages, 8vo, London, 7 June 1893, and an autograph letter by the violinist Joseph Ludwig to Hill, identifying the work, 2 pages, 8vo, Maida Hill, 17 July 1893, mounted on the front pastedown, together with (all loose) autograph letters to Hill by Shedlock, discussing the sketch, 2 pages, 8vo, St John’s Wood, 2 August 1893, and Otto Goldschmidt, discussing the prices of the sketches and other manuscripts to be sold by Messrs. Puttick & Simpson, 4 pages, 8vo, South Kensington, 24 April 1894, an incomplete letter signed by Hill to Searles, congratulating him on his acquisition of the sketch, 2 pages, 4to, [1894], and the catalogue entry for the sketches in the Worshipful Company of Musicians’ Loan Exhibition, June–July 1904 (no.483a), laid down on headed paper of the exhibition committee, binder’s label to front pastedown (“Bound by G.A. Brown & Co. 1 Avery Row New Bond Street…”), mounted at spine to lower cover, late nineteenth-century/early twentieth-century yellow morocco, with black morocco title-piece gilt (“M.S. / Beethoven. Part of a Sketch Book.”) and black and gilt decorative border, [Baden, September 1822], some discolouration to outer pages, light scattered spotting, vertical creases, a few tiny marginal tears THIS IS A SPECTACULAR WORKING MANUSCRIPT FROM BEETHOVEN’S LATE PERIOD. ONCE OWNED BY THE LEGENDARY NINETEENTH-CENTURY SOPRANO JENNY LIND ("THE SWEDISH NIGHTINGALE"), IT HAS NOT BEEN AVAILABLE TO MODERN BEETHOVEN SCHOLARSHIP AND REMAINS UNPUBLISHED. The overture Die Weihe des Hauses is one of only three large-scale works involving orchestra that Beethoven wrote during his final decade, sharing that honour with two of the composer’s greatest masterpieces, the Missa Solemnis and the Ninth Symphony. It was written at breakneck speed at the end of September 1822, while Beethoven was taking the cure at Baden, near Vienna. On 13 September, Beethoven wrote to the publisher C.F. Peters in Leipzig: “And hardly had I arrived here when I met a theatrical manager who is building a theatre in Vienna which he is opening with one of my compositions. So to please him I have had to compose a few new movements”. The theatrical manager was Karl Friedrich Hensler, who planned to celebrate the opening of the rebuilt Theater in der Josefstadt in Vienna on 3 October 1822 (the name day of Emperor Franz I of Austria) with Carl Meisl’s play Die Weihe des Hauses ("The Consecration of the House"), to which were to be adapted the music of Beethoven’s 1811 musical entertainment Die Ruinen von Athen, op.113. In the end, only one new movement was composed, a chorus with solo soprano and violin (WoO 98), together with a new overture (op.124), delivered with only a day to spare before the opening. Beethoven himself conducted the first performance, despite his by then severe hearing loss, gallantly assisted at his right hand by the theatre Kapellmeister Franz Gläser, who also conducted subsequent performances. Beethoven’s self-appointed factotum Anton Schindler led the orchestra as violinist. A moving account of the premiere was left by Gläser in his fragmentarily surviving autobiography: On the day of the premiere of this work, which the celebrated Master [Beethoven] conducted himself, I was assigned at his request to assist him; as he was sadly robbed of his hearing, he could not well do without assistance...I was deeply touched when he suddenly asked me in a painfully agitated voice during the production of the opera to conduct a very difficult recitative in his place. At the next fixed tempo I let him continue, and as he called out, with tears in his eyes, "I cannot hear the words", I took this hint and guided the orchestra during difficult passages, in the ritardandos and accelerandos, and so forth. As was attested later, I had even at one point, unbeknown to myself, held the great Master's hand, until the ship was sailing smoothly on its course again. One might jokingly suppose that I had at this moment conducted the great Master himself. Following its initial performance, which marked Beethoven’s last appearance in public as a conductor, the overture was performed frequently to great acclaim—and most notably at Beethoven’s legendary concert in the Kärntnertortheater in Vienna, on 7 May 1824, which saw in addition the first performance