Original Film Posters

THE SOUND OF MUSIC. 20th Century-Fox, 1965.

THE SOUND OF MUSIC. 20th Century-Fox, 1965. UK British Quad poster, linen backed, unframed: 30 x 40 in. (76 x 102 cm).

View 1 of Lot 91: The Sound of Music (1965)

the sound of music (1965)

THE SOUND OF MUSIC. 1965. Quad poster, linen backed, unframed: 30 x 40 in. (76 x 102 cm)

View 1 of Lot 100: The Sound of Music (1965)

Original Film Posters Online

THE SOUND OF MUSIC (1965) POSTER, BRITISH

THE SOUND OF MUSIC (1965) POSTER, BRITISH 30 x 40 in. (76 x 102 cm) Maria von Trapp's memoir The Story of the Trapp Family Singers, about her family during World War II, inspired the 1959 stage musical, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. This film directed by Robert Wise, and starring Julie Andrews and Christopher Plummer, was an adaptation of the stage musical, and features its well-known songs. The film won a total of five Oscars, including Best Film and Best Director, and Irwin Kostal also won Best Music (Scoring of Music – Adaptation or Treatment). To view shipping calculator, please click here

the sound of music (1965) poster, british

The Sound of Music (1965) Poster, US Unframed: 20 x 14 1/4 in. (50.8 x 36.2 cm) Framed: 25 7/8 x 20 in. (65.8 x 50.8 cm) Maria von Trapp's memoir The Story of the Trapp Family Singers, about her family during World War II, inspired the 1959 stage musical, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. This film directed by Robert Wise, and starring Julie Andrews and Christopher Plummer, was an adaptation of the stage musical, and also features its well known songs. The film won a total of five Oscars, including Best Film and Best Director, and Irwin Kostal also won Best Music (Scoring of Music – Adaptation or Treatment).

the sound of music (1965) poster, us

The Sound of Music (1965), poster, British

The Sound of Music (1965), poster, British Unframed: 30 x 40 in. (76 x 102 cm) Maria von Trapp's memoir The Story of the Trapp Family Singers, about her family during World War II, inspired the 1959 stage musical, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. This film — directed by Robert Wise, and starring Julie Andrews and Christopher Plummer — was an adaptation of the stage musical, featuring its well known songs. The film won a total of five Oscars, including Best Film and Best Director, and Irwin Kostal also won Best Music (Scoring of Music — Adaptation or Treatment).

View 1 of Lot 103: The Sound of Music (1965), poster, British

the sound of music (1965), poster, british

young, matthew. an enquiry into the principal phænonema of sounds and musical strings,...

Artistic Luxury: Fabergé, Gold Boxes, Silver & Ceramics

oval, the lid centred with a timepiece with a glazed white enamel dial with Roman numerals, within a rose-cut diamond-set frame, flanked by two smaller jewelled apertures around Catherine wheels over small enamel disks decorated with curved paillon husk bands, on a semi-translucent royal blue enamel ground over sunray engine-turning, framed with a border of twenty-four smaller circular apertures around rose-cut diamond-set spiralling wheels moving in the opposite direction as the Catherine wheels, the apertures enhanced with paler blue paillon tulip and leaf swags and dark blue taille d'épargne sprays and red beads on a gold ground, below an outer rose-cut diamond-set border, the sides decorated with taille d'épargne urns and scrolls alternating with pierced parts to enhance the sound of the music, the base painted en plein with an oval enamel miniature of a classically-dressed young couple at the hunt, their two spaniels nearby, in a gold laurel paillon frame, on a royal blue enamel ground matching that on the lid, within pale blue paillon frame, the outer reeded borders probably formerly enamelled,

oval, the lid centred with a timepiece with a glazed white enamel dial with Roman numerals, within a rose-cut diamond-set frame, flanked by two smaller jewelled apertures around Catherine wheels over small enamel disks decorated with curved paillon husk bands, on a semi-translucent royal blue enamel ground over sunray engine-turning, framed with a border of twenty-four smaller circular apertures around rose-cut diamond-set spiralling wheels moving in the opposite direction as the Catherine wheels, the apertures enhanced with paler blue paillon tulip and leaf swags and dark blue taille d'épargne sprays and red beads on a gold ground, below an outer rose-cut diamond-set border, the sides decorated with taille d'épargne urns and scrolls alternating with pierced parts to enhance the sound of the music, the base painted en plein with an oval enamel miniature of a classically-dressed young couple at the hunt, their two spaniels nearby, in a gold laurel paillon frame, on a royal blue enamel ground matching that on the lid, within pale blue paillon frame, the outer reeded borders probably formerly enamelled, the hinged lid opening to reveal a the musical movement playing two tunes, with fourteen diamond and sapphire Catherine wheels to rim, two larger ones to each side, a fusee movement with engraved plates and cocks, the mechanism stamped with serial no. N 1451, the timepiece in the centre with a Swiss cylinder movement, the cuvette engraved: 'to wind up to the right / to turn the hands', the box with maker's mark II over IB, in a red leather presentation case with tooled inscription 'Dose Jérôme Napoleon', Length 8.8 cm., 3 1/2 in.

View 1 of Lot 47: A Jewelled Gold and Enamel Musical Automaton Snuff Box with Timepiece, Jean-Joseph-Isaac Bellamy, Geneva, circa 1800, the Mechanism by Decombaz & Rich, London 

a jewelled gold and enamel musical automaton snuff box with timepiece, jean-joseph-isaac bellamy, geneva, circa 1800, the mechanism by decombaz & rich, london

Masterworks of Time: Splendours for the East 「時間傑作：西器東傳」

Vienna, Austria A GOLD AND ENAMEL WATCH IN THE FORM OF AN ORIENTAL HARP CIRCA 1830 [維也納製黃金飾琺瑯東方撥弦琴造型懷錶，年份約1830] • Movement: gilded full plate, escapement laterconverted to lever, decoratively pierced and engraved balance bridge, silver regulation plate, fusee and chain • Dial: white enamel, Roman numerals, aperture for winding • Case: gold and enamel in the form of an oriental harp, the case chased and engraved and overlaid with translucent green and red enamels, opaque white enamel banding, the panels interspersed with engraved gold trophies of music, the sound board painted en camïeu in white against a translucent blue enamel ground and with applied diamond-set star and crescent motifs, the curved keyboard with chevron-shaped alternating enamel bands of red, green and white enamel and terminating with a leopard's head length 71mm To view Shipping Calculator, please click here

a gold and enamel watch in the form of an oriental harp circa 1830 [維也納製黃金飾琺瑯東方撥弦琴造型懷錶，年份約1830]

Alfred Stieglitz, Georgia O’Keeffe, Juan Hamilton: Passage 

GEORGIA O'KEEFFE AUTOGRAPH MANUSCRIPT, TITLED IN ANOTHER HAND "ABSTRACT PAINTINGS" 12 pages on ruled white or yellow foolscap (13 1/8 x 8 5/8 in.). [Abiquiu, New Mexico (?), mid-1970s], titled in another hand on accompanying manila file folder; horizontal folds usually 2 in. from lower edge, a few pages made from portions of two sheets taped together. Typed and manuscript transcriptions included. O'Keeffe on abstraction in her art: "In looking through my work there are many abstractions, but in thinking about it and worrying about it, I cannot find a satisfactory definition for the word. (I think the dictionary is hopeless.)" In these notes, O'Keeffe also relates an early experience at Teacher's College, Columbia University. She heard music coming from a studio classroom and discovered that the teacher was having the students paint while listening to "The Song of the Volga Boatmen". "I saw that the teachers had the class drawing and painting lessons from the sound of the music. I was much interested in the idea of making a drawing or painting from the meaning of music.…It was all a new idea to me." Presumably unpublished. PROVENANCE: The artist By descent to the present owner

autograph manuscript, titled in another hand "abstract paintings"

Important Sports Memorabilia and Cards

When Yankee Stadium first opened for business on April 18, 1923, more than 25,000 fans had to be turned away at the gates, though most, sensing the historical significance of the occasion, would linger outside in the cold just to hear the sounds of music and the roar of the crowd. Before the game Babe Ruth said: "I'd give a year of my life if I can hit a home run in the first game in this new park". His wish and that of the tens of thousands in attendance came true. In the third inning the Sultan of Swat christened "The House That Ruth Built" by hammering the first home run in Yankee Stadium history. This exceedingly scarce program, issued for the first game ever played at Yankee Stadium (vs. the Red Sox no less), is partially scored on the interior including period documentation of Ruth's historic third inning home run. The cover and interior pages are fairly clean, however, the cover has split at the spine. Very good condition.

yankee stadium april 18th, 1923 opening day program

Harmonics, or the philosophy of musical sounds. Cambridge: J. Bentham for W. Thurlbourn & T. Merrill etc, 1749

Harmonics, or the philosophy of musical sounds. Cambridge: J. Bentham for W. Thurlbourn & T. Merrill etc, 1749Condition Note: first edition, 4to (223 x 140mm), xv, [i], 292, [14]pp., illustration: 25 folding engraved plates, 3 folding tables attached to M1, N2 and Q6, binding: contemporary calf, 2-line border and spine gilt in compartmentsWe are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.

music--smith, robert (1689-1768).

Daytime Emmy® Award nominee CHRISTY CARLSON ROMANO is the voice of the title character in the first-ever animated Disney Channel Original Movie Disney's Kim Possible Movie: So the Drama, based on the Emmy® Award-nominated series Kim Possible. The series and movie follow the comedic action-adventures of a typical high school girl who, in her spare time, saves the world from evil villains.  Romano also performs an original song, "Could It Be?" for the movie.  Romano also stars as the meticulous Ren Stevens on Disney Channel's Even Stevens, a long-running comedy series which received multiple Emmy® Award nominations.  A gifted performer, Romano landed her first acting job at age seven in a production of "Annie."  Her musical theater work include playing Belle in Disney's Broadway production of "Beauty and the Beast," Hal Prince's Broadway production of "Parade" and the national tours of "The Will Rogers Follies," and "The Sound of Music," opposite Marie Osmond.  Born March 20, Romano resides in Los Angeles with her dog, a French Bulldog named Chewy.

ready for action

When Yankee Stadium first opened for business on April 18, 1923, more than 25,000 fans had to be turned away at the gates, though most, sensing the historical significance of the occasion, would linger outside in the cold just to hear the sounds of music and the roar of the crowd. Before the game Babe Ruth said: "I'd give a year of my life if I can hit a home run in the first game in this new park". His wish and that of the tens of thousands in attendance came true. In the third inning the Sultan of Swat christened “The House That Ruth Built” by hammering a pitch into the right-field bleachers. It was the first home run in Yankee Stadium history. Though it presents well, the program is in very good condition, primarily due to a 3” cover tear and separation at the spine.

The Now & Contemporary Evening Auction

A Legacy Reimagined: Works from the Collection of Dorothy and Roy Lichtenstein

A Legacy Reimagined: Works from the Collection of Dorothy and Roy Lichtenstein Roy Lichtenstein (1923 - 1997) Sound of Music (Study) colored pencil and graphite on paper image: 4 by 4 ¾ in. 10.2 by 12.1 cm. sheet: 4 ½ by 5 ¾ in. 11.4 by 14.6 cm. Executed circa 1963-64.

View 1 of Lot 136: Sound of Music (Study)

sound of music (study)

Fine Books and Manuscripts, Including Americana

[Armadillo World Headquarters] Armadillo World Headquarters sign. [Austin: ca. mid-1970s] Hand-painted sign (overall 16 x 2'). Two equally sized pieces of pinewood (each 8 x 2'), recto painted in black, yellow, red, and green after Jim Franklin's lettering, verso with a piece wood at center for joining the two halves; paint worn from use, with some flaking and loss, but overall bright and intact. The legendary venue that helped to make "Austin Weird" Armadillo World Headquarters was founded in July 1970 after Eddie Wilson, out one night to see a band in South Austin, stumbled upon—whether by chance or fortune—an empty 16,000 square-foot building with a ready-made stage. It had originally been a National Guard armory and the rent was cheap. Wilson put together a small team, and just three and half weeks later, the Armadillo World Headquarters opened its doors—forever changing the Austin music scene. The venue was named due to the local artist and founding Armadillo crewmember Jim Franklin's affinity for the animal. Franklin, who studied at the San Francisco Art Institute prior to returning to his native Texas, was known in Austin for his surrealistic paintings and poster art, which frequently and prominently featured armadillos. Franklin worked with musicians at the Vulcan Gas Company—another significant psychedelic club in Austin—before Wilson recruited him and other Vulcan veterans for his new undertaking. The present sign was executed by Don Cowley, an Armadillo crew member, and was based on Franklin's lettering in his promotional art—which itself mimicked the font on the packaging for Camel cigarettes—and hung above the entrance to the venue's beer garden, welcoming the crowds. The venue was beloved for its community, sound, and environment—and known for its leniency around drug use, which attracted the psychedelic contingent in Austin. As a result, it brought together disparate groups of people in the area for the first time: hippies and country aficionados found themselves together at the same place to drink Lone Star and see live music. The venue was a hot-bed for touring artists, as it proudly featured a wide-range of genres. It became the essential stop in Texas for musicians on the road, and nearly every monumental band of the period performed on its stage; over the decade in which it operated, the Armadillo featured The Clash, James Brown, Elvis Costello, Ramblin' Jack Elliot, Fats Domino, Talking Heads, New Riders of the Purple Sage, The Jerry Garcia Band, John Lee Hooker, Charles Mingus, Ray Charles, Herbie Hancock, John Fahey, Bruce Springsteen, and The Ramones, to list but a few of its incredible roster. Further, the Armadillo was the epicenter for what came to be called "The Austin Sound"—a mixture of country and rock defined the city as an epicenter of live music. One of the musicians most responsible for the development of that sound, and for the Armadillo's success as a cultural melting pot, was none other than Willie Nelson. After struggling in Nashville during his early career, Nelson retired from music in 1972 and moved down to Austin. There, he was revitalized by the burgeoning hippie scene centered around the Armadillo, and began to play music at small bars near Austin to local fans. He played his first night at the Armadillo in April 1973: "The Armadillo leaders and staff were uncertain how the concert would go. With clouds of marijuana smoke always pungent in the place ... hippies mingled with Willie's redneck fans. But any hostility between the two audiences evaporated as they were swept up in the spell of Willie's jazz-inflected singing and his playing of a battered Martin's guitar in a style he called Spanish" (Reid 79). Nelson began inviting his musician friends in Nashville down to Austin, contributing significantly to the country and rock convergence that came to be known as the "Armadillo" and "Austin" sound. While the Armadillo was in some senses wildly successful—receiving national coverage in Rolling Stone, Time, and beloved by musicians—it financially struggled throughout the decade. The lot that the venue was on had been for sale for almost its entire career; in 1980, a buyer finally came forward, and the land was sold for $1.4 million dollars. The crew scrambled to find another location, but by that time Austin had already transformed, and they were unable to find another venue suitable to their needs that they could afford. Reconciled to closing its doors, "the Dillo went out with a bang. Devo and Roy Orbison played separate nights in August; Leon Redbone and Asleep at the Wheel in September; and James Cotton, Frank Zappa, and Doc and Merle Watson in October. Talking Heads played the week before Thanksgiving; Arlo Guthrie on Thanksgiving night; and on the last night of the month, Robert Shaw, the great Austin barrelhouse pianist, played a farewell boogie-woogie. John Hartford kicked off the first weekend of December, followed by Rockpile on Friday, and Taj Mahal and Townes Van Zandt on Saturday" (Wilson 383). Weeks of incredible shows continued until New Year's Eve—the venue's last night, with a sendoff show by Commander Cody and His Lost Planet Airmen, Asleep at the Wheel, and Maria Muldaur, attended by 1,500 Armadillo devotees. The building was demolished in January 1981, but its legacy forever changed the Texas music landscape. The venue was immortalized in Gary P. Nunn's "London Homesick Blues," the theme song to Austin City Limits from 1977 to 1999: "I wanna go home with the armadillo / Good country music from Amarillo and Abilene / The friendliest people and the prettiest women you've ever seen." “One way to measure the good times at the Armadillo is in gallons of beer: only the Astrodome sold more draft Lone Star Beer than we did. That’s right, the famed 44,500-seat domed stadium, often referred to in those days as the ‘Eighth Wonder of the World,’ was the only joint in the Lone Star State that moved more kegs of LSB than our 1,500-capacity hippie music emporium” (Wilson 5). A singular piece of Austin music history REFERENNCE: Photographs © Alan Pogue; Reid, Jann with Shawn Sahm. Texas Tornado. Austin: University of Texas Press, 2010; Wilson, Eddie and Jesse Sublet Armadillo World Headquarters: A Memoir. Austin: TSSI Publishing & University of Texas Press, 2017

View 1 of Lot 118: [Armadillo World Headquarters] | The Dillo's hand-painted sign

[armadillo world headquarters] | the dillo's hand-painted sign

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:

Important Manuscripts, Continental Books and Music 

DELIUS, FREDERICK Autograph manuscript of an unknown work for orchestra, probably c.1912-1916 an incomplete working pencil draft (marked "...ruhiger"), the full score notated on up to twenty staves per page, with parts specified for oboe, cor anglais, bassons, harp, celesta, horns, trombones, bass sarrusophone, tympani and strings, with many alterations, deletions and revisions throughout, the music moving through rapidly changing metres, beginning in 3/4 (11 bars), alternating with 4/4, and then with 3/2 and 6/4, incomplete at the end, 12 pages, folio (34 x 27cm), 3 nested bifolios, 20-stave paper ("B.C. no.6"), no date [probably c.1912-1916] It seems likely that this manuscript contains an early draft of a mature work that eventually took on a different form, since the distinctive thematic material does not survive in any of Delius's known works. An approximate dating for this manuscript is suggested by the fact that the same 20-stave paper is used for a draft for 'On Hearing the First Cuckoo in Spring' (1912): see Threlfall, A Supplementary Catalogue (1986), pp.177-179; D. Grimley, Delius and the Sound of Place (2018), p.23. Delius's Dance Rhapsody no.2 (1916) could be one candidate; it uses a celesta although not the sarrusophone (Dance Rhapsody no.1 does). Delius calls for this double-reed brass instrument in several works dating from The Magic Fountain (1893) until Poem of Life and Love (1918), but it became hard to find such large bass instruments during the First World War.

f. delius. autograph working manuscript of an unknown work for orchestra (probably c.1912-1916)