of his Ninth Symphony. This was the famous occasion at which the deaf composer, his back to the audience and unaware of the tumultuous applause, had to be turned round by the contralto Caroline Unger so that he could acknowledge it. No less distinguished than the work’s performance history is the provenance of the manuscript, once belonging to the great nineteenth-century opera singer Jenny Lind, the “Swedish Nightingale”. One of Beethoven’s most exhilarating orchestral works, the overture is at the same time the composer’s thrilling homage to Handel, the musician he revered above all others and whose works he was then actively studying (a forty-volume set of Handel’s works was a treasured possession). Adopting the outline of the Baroque French overture, it consists of a slow introduction—a magnificent 88-bar affair, complete with signature dotted rhythms—followed by an irresistible fugal allegro whose theme, with its fifth-step outline, may have been influenced by a similar fugal theme in the overture to Handel’s Solomon (many years earlier Beethoven had made a string quartet transcription—Hess 36—of the fugue from that overture). The present manuscript documents Beethoven’s attempts at bb.19–50 of the slow introduction. It bears witness to a more advanced stage of Beethoven’s work on the overture than is the case with the other surviving—also unpublished—sketch material, contained in two sketchbooks in Berlin (see below). Here Beethoven sketches in short score on systems of eight staves, with violin I and bass (the latter often heavily corrected in pencil and ink with a thick nib) in the upper half of the system, with melody-carrying parts for winds sketched in the lower half; in the sketchbook Artaria 201, much of the sketching is on two-stave systems. And it is typical of the composer’s working practices that the main theme should achieve its characteristic falling contour and double-dotted rhythm at a later stage still, i.e. in the autograph full score. Especially striking features of the manuscript are the heavy deletions and corrections to the bass part in the first half (this clearly gave Beethoven particular trouble), and the contrasting notation of the wind parts on the final page (the trumpet fanfares in ink, the heroic semiquaver scales for the bassoons in pencil). All other known autograph sources for Die Weihe des Hauses are preserved today in European institutions: the autograph score (Stadtbibliothek, Musiksammlung, Vienna [MH 1896/c]); other sketches contained in the sketchbooks Artaria 201, pp.86-111, and 205/I, pp.5ff., 20-30 (Staatsbibliothek zu Berlin); and a bassoon II part (Beethoven-Haus, Bonn [HCB Mh 29]). In addition to these sources there exist also five scribal scores reviewed by Beethoven (including those in the British Library, London [RPS MS 15], the Schott Verlagsarchiv, Mainz [8a: the first edition Stichvorlage], and the Beethoven-Haus, Bonn [BH 89: made in connection with the first performance]), as well as a set of incomplete scribal parts (Gesellschaft der Musikfreunde, Vienna [XII 7905]), likewise reviewed by Beethoven. The overture was published by Schott in Mainz in 1825, with a dedication to Prince Nikolai Borisovich Galitzin. LITERATURE: Emily Anderson, trans., and ed., The letters of Beethoven, ii (1961), pp.970 and 973–974; F. Lorenz, 'Franz Gläser: Autobiographie—Erinnerungen an Beethoven', Die Musikforschung, xxxi (1978), pp.43–46; Douglas Johnson, Alan Tyson, Robert Winter, The Beethoven Sketchbooks (1985), pp.275, 394–396; Beethoven: Neue Ausgabe sämtlicher Werke, ii/1 (1974), passim; Barry Cooper, ed., The Beethoven Companion (1991), pp.252–255; Ludwig van Beethoven. Thematisch-bibliographisches Werkverzeichnis, i (2014), pp.803ff., especially 808 (source I/1/3) PROVENANCE: In the possession of the singer Jenny Lind (1820–1887), "for more than thirty years" (see above letter of her widower, Otto Goldschmidt); Otto Goldschmidt (1829–1907), until 1894; Edward Francis Searles (1841–1920), Methuen, Massachusetts, from 1894; Yale University Music Library; Christie’s, London, 24 June 1992 (lot 3)

View 1 of Lot 17: Ludwig van Beethoven | Autograph sketches for the overture "Die Weihe des Hauses", op.124, [1822], UNPUBLISHED

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