Fine Books and Manuscripts Online

"HAIL! COLUMBIA"﻿ The favorite new Federal Song Adapted to the Presidents March. [Philadelphia: B. Carr's Musical Repository, 1798] 2 engraved music sheets (13 x 9 1/4 in.; 330 x 235 mm). First leaf with a mounted engraved roundel portrait of President John Adams centered on the title above the inscription "Behold the Chief who now commands!"; disbound, some browning and offsetting, minor marginal chipping far outside plate-marks. The very rare first issue of "Hail! Columbia," America's first national song and until the late nineteenth century, the de facto national anthem of the United States. We have only been able to trace one other copy of the first issue, in the Music Division, Library of Congress. The tune of "Hail! Columbia" was adapted from "The President's March" (sometimes called "Washington's March"), which was composed Philip Phile, a German-born violinist who played in various New York theaters and orchestras. His march was first performed in Trenton, New Jersey, on 21 April 1789, as president-elect George Washington made his way from Mount Vernon to New York for the nation's first presidential inauguration. The music was published by 1793 and was widely known shortly thereafter. The lyrics, by Joseph Hopkinson, were not added until 1798, and the song was popularized by the singer-actor Gilbert Fox. Hopkinson's lyrics reference Washington both explicitly ("Sound sound the trump of fame | Let Washingtons great name | Ring thro the world with loud applause"; stanza 3) and, seemingly, implicitly ("Behold the Chief who now commands | Once more to serve his Country stands"; stanza 4), so it is not surprising that copies of the sheet music are known with a portrait of the first, rather than the second, president. In fact, for a century and half after the song first appeared, only the issue with Washington's portrait was known, apart from a very few copies of a variant that bore an engraving of the federal eagle. In a brilliantly prescient article from the beginning of the twentieth century, Oscar Sonneck, head of the Music Division, Library of Congress and a pioneering bibliographer of secular music, argued that there ought to exist a first issue of "The favorite new Federal Song" with a portrait of John Adams. Sonneck's contention was that when Carr first advertised this edition of "Hail! Columbia" in the 27 April 1798 issue of Philadelphia's Porcupine's Gazette as "ornamented with a very elegant Portrait of the President," the president was in fact John Adams. The song was advertised to be published on 30 April and was advertised as actually published on 2 May. On 4 July 1798, with the foment of the Quasi-War with France dominating national affairs, President Adams asked George Washington to again accept a commission as Commander in Chief of the United States military, and it was only after this date, Sonneck posited, that Carr would have issued the sheet music with Washington's portrait above the legend "Behold the Chief who now commands!" Sonneck's surmise was proven correct by the subsequent appearance of at least two copies, including the present, of the first edition of "Hail! Columbia" with a portrait of President John Adams. More recently, Myron Gray, who views the song as supporting Federalist interests, has claimed that Sonneck's contention that "Hail! Columbia" was a non-partisan patriotic song needs revision, but he fully accepts Sonneck's granting primacy of publication to the Adams issue of the song. REFERENCES Oscar Sonneck, "The First Edition of 'Hail Columbia,'" in The Pennsylvania Magazine of History and Biography 40 (1916): 426–35; Myron Gray, "A Partisan National Song: The Politics of “Hail Columbia” Reconsidered," in the online journal Music & Politics 11 (2017)

"hail! columbia" | the favorite new federal song adapted to the presidents march. [philadelphia: b. carr's musical repository, 1798]

Books, Manuscripts & Music, from Medieval to Modern

A partial bifolium from a Gradual (Sanctorale) with St Gall neumes

A partial bifolium from a Gradual (Sanctorale) with St Gall neumes on vellum, in Latin, (Germany, possibly Franconia or Bavaria), mid-11th century 304 × 272 mm; a partial bifolium from a Gradual (Sanctorale), written in a Carolingian minuscule in brown and black ink with interlinear neumes, 20 lines of text, three large red initials (3 lines high), and red rubrication denoting the different parts of the liturgy, 20 lines of text and adiastematic neumes (heightened); fragment cut to shape for use as a pastedown, the upper fifth discoloured from having been glued down. AN ATTRACTIVE FRAGMENT FROM A GERMAN GRADUAL, PRESERVING CHANTS IN THE ST GALL TRADTION OF EARLY MUSICAL NOTATION PROVENANCE 1. Made for a German monastery, probably in Franconia or Bavaria, in the mid-11th century, as suggested by the script, the St Gall type neumes, and the inclusion of the feasts of Saint Processus and Saint Martinianus and especially Saint Kilian, who was particularly revered in Würzburg, Franconia, eastern Francia, and the wider Bavarian ecclesiastical sphere. COMMENTARY This fragment is a fine witness to the proliferation of St Gall style neumatic notation within the wider eastern Frankish region, which included centres such as St Gall, Reichenau, Regensburg, Salzburg, Würzburg, and, later, Bamberg. Though clearly influenced by the St Gall tradition, the manuscript was almost certainly not produced in the St Gall scriptorium itself, but rather in a regional monastic centre in the sphere of influence of St Gall. The notation is adiastematic, recording melodic rise and fall without fixing the exact pitch. The St Gall tradition is set apart from other early musical notational systems as it recorded not only basic neumes but additional information that conveyed nuances of rhythm, the sound of particular consonants, vocal inflection, and delivery. It was an ingenious system of capturing music before a standardised framework was agreed and bridged the gap between oral knowledge transmission and codification. This distinguished St Gall neumes from other regional neumatic scripts. Medieval Europe did not have one single system of chant notation, but a plethora of local “dialects.” Some traditions — like the French notations, e.g. Messine, Breton, and Aquitanian — often broke melodic movement into more visibly distinct steps on the page. By contrast, St Gall notation tended to preserve neumes more compact, rather than separating them into graphical units. The result is a notation that appears fluid and calligraphic — a singer’s memory manifested on the page. The neumes are regular and carefully formed, with fluid calligraphic curves and slightly right-leaning virgae, features characteristic of the St Gall family of notation. The long red horizontal separators are also typical of Germanic liturgical manuscripts. The musical notation is applied crisply and confidently, revealing the work of a practised and competent scribe belonging to a solid regional monastic production. The text belongs to an abbreviated monastic Sanctoral gradual, or local excerpt collection, arranged for the celebration of particular saints’ feasts. Especially significant is the presence of St Kilian, whose prominence helps to localises the manuscript within the sphere of Franconia and eastern Francia. In doing so, the fragment offers valuable evidence both for regional chant transmission and for the adaptation of the St Gall notational model beyond its original institutional centre. TEXT The fragment encompasses portions of a Sanctorale Gradual containing chants for the feasts of Saint Processus and Saint Martinianus (2 July), the Octave of the Apostles, Saint Kilian and his companions (8 July), and the Seven Brothers (Septem Fratres). SCRIPT AND MUSIC The text is written in a regular Carolingian minuscule of the mid-11th century. The letterforms include a closed g, a consistently single-compartment a, and the use of both the Tironian note and the ampersand for et; u appears both in rounded form and as v. The script also preserves the e-caudata, a feature of chronological importance, since this form is generally replaced by the simple e in the 12th century. Together, these characteristics support a date in the mid-11th century. The musical notation belongs to the adiastematic St Gall family of the East Frankish/Alemannic type. As such, it does not indicate exact pitch, but rather the movement and contour of the chant. The notation’s clear execution, slightly slanted virgae, and rhythmic visual articulation fit with the broader eastern Frankish tradition of chant books transmitted through monastic centres in southern Germany and adjacent regions. With its clean notation and decorative red separators, the leaf is a beautiful example of a Franconian take on the St Gall tradition of musical notation. LITERATURE Floros, Constantin. The Origins of Western Notation. Revised and translated by Neil Moran. New York: Peter Lang, 2011. University of Basel. “Close-up on St Gall Neumes.” In From Ink to Sound: Early Forms of Musical Notation. Accessed June 18, 2026. University of Basel. “Notational Systems: The Chart of Neumes.” In From Ink to Sound: Early Forms of Musical Notation. Accessed June 18, 2026.

View 1 of Lot 18: A partial bifolium from a Gradual (Sanctorale) with St Gall neumes, on vellum, in Latin, (Germany, possibly Franconia or Bavaria), mid-11th century

a partial bifolium from a gradual (sanctorale) with st gall neumes, on vellum, in latin, (germany, possibly franconia or bavaria), mid-11th century

Books, Manuscripts and Music from Medieval to Modern

Friedrich von Gentz. Important archive of around 350 autograph letters and billets, signed ("Gentz"; "G"), mostly to his mistress Countess Eleonore Fuchs, CONCERNING EVENTS OF THE NAPOLEONIC WARS, THE CONGRESS OF VIENNA AND HIS PRIVATE LIFE, c.1812-1831, APPARENTLY UNPUBLISHED many of the letters long and highly detailed, REFERRING TO EVENTS IN THE NAPOLEONIC WARS, discussing the Battles of Vitoria [21 June 1813] and Bautzen [20-21 May 1813], providing details of the campaign against Napoleon in 1814, describing Napoleon's defeat at the Battle of Laon [9-10 March 1814], giving her the latest news on the eve of the Congress of Vienna, relating that the opening has had to be delayed on account of Lord Castlereagh, who was unable to leave London, and noting that the Tsar has solemnly promised to be in Vienna by the end of September, commenting on the last days of the Congress, where he has had no time for himself, despite having got up at seven every day, explaining that he is looking forward to the end of the entertaining he has to do following the close of the Congress, when for him a beautiful time will begin, if this hope is not perhaps also a dream, mentioning many of the notable political and social personalities of the day, including Metternich, Talleyrand, Wellington, Wallmoden, and members of the Austrian nobility, such as Palffy, Dietrichstein, Woyna, Esterházy, Gallenberg, Lobkowitz, Zichy, Waldstein, Ficquelmont, Countess Fekete, and others, reporting the news of Kotzebue's murder, alluding to the Russo-Turkish War ("Ich bin zu froh, ein Paar Seiten schreiben zu können, ohne dieses fatale Thema zu berühren..."), referring to the painter [Sir Thomas] Lawrence and a portrait of himself, informing her that yesterday (2 May [1820]) was his birthday, adding that that was a secret that now no one else in the world knows, confiding matters of a private nature, making appointments, asking her advice, making arrangements for receptions and meetings, providing invitation lists, noting the current craze for all things Russian, describing his feelings for the singer Giuditta Pasta, assessing the character of the newly-elected Pope Leo XII [1823-1829], DISCUSSING IN A NUMBER OF LATE LETTERS THE LAST GREAT LOVE OF HIS LIFE, THE BALLERINA FANNY ELSSLER, praising Paris as the most beautiful city in the world, compared to which the 'physiognomy' of London appears like 'a richly decorated grave', describing the sights and sounds of the city, including the red frock coats of the English [gentlemen] and the barbaric grooming customs of the English women, asking her to send on some books of his, including a biography of Goethe, which he has read a third of, recounting social events at Princess (Eleonore) Metternich's, asking her advice regarding the guest-list for a dinner he is hosting, opening his heart to her ("Mein Vorsatz war, sie gestern zu besuchen, um Ihnen eine Erklärung (une déclaration) zu machen, weil ich vorgestern von Ihrer Sch[ö]nheit und Liebenswürdigkeit ganz ausser mir war..."), saying that he would like to see her every day, giving poetic expression to his feelings after an apparent rebuff from her by quoting a verse of Voltaire ("On meurt deux fois, je le [vois] bien, / Cesser d'aimer et d'etre aimable / C'est une mort insupportable..."), noting how beautiful his garden is, commiserating with her on her suffering, explaining that he too is basically unhappy, chained as he is to his writing desk, gossiping about social contacts ("Unter den sonderbaren Leuten, die bey diesem Diner war, findet sich auch ein gewisser Duc de Dalberg. Ob dieser nicht vielleicht dem Prinzen sehr zuwider ist, wage ich nicht zu bestimmen..."), lamenting his shortsightedness, which means he can no longer recognize people in a crowd, some late letters expressing his melancholy, revealing his low state of mind and bitterness concerning his current position ("Was man die Gesellschaft nennt, ist mir heute noch mehr zuwider, als in den Jahren meiner langen Abgeschiedenheit von der Welt...jetzt aber bin ich in einer Art von Kriegesstand mit mehrern meiner sogenannten Freunde..."), some letters originally enclosing gifts (books, flowers, etc.), one letter quoting from Shakespeare's Macbeth ("Ich bin ins Blut so tief gewatet..."), discussing the troubles of her brother, referring to volumes by Casanova, matters concerning the theatre, his travels, and many other topics ...es ist diese Nacht ein Courier der Staatskanzley mit...Nachrichten angekommen. Napoleon war am 9ten bey Laon...geschlagen worden..., fast das ganze Corps von Marmont, mit Verlust vieler Menschen und Kanonen, gesprengt, Nap. am 11ten in grossem Gedränge auf dem Rückzug nach Soissens. St. Priest hatte Rheims mit Sturm genommen. Augereau wurde bey Macon geschlagen...Hier herrscht eine grosse Bestürzung über die Wendung, welche die sachen genommen haben...der Congress ist, weil Lord Castlereagh jetzt London nicht verlassen kann, auf 6 Wochen verschoben; der Kayser von Russland kommt für jetzt nich nach Wien, sondern geht über Berlin nach Petersburg zurück, hat aber aufs feyerlichste versprochen, sich zu Ende September in Wien einzufinden...Sie wissen, das die Abreise des F[ürst] M[etternich] und der übrigen Cabinets-Minister bis auf den Montag verschoben ist. Diese letzten Tage des Congresses sind nun für mich noch die härtesten, und ob ich gleich seit 8 Tagen jeden Morgen um 7 Uhr aufstehe, komme ich doch kaum einen Augenblick mehr zu mir selbst. Da aber das Ende sehr nah ist vertrage ich dies mit grosser Resignation......Stellen Sie sich vor, dass am 23ten v. Kotzebue zu Mannheim von einem mit der Post angekommenen Fanatiker, der ihm ein Papier überreichte, erstochen worden ist. Gleich darnach hat der Thäter sich selbst erstochen...Der neu-erwählte Pabst scheint, nach allem was ich bisher über ihn habe einsammeln können, ein sehr frommer, sehr gelehrter, dabey Welt-erfahrner, mit den Grossstädten und den fremden Ländern (er war 15 u. mehrere Jahre in Deutschland) sehr vertrauter, und überdies noch, wie man versichert, höchst liebenswürdiger Mann zu seyn. Er ist 62 Jahre alt, und von einer schönen Figur...Letzte Abend war die längst erwartete und ersehnte Copulation...Kommen Sie hübsch Samstag am halb 9 oder 9 Uhr zu mir, und gehen Sie nachher in die Kirche!...Ich bete Sie un Himmels Willen nur nicht auszugehen. Ich habe Ihnen die notwendigst[en] Dinge zu sagen. In einer kleinen halben Stunde...Ich habe gestern Abend mit einer Stummen (nicht von Portici, sondern von Wien) -- in ihren Augen mehr Beredsamkeit liegt, als im Munde vieler Coquetten --Ecarté gespielt...auch höre ich, dass Sie bey Albert Unterricht im Tanzen nehmen wollen. Ich sah den grossen Mann, und sein hässliches Töchterchen gestern Abend, Mir ist aber der kleine Zehe der Fanny Esler lieber als die ganze Dlle Albert...Ich sah Fanny nach dem Theater, und schöpfte aus ihren lieblichen Blicken und freundschaftlichem Reden und vernünftigen Ermahnungen, einiges Gegengift für meine tiefe Melancholie... including: 6 AUTOGRAPH LETTERS SIGNED TO JOSEPH ANTON VON PILAT (1782-1865), the political writer and one-time private secretary to Metternich, mentioning Castlereagh, discussing matters of religion, including a dispute with Count Palffy concerning the church, mentioning disturbing events in Peru, the fall of Tripolitsa, and other matters, APPARENTLY UNPUBLISHED, 12 pages, one letter apparently 1821, another 1831; one autograph letter signedby Gentz to his one-time mistress Baroness Eybenberg, 2 pages, no date; AND AN AUTOGRAPH MANUSCRIPT OF A SHORT ESSAY ATTACKING NAPOLEON'S ONE-TIME SECRETARY DOMINIQUE-GEORGES-FRÉDÉRIC DUFOUR DE PRADT [Schlesier, v, pp.90ff.; final page of the manuscript apparently unpublished], 7 pages, 4to, ties, no place or date, first leaf becoming detached around 650 pages in all, various sizes, many gilt-edged, a few letters with autograph address-panels, one in pencil, most letters in German, a few in French, c.7 in French addressed "ma chère Reine" etc., a few twentieth-century transcriptions, with an undated 1-page letter signed by Marie d'Agoult to an unnamed correspondent, Vienna, Paris, Carlsbad, Gastein, Pressburg, c.1812-1831, where indicated, browning to a few letters, a few with seal tears and remains of seal, a few letters splitting along folds, some creasing, a few small tears PROBABLY THE MOST IMPORTANT COLLECTION OF LETTERS BY GENTZ EVER OFFERED AT AUCTION. THE ARCHIVE WOULD APPEAR TO BE LARGELY UKNOWN AND UNPUBLISHED. The statesman and political writer Friedrich von Gentz (1764-1832) is perhaps best-known today as the guiding force behind the Congress of Vienna (1814-1815), the highly consequential meeting of European great powers convened to reshape the continent after the turmoil of the Napoleonic Wars. Following eight years' service in the Prussian civil service, in the course of which he published widely on political and historical questions (earning the epithet from Napoleon of "wretched scribe"), as well as acquiring an invaluable proficiency in French and English, Gentz moved to Vienna, where in 1812 he became the Austrian chancellor Prince Metternich's right-hand man. But the master diplomat and man of letters, as this correspondence shows, was very much also a creature of flesh and blood. Gentz's relations with women were complicated and numerous (he abandoned and divorced his wife on leaving Berlin), and often recorded in frank detail in his diaries to the discomfiture of later readers. The present letters are addressed to his long-term mistress Countess Maria Eleonora Fuchs, née von Gallenberg (1876-1842), the sister-in-law of Beethoven's former piano pupil Julie Guicciardi, for whom the composer had entertained amorous feelings around 1801-1802. Only occasionally indiscreet, they are the highly informative record of an important and long-lasting friendship. A number of the later letters here shed light on a late personal relationship between Gentz and the celebrated ballet dancer Fanny Elssler (1810-1884), forty-six years his junior, whom he had met in 1829. She became something of a consolation to him in his somewhat embittered final years, after his falling-out with Metternich in 1830, living with him in his palace in the Weinhaus district of Vienna until his death in June 1832. A notable feature of some of the letters in this collection is the juxtaposition of Gentz's narration of world-changing events with homely tokens of affection for his correspondent. Thus in a letter from March 1814 Gentz relates the breathless details of a dispatch concerning Napoleon's defeat at Laon, only to sign off "this for breakfast from your admirer". And in a letter written on 19 June 1815, the day after the Battle of Waterloo resulted in the final defeat of Napoleon, amidst descriptions of attending and hosting social events for the great and the good, the event uppermost in the mind of the master diplomat was the shocking news that his correspondent had possibly broken her leg. LITERATURE: Gustav Schlesier (ed.), Schriften von Friedrich von Gentz, v (1840), pp.90ff.; Karl Mendelssohn-Bartholdy, ed., Briefe von Friedrich Gentz an Pilat, i and ii (1868)

View 1 of Lot 124: Friedrich von Gentz | Archive of c.350 autograph letters and billets mostly to his mistress Countess Fuchs, c.1812-1831, apparently unpublished

friedrich von gentz | archive of c.350 autograph letters and billets mostly to his mistress countess fuchs, c.1812-1831, apparently unpublished

Charles Dickens Autograph manuscript chapter outline of David Copperfield 2 pages, text on rectos only, small 8vo (182 x 113mm), on a single bifolium of light blue laid paper (watermarked "Towgood's Extra Super"), blind-stamped in lower margin, [1855-61], previously folded,slight wear at folds A UNIQUE INSIGHT INTO HOW DICKENS ENVISIONED HIS "FAVOURITE SON" ADAPTED FOR PUBLIC RECITAL. Dickens had to pare down his narrative significantly in order to adapt it into a reading of under 2 hours, and he wrote in January 1855 of the "huge difficulty" he faced when "separat[ing] the parts as to tell the story of David's married life with Dora, and the story of Mr. Peggotty's search for his Niece, within the time" (letter to Arthur Ryland, 29 January 1855, in Letters, Vol.7, p.515). Most of Dickens's reading texts condensed a short story in its entirety, honed in on a single key episode, or provided a focused character study, but his adaptation of David Copperfield was more complex: "with Copperfield he was trying to do all three [...] encompassing a developing narrative (the story of Emily and Steerforth) [...] some of the famous characters (the Micawbers, Mr Peggotty) [...] and [...] strong single episodes (most notably the storm at Yarmouth) [...] the organization of the Reading is masterly. Dickens had shaped the narrative into a series of striking scenes, finely adapted for performance—"a series of tableaux", as one reviewer put it" (Andrews, Charles Dickens and his Performing Selves, pp.87-90) Dickens organised his reading into five and later into six chapters, and the current text is a summary of the latter version: "Chapter I. Copperfield (a young man of 19 or 20) takes his friend Steerforth to the old boat where Mr Peggotty lives, and introduces Steerforth to Little Emily. It is foreshadowed in this chapter, that Steerforth admires her in a profligate way, and begins to form designs upon her. Chapter II. Copperfield goes alone to the old boat, to pass with the family, the last evening of Little Emily's single life; because she has engaged herself to be married to Ham (Mr Peggotty's nephew) that day fortnight. Ham suddenly brings the news that she has eloped with Steerforth - a last letter from her is read - and Mr Peggotty sets forth to seek her "through the world". Chapter III. Copperfield describes his love for Dora, and the dinners that he gave to Mr and Mrs Micawber and Traddles. Chapter IV. Mr Peggotty returns from his search, unsuccessful, and relates where he has been in France and Italy. Chapter V. Copperfield describes how he made proposals to Dora - how be married Dora - and what their little ménage was. Chapter VI. Describes the storm at Yarmouth, in the words of the book, and the Death of Steerforth." Dickens subtly alters the novel's sequence of events, so that "David's falling in love with Dora and the meal with the Micawbers are placed after the news of Emily's elopement", thereby creating an "appealing symmetry" in the narrative structure between the sacred love of David and Dora, on the one hand, and the profane love of Steerforth and Emily, on the other hand (see Andrews). It is also notable that Dickens ends this revised narrative structure on a tragic apotheosis, with the storm at Yarmouth and Steerforth's untimely death (to be recounted faithful "to the words of the book"), as opposed to with David's happy marriage, as had been the case at the end of the novel. The adaptation came to be Dickens's favourite public reading. It was physically exhausting but Dickens was thrilled by its powerful effect. The potency of the reading's climax - the fatal storm at Yarmouth - was vividly recalled by those fortunate enough to hear Dickens read: "Listening to that Reading, the very portents of the coming tempest came before us!—the flying clouds in wild and murky confusion, the moon apparently plunging headlong among them, “as if, in a dread disturbance of the laws of nature, she had lost her way and were frightened,” the wind rising “with an extraordinary great sound,” the sweeping gusts of rain coming before it “like showers of steel,” and at last, down upon the shore and by the surf among the turmoil of the blinding wind, the flying stones and sand, “the tremendous sea itself,” that came rolling in with an awful noise absolutely confounding to the beholder! In all fiction there is no grander description than that of one of the sublimest spectacles in nature. The merest fragments of it conjured up the entire scene—aided as those fragments were by the look, the tones, the whole manner of the Reader. (Charles Kent, Charles Dickens as a Reader (1872), p.35) LITERATURE: E.W.F. Tomlin, 'Newly Discovered Dickens Letters', Times Literary Supplement, 22 February 1974, 183-186; Charles Dickens: The Public Readings, ed. Philip Collins (1975), p.215; Malcolm Andrews, Charles Dickens and his Performing Selves (2007), pp. 87-90 PROVENANCE: Ernest Legouvé (1807-1903), thence by descent to Jean Paladilhe

View 1 of Lot 301: Charles Dickens | Autograph manuscript chapter outline of David Copperfield

charles dickens | autograph manuscript chapter outline of david copperfield

Friedrich von Gentz Important archive of around 350 autograph letters and billets, signed ("Gentz"; "G"), mostly to his mistress Countess Eleonore Fuchs, CONCERNING EVENTS OF THE NAPOLEONIC WARS, THE CONGRESS OF VIENNA AND HIS PRIVATE LIFE, c.1812-1831, APPARENTLY UNPUBLISHED many of the letters long and highly detailed, REFERRING TO EVENTS IN THE NAPOLEONIC WARS, discussing the Battles of Vitoria [21 June 1813] and Bautzen [20-21 May 1813], providing details of the campaign against Napoleon in 1814, describing Napoleon's defeat at the Battle of Laon [9-10 March 1814], giving her the latest news on the eve of the Congress of Vienna, relating that the opening has had to be delayed on account of Lord Castlereagh, who was unable to leave London, and noting that the Tsar has solemnly promised to be in Vienna by the end of September, commenting on the last days of the Congress, where he has had no time for himself, despite having got up at seven every day, explaining that he is looking forward to the end of the entertaining he has to do following the close of the Congress, when for him a beautiful time will begin, if this hope is not perhaps also a dream, mentioning many of the notable political and social personalities of the day, including Metternich, Talleyrand, Wellington, Wallmoden, and members of the Austrian nobility, such as Palffy, Dietrichstein, Woyna, Esterházy, Gallenberg, Lobkowitz, Zichy, Waldstein, Ficquelmont, Countess Fekete, and others, reporting the news of Kotzebue's murder, alluding to the Russo-Turkish War ("Ich bin zu froh, ein Paar Seiten schreiben zu können, ohne dieses fatale Thema zu berühren..."), referring to the painter [Sir Thomas] Lawrence and a portrait of himself, informing her that yesterday (2 May [1820]) was his birthday, adding that that was a secret that now no one else in the world knows, confiding matters of a private nature, making appointments, asking her advice, making arrangements for receptions and meetings, providing invitation lists, noting the current craze for all things Russian, describing his feelings for the singer Giuditta Pasta, assessing the character of the newly-elected Pope Leo XII [1823-1829], DISCUSSING IN A NUMBER OF LATE LETTERS THE LAST GREAT LOVE OF HIS LIFE, THE BALLERINA FANNY ELSSLER, praising Paris as the most beautiful city in the world, compared to which the 'physiognomy' of London appears like 'a richly decorated grave', describing the sights and sounds of the city, including the red frock coats of the English [gentlemen] and the barbaric grooming customs of the English women, asking her to send on some books of his, including a biography of Goethe, which he has read a third of, recounting social events at Princess (Eleonore) Metternich's, asking her advice regarding the guest-list for a dinner he is hosting, opening his heart to her ("Mein Vorsatz war, sie gestern zu besuchen, um Ihnen eine Erklärung (une déclaration) zu machen, weil ich vorgestern von Ihrer Sch[ö]nheit und Liebenswürdigkeit ganz ausser mir war..."), saying that he would like to see her every day, giving poetic expression to his feelings after an apparent rebuff from her by quoting a verse of Voltaire ("On meurt deux fois, je le [vois] bien, / Cesser d'aimer et d'etre aimable / C'est une mort insupportable..."), noting how beautiful his garden is, commiserating with her on her suffering, explaining that he too is basically unhappy, chained as he is to his writing desk, gossiping about social contacts ("Unter den sonderbaren Leuten, die bey diesem Diner war, findet sich auch ein gewisser Duc de Dalberg. Ob dieser nicht vielleicht dem Prinzen sehr zuwider ist, wage ich nicht zu bestimmen..."), lamenting his shortsightedness, which means he can no longer recognize people in a crowd, some late letters expressing his melancholy, revealing his low state of mind and bitterness concerning his current position ("Was man die Gesellschaft nennt, ist mir heute noch mehr zuwider, als in den Jahren meiner langen Abgeschiedenheit von der Welt...jetzt aber bin ich in einer Art von Kriegesstand mit mehrern meiner sogenannten Freunde..."), some letters originally enclosing gifts (books, flowers, etc.), one letter quoting from Shakespeare's Macbeth ("Ich bin ins Blut so tief gewatet..."), discussing the troubles of her brother, referring to volumes by Casanova, matters concerning the theatre, his travels, and many other topics ...es ist diese Nacht ein Courier der Staatskanzley mit...Nachrichten angekommen. Napoleon war am 9ten bey Laon...geschlagen worden..., fast das ganze Corps von Marmont, mit Verlust vieler Menschen und Kanonen, gesprengt, Nap. am 11ten in grossem Gedränge auf dem Rückzug nach Soissens. St. Priest hatte Rheims mit Sturm genommen. Augereau wurde bey Macon geschlagen...Hier herrscht eine grosse Bestürzung über die Wendung, welche die Sachen genommen haben...der Congress ist, weil Lord Castlereagh jetzt London nicht verlassen kann, auf 6 Wochen verschoben; der Kayser von Russland kommt für jetzt nicht nach Wien, sondern geht über Berlin nach Petersburg zurück, hat aber aufs feyerlichste versprochen, sich zu Ende September in Wien einzufinden...Sie wissen, das die Abreise des F[ürst] M[etternich] und der übrigen Cabinets-Minister bis auf den Montag verschoben ist. Diese letzten Tage des Congresses sind nun für mich noch die härtesten, und ob ich gleich seit 8 Tagen jeden Morgen um 7 Uhr aufstehe, komme ich doch kaum einen Augenblick mehr zu mir selbst. Da aber das Ende sehr nah ist vertrage ich dies mit grosser Resignation......Stellen Sie sich vor, dass am 23ten v. Kotzebue zu Mannheim von einem mit der Post angekommenen Fanatiker, der ihm ein Papier überreichte, erstochen worden ist. Gleich darnach hat der Thäter sich selbst erstochen...Der neu-erwählte Pabst scheint, nach allem was ich bisher über ihn habe einsammeln können, ein sehr frommer, sehr gelehrter, dabey Welt-erfahrner, mit den Grossstädten und den fremden Ländern (er war 15 u. mehrere Jahre in Deutschland) sehr vertrauter, und überdies noch, wie man versichert, höchst liebenswürdiger Mann zu seyn. Er ist 62 Jahre alt, und von einer schönen Figur...Letzte Abend war die längst erwartete und ersehnte Copulation...Kommen Sie hübsch Samstag am halb 9 oder 9 Uhr zu mir, und gehen Sie nachher in die Kirche!...Ich bete Sie un Himmels Willen nur nicht auszugehen. Ich habe Ihnen die notwendigst[en] Dinge zu sagen. In einer kleinen halben Stunde...Ich habe gestern Abend mit einer Stummen (nicht von Portici, sondern von Wien) -- in ihren Augen mehr Beredsamkeit liegt, als im Munde vieler Coquetten --Ecarté gespielt...auch höre ich, dass Sie bey Albert Unterricht im Tanzen nehmen wollen. Ich sah den grossen Mann, und sein hässliches Töchterchen gestern Abend, Mir ist aber der kleine Zehe der Fanny Esler lieber als die ganze Dlle Albert...Ich sah Fanny nach dem Theater, und schöpfte aus ihren lieblichen Blicken und freundschaftlichem Reden und vernünftigen Ermahnungen, einiges Gegengift für meine tiefe Melancholie... including: 6 AUTOGRAPH LETTERS SIGNED TO JOSEPH ANTON VON PILAT (1782-1865), the political writer and one-time private secretary to Metternich, mentioning Castlereagh, discussing matters of religion, including a dispute with Count Palffy concerning the church, mentioning disturbing events in Peru, the fall of Tripolitsa, and other matters, APPARENTLY UNPUBLISHED, 12 pages, one letter apparently 1821, another 1831; one autograph letter signed by Gentz to his one-time mistress Baroness Eybenberg, 2 pages, no date; AND AN AUTOGRAPH MANUSCRIPT OF A SHORT ESSAY ATTACKING NAPOLEON'S ONE-TIME SECRETARY DOMINIQUE-GEORGES-FRÉDÉRIC DUFOUR DE PRADT [Schlesier, v, pp.90ff.; final page of the manuscript apparently unpublished], 7 pages, 4to, ties, no place or date, first leaf becoming detached around 650 pages in all, various sizes, many gilt-edged, a few letters with autograph address-panels, one in pencil, most letters in German, a few in French, c.7 in French addressed "ma chère Reine" etc., a few twentieth-century transcriptions, with an undated 1-page letter signed by Marie d'Agoult to an unnamed correspondent, Vienna, Paris, Carlsbad, Gastein, Pressburg, c.1812-1831, where indicated, browning to a few letters, a few with seal tears and remains of seal, a few letters splitting along folds, some creasing, a few small tears PROBABLY THE MOST IMPORTANT COLLECTION OF LETTERS BY GENTZ EVER OFFERED AT AUCTION. THE ARCHIVE WOULD APPEAR TO BE LARGELY UKNOWN AND UNPUBLISHED. The statesman and political writer Friedrich von Gentz (1764-1832) is perhaps best-known today as the guiding force behind the Congress of Vienna (1814-1815), the highly consequential meeting of European great powers convened to reshape the continent after the turmoil of the Napoleonic Wars. Following eight years' service in the Prussian civil service, in the course of which he published widely on political and historical questions (earning the epithet from Napoleon of "wretched scribe"), as well as acquiring an invaluable proficiency in French and English, Gentz moved to Vienna, where in 1812 he became the Austrian chancellor Prince Metternich's right-hand man. But the master diplomat and man of letters, as this correspondence shows, was very much also a creature of flesh and blood. Gentz's relations with women were complicated and numerous (he abandoned and divorced his wife on leaving Berlin), and often recorded in frank detail in his diaries to the discomfiture of later readers. The present letters are addressed to his long-term mistress Countess Maria Eleonora Fuchs, née von Gallenberg (1876-1842), the sister-in-law of Beethoven's former piano pupil Julie Guicciardi, for whom the composer had entertained amorous feelings around 1801-1802. Only occasionally indiscreet, they are the highly informative record of an important and long-lasting friendship. A number of the later letters here shed light on a late personal relationship between Gentz and the celebrated ballet dancer Fanny Elssler (1810-1884), forty-six years his junior, whom he had met in 1829. She became something of a consolation to him in his somewhat embittered final years, after his falling-out with Metternich in 1830, living with him in his palace in the Weinhaus district of Vienna until his death in June 1832. A notable feature of some of the letters in this collection is the juxtaposition of Gentz's narration of world-changing events with homely tokens of affection for his correspondent. Thus in a letter from March 1814 Gentz relates the breathless details of a dispatch concerning Napoleon's defeat at Laon, only to sign off "this for breakfast from your admirer". And in a letter written on 19 June 1815, the day after the Battle of Waterloo resulted in the final defeat of Napoleon, amidst descriptions of attending and hosting social events for the great and the good, the event uppermost in the mind of the master diplomat was the shocking news that his correspondent had possibly broken her leg. LITERATURE: Gustav Schlesier (ed.), Schriften von Friedrich von Gentz, v (1840), pp.90ff.; Karl Mendelssohn-Bartholdy, ed., Briefe von Friedrich Gentz an Pilat, i and ii (1868)

View 1 of Lot 65:    Friedrich von Gentz | Archive of c.350 autograph letters and billets mostly to his mistress Countess Fuchs, c.1812-1831, apparently unpublished

A collection of three leaves containing neumatic notation in the influential St Gall style

A collection of three leaves containing neumatic notation in the influential St Gall style The three fragments at hand are fine witnesses to the tradition of St Gall neumes developed during the 10th century. St Gall neumes are among the most influential forms of early medieval musical notation. Developed to guide the singing of liturgical chant before the standardisation of the fixed ruled staff in the 16th century, St Gall neumes belong to the earliest forms of Western notation; in their diastematic or “heightened” form, they register relative melodic rise and fall without fixing the exact pitch. The St Gall tradition is set apart from other early musical notational systems as it recorded not only basic neumes but additional information that conveyed nuances of rhythm, the sound of particular consonants, vocal inflection, and delivery. It was an ingenious system of capturing music before a standardised framework was agreed and bridged the gap between oral knowledge transmission and codification. Medieval Europe did not have one single system of chant notation, but a plethora of local “dialects.” Some traditions — like the French notations, e.g. Messine, Breton, and Aquitanian — often broke melodic movement into more visibly distinct steps on the page. By contrast, St Gall notation tended to preserve neumes more compact, rather than separating them into graphical units. The result is a notation that appears fluid and calligraphic — a singer’s memory manifested on the page. The present leaves — one from a Breviary for Holy Week, the others from a Missal for the period between Easter and Pentecost — show this notation in use across different liturgical books and demonstrate the far-reaching sphere of influence of the Abbey of St Gall. 1. A partial leaf from a noted Breviary, in Latin, manuscript on vellum (Eastern France, Alsace?), early 13th century A HANDSOME LEAF FROM A NOTED BREVIARY WITH READINGS AND HYMS FROM PALM SUNDAY TO EASTER MONDAY c.440 × 260 mm, 2 columns of 36 lines written in brown ink in an early formal Gothic bookhand, St Gall diastematic (heightened) staffless neumes, rubrics in red, large initials alternately red or blue, smaller initials touched in red, one elaborate line-filler in red ink; recovered from a binding and consequently trimmed, creased, and stained, the number “862” across the middle where the spine would have been, a few holes. PROVENANCE 1. Ludwig Rosenthal Antiquariaat, Hilversum, acquired in May 1986 by: 2. Bernard Rosenthal (1920–2017). Acquired in 1989 by: 3. Schøyen Collection, MS 209/1. TEXT The leaf contains readings, prayers, and hymns for the Divine Office from Palm Sunday to Monday of Holy Week, beginning in Bede’s Homilia XXIII for Palm Sunday: “(Sed invidorum corda pri)ncipum in cunctis” to the reading from Jeremias for Monday of Holy Week: “et iustitiam in terra. Hec enim placent (mihi ait Dominus).” 2. Two consecutive leaves from a noted Missal, in Latin, manuscript on vellum (Germany), early 14th century TWO HANDSOME LEAVES FROM A GERMAN NOTED MISSAL, FORMERLY IN THE COLLECTION OF DR GEORGE SALT c. 200 × 150 mm, two leaves, 2 columns of 31 lines written in dark brown ink in a Gothic bookhand, late diastematic (heightened) staffless St Gall neumes (Early German neumes), rubrics in red, initials alternately in red or blue, contemporary foliation in red “cxxi” and “cxxx”, second leaf with gathering signature in red; recovered from a binding and consequently somewhat stained and soiled. PROVENANCE 1. Dr George Salt, Cambridge, his MSS 12 and 13. Descriptions in his hand bound in with the leaves. 2. Sotheby’s, 17 December 1991, lot 7e. 3. Schøyen Collection, MS 1547. TEXT The leaves include text for the 5th Sunday after Easter, the following Rogation Day, and the Vigil of Pentecost, with readings, offertories, secrets, collects, etc., the first leaf beginning “scire debet quoniam qui converti fecerit peccatorem ab errore” to “et converterit quis eum (scire debet)”; the second leaf beginning “(Ora primum tu pro nobis virgo mater germinis et ministry) patris summi ordines angelici” and ending “Scripsit Moyses canticum (et docete).” Taken together, these fragments were attractive witnesses to the refinement, geographical and cultural reach, and enduring legacy of the St Gall neumatic tradition. LITERATURE Floros, Constantin. The Origins of Western Notation. Revised and translated by Neil Moran. New York: Peter Lang, 2011. University of Basel. “Close-up on St Gall Neumes.” In From Ink to Sound: Early Forms of Musical Notation. Accessed June 18, 2026. University of Basel. “Notational Systems: The Chart of Neumes.” In From Ink to Sound: Early Forms of Musical Notation. Accessed June 18, 2026.

View 1 of Lot 16: A collection of three leaves containing neumatic notation in the influential St Gall style, on vellum, in Latin 

a collection of three leaves containing neumatic notation in the influential st gall style, on vellum, in latin

LoveEMC Charity Auction

Virtual Session with Patrick Moxey, President of Ultra Music

Virtual Session with Patrick Moxey, President of Ultra Music Patrick Moxey is not just a music executive; he’s a man behind a movement. The President and founder of Ultra Records, Ultra Music and Ultra International Music Publishing is by all accounts a visionary pioneer who has pushed past barriers to bring hip-hop and electronic dance music into the mainstream heart of America where it squarely sits in 2020. Executive Producer of three GRAMMY Award-winning records, Moxey is now focused primarily on the electronic dance music scene, which is topping the dance and pop charts via tracks such as Steve Aoki’s’ collaboration with BTS “Waste It On Me,” Sofi Tukker’s “Best Friend,” Kygo’s “It ain't me,” MK’s “17” and others. Without Moxey and Ultra Music, the sound that has captured young U.S.music fans’ hearts and minds might never have happened. Today, Ultra Music with offices in New York, Los Angeles and London, boasts 40 full time employees and affiliated operations in Canada, France, Germany, Sweden, Russia, Asia and Italy. However, the label started out small and was always (and remains) a personal obsession of one man who loved dance music before it was considered “cool” in cities and the suburbs alike. In the early 90’s, Patrick founded Payday Records. There, the music executive signed rappers like Jeru the Damaja, UTD (featuring Mos Def), as well as the biggest name in the rap game, Jay-Z, to Payday/Polygram. From there, Moxey went on to Virgin, serving as the Senior VP of A&R for EMI’s Virgin Records America, where he signed successful acts such as N.E.R.D, Kelis and Beenie Man. However Moxey’s heart was always in dance music, which in 1996 led him to start his own independent label Ultra Records. Ultra did the first DJ mixes available on Apple Music Ultra iDance, Ultra iTrance, pushed for deadmau5 to perform on the Grammy Awards and secured David Guetta and Calvin Harris’ first Top 40 airplay. Over the past 10+ years, major sales milestones came fast and furious for Ultra as major media outlets and major labels sat on the sidelines as the EDM revolution quietly churned in American cities large and small. In 2018 Ultra Records certified in the USA 13 Platinum records, 17 Gold records, in Canada 19 Platinum and 15 Gold records, Latin America 18 Platinum and 8 Gold records, Internationally 5 Diamond, 64 Platinum, and 50 Gold records. “Our publishing company has become an amazing creative place for artists and songwriters,” Moxey said of Ultra Music’s growing publishing division. “Ultra Publishing now includes songs with Drake, Kanye West, Eminem, Future, Madonna, Rihanna, Katy Perry, James Arthur and many more.” Ultra’s operation now includes recording studios in LA, London, and Stockholm. Ultra Publishing recently partnered with BMI for 2019 Global Songwriter Camps in Stockholm, Coachella, Amsterdam, Palm Springs, and London. Moxey has further expanded his presence in electronic dance music by creating new partnerships.The label has an official YouTube channel, which is one of Google’s Select an area to comment on largest music channels worldwide with over 18 million subscribers and over 10 billion views. Ultra’s artists are working with Revlon, Guess Jeans, Bulova, and other luxury brands. Patrick Moxey had the vision and determination to help build hip-hop into the mainstream in the early 1990’s and do the same with EDM in America from the fringe underground to become the premier music and lifestyle phenomenon that it is today. At the same time he will continue innovating into the future as the man who against all odds and despite the naysayers, was a key part of bringing dance music to the forefront in the U.S. where it belongs.

virtual session with patrick moxey, president of ultra music

Charles Dickens Autograph manuscript chapter outline of David Copperfield 2 pages, text on rectos only, small 8vo (182 x 113mm), on a single bifolium of light blue laid paper (watermarked "Towgood's Extra Super"), blind-stamped in lower margin, [1855-61], previously folded,slight wear at folds A UNIQUE INSIGHT INTO HOW DICKENS ENVISIONED HIS "FAVOURITE SON" ADAPTED FOR PUBLIC RECITAL. Dickens had to pare down his narrative significantly in order to adapt it into a reading of under 2 hours, and he wrote in January 1855 of the "huge difficulty" he faced when "separat[ing] the parts as to tell the story of David's married life with Dora, and the story of Mr. Peggotty's search for his Niece, within the time" (letter to Arthur Ryland, 29 January 1855, in Letters, Vol.7, p.515). Most of Dickens's reading texts condensed a short story in its entirety, honed in on a single key episode, or provided a focused character study, but his adaptation of David Copperfield was more complex: "with Copperfield he was trying to do all three [...] encompassing a developing narrative (the story of Emily and Steerforth) [...] some of the famous characters (the Micawbers, Mr Peggotty) [...] and [...] strong single episodes (most notably the storm at Yarmouth) [...] the organization of the Reading is masterly. Dickens had shaped the narrative into a series of striking scenes, finely adapted for performance—"a series of tableaux", as one reviewer put it" (Andrews, Charles Dickens and his Performing Selves, pp.87-90) Dickens organised his reading into five and later into six chapters, and the current text is a summary of the latter version: "Chapter I. Copperfield (a young man of 19 or 20) takes his friend Steerforth to the old boat where Mr Peggotty lives, and introduces Steerforth to Little Emily. It is foreshadowed in this chapter, that Steerforth admires her in a profligate way, and begins to form designs upon her. Chapter II. Copperfield goes alone to the old boat, to pass with the family, the last evening of Little Emily's single life; because she has engaged herself to be married to Ham (Mr Peggotty's nephew) that day fortnight. Ham suddenly brings the news that she has eloped with Steerforth - a last letter from her is read - and Mr Peggotty sets forth to seek her "through the world". Chapter III. Copperfield describes his love for Dora, and the dinners that he gave to Mr and Mrs Micawber and Traddles. Chapter IV. Mr Peggotty returns from his search, unsuccessful, and relates where he has been in France and Italy. Chapter V. Copperfield describes how he made proposals to Dora - how be married Dora - and what their little ménage was. Chapter VI. Describes the storm at Yarmouth, in the words of the book, and the Death of Steerforth." Dickens subtly alters the novel's sequence of events, so that "David's falling in love with Dora and the meal with the Micawbers are placed after the news of Emily's elopement", thereby creating an "appealing symmetry" in the narrative structure between the sacred love of David and Dora, on the one hand, and the profane love of Steerforth and Emily, on the other hand (see Andrews). It is also notable that Dickens ends this revised narrative structure on a tragic apotheosis, with the storm at Yarmouth and Steerforth's untimely death (to be recounted faithful "to the words of the book"), as opposed to with David's happy marriage, as had been the case at the end of the novel. The adaptation came to be Dickens's favourite public reading. It was physically exhausting but Dickens was thrilled by its powerful effect. The potency of the reading's climax - the fatal storm at Yarmouth - was vividly recalled by those fortunate enough to hear Dickens read: "Listening to that Reading, the very portents of the coming tempest came before us!—the flying clouds in wild and murky confusion, the moon apparently plunging headlong among them, “as if, in a dread disturbance of the laws of nature, she had lost her way and were frightened,” the wind rising “with an extraordinary great sound,” the sweeping gusts of rain coming before it “like showers of steel,” and at last, down upon the shore and by the surf among the turmoil of the blinding wind, the flying stones and sand, “the tremendous sea itself,” that came rolling in with an awful noise absolutely confounding to the beholder! In all fiction there is no grander description than that of one of the sublimest spectacles in nature. The merest fragments of it conjured up the entire scene—aided as those fragments were by the look, the tones, the whole manner of the Reader. (Charles Kent, Charles Dickens as a Reader (1872), p.35) LITERATURE E.W.F. Tomlin, 'Newly Discovered Dickens Letters', Times Literary Supplement, 22 February 1974, 183-186; Charles Dickens: The Public Readings, ed. Philip Collins (1975), p.215; Malcolm Andrews, Charles Dickens and his Performing Selves (2007), pp. 87-90 PROVENANCE Ernest Legouvé (1807-1903), thence by descent to Jean Paladilhe

View 1 of Lot 248: Charles Dickens | Autograph manuscript chapter outline of David Copperfield

Music

entitled in another hand "offener MusikBrief" ["open music letter"]; outlining the tendency of modern criticism to judge a work not by its worth but by its musical 'direction', discussing three components of neo-expressionism, harmony, hysteria and temperamental gestures, concluding that the harmonic structure of all neo-expressionists sounds alike, that hysteria is maintained by the obstinate repetition of one or more sounds using the 'highest of the high and the lowest of the low sounds' and that temperamental gestures appear mainly in orchestral works, where a pseudo-polyphony imparts a feeling of still further restlessness; as an illustration of his arguments, Busoni relates an anecdote concerning Stravinsky's disparagement of classical composers, outlines the requirements of a new harmony - strict instruction and a sovereign mastery of melody - and repudiates the criticism which his book Entwurf einer neuen Ästhetik der Tonkunst has attracted ("...Mit Freiheit der Form meinte ich nie Formlosigkeit, mit Einheit der Tonart nicht eine unlogische und ziellose Kreuz und Quer Harmonik...") ; in the unpublished original ending to the letter Busoni cites the contents of a communication addressed to him by twelve young admirers ("eine Gruppe erlesener junger Männer") in praise of Busoni's support for 'timeless modern music" ("zeitlos junge Werke") 

entitled in another hand "offener MusikBrief" ["open music letter"]; outlining the tendency of modern criticism to judge a work not by its worth but by its musical 'direction', discussing three components of neo-expressionism, harmony, hysteria and temperamental gestures, concluding that the harmonic structure of all neo-expressionists sounds alike, that hysteria is maintained by the obstinate repetition of one or more sounds using the 'highest of the high and the lowest of the low sounds' and that temperamental gestures appear mainly in orchestral works, where a pseudo-polyphony imparts a feeling of still further restlessness; as an illustration of his arguments, Busoni relates an anecdote concerning Stravinsky's disparagement of classical composers, outlines the requirements of a new harmony - strict instruction and a sovereign mastery of melody - and repudiates the criticism which his book Entwurf einer neuen Ästhetik der Tonkunst has attracted ("...Mit Freiheit der Form meinte ich nie Formlosigkeit, mit Einheit der Tonart nicht eine unlogische und ziellose Kreuz und Quer Harmonik...") ; in the unpublished original ending to the letter Busoni cites the contents of a communication addressed to him by twelve young admirers ("eine Gruppe erlesener junger Männer") in praise of Busoni's support for 'timeless modern music" ("zeitlos junge Werke")  7 pages, 4to (28 x 21.8cm), numerous autograph corrections and cancellations, some autograph entries in pencil, some annotations apparently by the recipient, [Berlin], 17 January, 1922, central fold 

celebrated autograph letter signed ("ferruccio busoni"), in german, a late musical manifesto on harmony, to the editor of melos fritz-fridolin windisch, the ending apparently unpublished 

Music and Continental Books and Manuscripts

first edition, 51 pages, oblong 4to (c.23.3 x 33cms), engraved throughout, publisher's aquatint title-wrapper (by Lale after Lips), illustrated with angels, bound with works by J. Woelfl (Sonate), and Chr Weysse (Allegri di bravura), Nägeli ([12...7] Suite du Répertoire des Clavecinistes), 1803-1804, 3 volumes in one, quarter calf, owner's red-gilt label ("Sine Wandel") , [Kinsky p.79; Hoboken 170; Hirsch iv 1012], some foxing, binding worn but sound 

first edition, 51 pages, oblong 4to (c.23.3 x 33cms), engraved throughout, publisher's aquatint title-wrapper (by Lale after Lips), illustrated with angels, bound with works by J. Woelfl (Sonate), and Chr Weysse (Allegri di bravura), Nägeli ([12...7] Suite du Répertoire des Clavecinistes), 1803-1804, 3 volumes in one, quarter calf, owner's red-gilt label ("Sine Wandel") , [Kinsky p.79; Hoboken 170; Hirsch iv 1012], some foxing, binding worn but sound  The autograph manuscript of Beethoven's Sonatas Op.31 is untraced since 1851.  This edition contains the sonatas Op.31 no.1 (in G) and no.2 (in D minor).  Nägeli commissioned three pieces in all, but did not publish the third sonata until 1804.

deux sonates pour le piano forte...[5e] suite du répertoire des clavecinistes, [piano sonatas op.31 nos 1 and 2], zurich, j.g. nägeli, [1803]

julie andrews dress from ``sound of music'',

From the Vault: Property from the Grateful Dead and Friends

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17"), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel with two pieces of tape reading “5/1/93” below power meters, empty address label, and Steal Your Face sticker. Right panel with Jet Fuel Only sticker and handwritten notes reading “DR. MON,” “PAIR BOT” [illegible]. Left panel with FM Productions American flag rabbit sticker. Serial number: 1Y421. With original orange Anvil rolling road case, with Grateful Dead sticker and Steal Your Face sticker to front panel; hole in lid. “Big Steve" Parish: “One of the first 2300’s we ever owned, used in the Wall of Sound for mid range vocals, then later used as an amp for Jerry Garcia’s extension speakers in the Wall.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 43: Wall of Sound | One of the Dead's first MC 2300's

wall of sound | one of the dead's first mc 2300's

Excellence

oval, the lid, sides and base chased appropriately with coloured gold musical trophies on sablé medallions, the reeded ground embellished with ribbon-tied swags and laurel, the sides further chased with flowers and scrolls, the sides and hinged base also pierced to aid the sound of the 7 layered carillon movement concealed within the base, maker's mark M & P within a rectangle and between two leafy flourishes

a four-colour gold carillon musical box, german, circa 1775 | a four-colour gold carillon musical box, german, circa 1775

Bang & Olufsen BeoSound 1 | Capsule Collection

This one-of-a-kind piece is distinguished by its deep orange hue that has the luster of burnished bronze. To create this rich color, the aluminium body was submerged in an acid bath to give it a uniformly matte finish and then each component was individually dyed — an intricate process that required a day-long takeover of Bang & Olufsen’s state-of-the-art anodizing plant. With style and smarts in equal measure, this unique BeoSound 1 would make an impressive addition to the collections of music-lovers and aesthetes alike.

This one-of-a-kind piece is distinguished by its deep orange hue that has the luster of burnished bronze. To create this rich color, the aluminium body was submerged in an acid bath to give it a uniformly matte finish and then each component was individually dyed — an intricate process that required a day-long takeover of Bang & Olufsen’s state-of-the-art anodizing plant. With style and smarts in equal measure, this unique BeoSound 1 would make an impressive addition to the collections of music-lovers and aesthetes alike. BeoSound 1’s striking design lends itself to being displayed like a modernist sculpture. And thanks to its minimal profile and built-in power source, BeoSound 1 is easily transported between rooms and outdoors. Moreover, every detail of the speaker’s form is in service of providing exceptionally nuanced sound performance: the conical body hovers above the ground, allowing bass notes to emanate from below; the opening toward the top houses an acoustic lens that produces remarkably even, 360-degree sound distribution. The speaker is controlled by a discreet panel located on the crown that features a built-in sensor to instantly adjust the interface based on the direction from which one approaches it. This innovative controller is incredibly intuitive — one simply turns the wheel to adjust the volume or swipes and taps its touch-sensitive surface to skip tracks, pause or play. - Compatible with all leading wireless technologies, including Chromecast built-in, AirPlay, Bluetooth, Spotify Connect, and DNLA - Can function as a stand-alone speaker or be integrated into a full-home audio system with BeoLink Multiroom technology - Engraved with “1/1”, indicating that it is a one-of-a-kind edition

bang & olufsen, beosound 1 wireless speaker system, orange

The Beatles

John Lennon and George Harrison Autograph manuscript editing notes for the music video of 'Hello, Goodbye' headed "Hello Goodbye" with a pair of eyes, musical notes, and other doodles in Lennon's hand, the note comprising a numbered sequence of descriptive summaries of shots for both versions of the video (first in "civvies", second as "Sgt Pepper"), the first seven shots in Lennon's hand in black ink, followed by nine shots in Harrison's hand in black ball-point, with one final shot in the hand of Mal Evans in black ball-point, altogether 23 lines, one page, ruled paper, 264 x 203mm, [November 1967], trimmed at foot with loss, minor nicks and staining, AUTOGRAPH NOTES BY JOHN AND GEORGE FOR THE VIDEO FOR 'HELLO, GOODBYE'. The Beatles were innovators in the music video, as in so much else: they were the first major pop artists to make extensive use of promotional videos to stand in for live television performances. By the time of 'Hello, Goodbye' they had been making promotional videos - then described as "filmed inserts" - for two years, working with a number of different directors and bringing an ever-increasing level of sophistication to the genre. Led by Paul McCartney, the band became increasingly interested in avant-garde film-making and decided to try making a film themselves. This resulted in the 'Magical Mystery Tour', which was filmed in the autumn of 1967, and also the video for 'Hello, Goodbye', which followed shortly afterwards. The song 'Hello, Goodbye' was recorded shortly after the Beatles had finished editing the 'Magical Mystery Tour'. The band decided to use their new-found skills to shoot their own promotional video. On 10 November, a week after they had finished recording the song, they went along to the Saville Theatre (which was leased by Nems) with their Sgt Pepper suits and six showgirls in hula skirts. The project was directed by Paul McCartney: "Directing a film is something that everyone always wants to get into. It was something I'd always been interested in, until I actually tried it. Then I realised it was too much like hard work. There is always someone arriving saying: 'Do you want the gold pistols or the silver pistols?' Then you think: 'Um, um...' There was so much of that going on - so many decisions to be made - that I ended up hating it. I didn't really direct the film[s] – all we needed was a couple of cameras, some good cameramen, a bit of sound and some dancing girls. I thought, we'll just hire a theatre and show up there one afternoon.' And that's what we did: we took our Sgt Pepper suits along..." (Paul McCartney, in Anthology, p.278) The shoot resulted in three distinct videos: in one the band perform on stage in their Pepper suits; in the second they are in "civvies"; the third version mixes footage of the band in both costumes together with clips of them clowning around, joking, dancing and laughing. The current manuscript notes show John Lennon and George Harrison engaged in editorial work for the video, presumably when reviewing the raw footage in the Wardour Street editing suite with Roy Benson. The manuscript lists the different shots taken in both sequences, firstly those in their everyday clothes - if that is a phrase that can be used for the Beatles dress in 1967 - and secondly in their Pepper suits. There is loss at the foot of the leaf; assuming it was a leaf of foolscap paper, approximately 70mm has been lost . The Sgt Pepper version of the 'Hello, Goodbye' video premiered on the Ed Sullivan show on 26 November 1967, but neither video was not shown in the UK at the time of the song's initial release as it fell foul of a union ban on miming on television. This is an exceptionally rare manuscript that encapsulates the close working relationship between the Beatles: it shows Lennon and Harrison in close collaboration working on a project that was primarily associated with McCartney. The Beatles were always keenly aware that success in the pop world was about the look as well as the sound, and this manuscript reveals how this attention to the visual extended to the new genre of the music video.

View 1 of Lot 28: John Lennon and George Harrison | Joint autograph manuscript editing notes for the video of 'Hello, Goodbye', 1967

Results for "The Sound of Music"