Important Modern Literature from the Library of an American Filmmaker

Hemingway, Ernest Autograph letter draft, to Josephine Ketcham Piercy, an instructor in the English Department at Indiana University, responding to her request for advice for her students about the principles of good writing 3 pages (280 x 217 mm) on 3 leaves of poor-quality typing paper, numbered [1-] 3, [Key West, ca. after 23 January 1929]; lightly browned, some marginal dampstaining and chipping, second page about 50 mm short at bottom, likely the result of Hemingway tearing away a rejected passage. Josephine Ketcham Piercy was on the faculty of the English Department at Indiana University from 1926 until 1966. In 1929 she and Hemingway corresponded about his possibly contributing to the anthology she was compiling, Modern Writers at Work (New York: Macmillan, 1930), which collected samples illustrating the writing process, with commentaries, from authors including, in addition to Hemingway, Sherwood Anderson, Edith Wharton, Thornton Wilder, and Virginia Woolf. The present draft represents Hemingway’s initial response to her inquiry. "I do not know any valuable advice to give your pupils about writing except to continue. I do not know of anyone who wrote prose well to start with; although there is a sort of completely articulate writing that is done by, usually, very young English writers. I should think that the danger of this would be that the young writer puts everything he or she knows into the first book and because he or she is able to express themselves it all the book, with the freshness of youth, is a success—. The young writer then becomes a professional writer and continues to write books although he or she never sees or learns anything more; being too busy writing to have anything happen to himself or herself. So perhaps it is good that it is usually very hard to learn to write. "About practical advice; the only practical advice that I know is to write with pen or pencil and try to have each sentence make sense, to yourself at least. If it makes sense to you, and you are honest, it will eventually make sense to some one else. If you write by hand you will write slower. "Some things are written at great speed but they need to be gone over slowly." Hemingway then describes a personal experience with writing something "at great speed": "I wrote a book called The Sun Also Rises in six weeks—starting it on my birthday the 21st of July [1925] in Madrid and continuing on the train to Valencia, in Valencia each day during a week of bullfights, on the train again to Madrid, on the train to Hendaye, in a hotel there and finishing it the 6th of September in Paris. I did not look at it again until I re-wrote the first half of it in Austria in December. Took a trip to N.Y. and re-wrote the last half when I came back. The re-writing took six weeks. I was never satisfied with the book but could do nothing more about it. Two short stories The Killers and Today Is Friday I wrote on two summer days in Madrid during the 15th of May of one year [1926] when there was a snow storm and the bullfights were called off[.]" A final version of this letter was sent to Piercy, along with a manuscript page of A Farewell to Arms, which Hemingway described as "an attempt to get a sentence right"; the letter and manuscript are both at the Lilly Library (Hanneman F19 & F73). Hemingway told Piercy that she could "use any story of mine you want," and she included "Cat in the Rain" in Modern Writers at Work, together with a long excerpt from the letter she received. The sent letter is quite different from the present draft, not mentioning the writing of The Sun Also Rises nor the two stories and with a number of revisions and changes of emphases—for instance, the draft endorses writing by hand, while the sent letter excoriates the typewriter. The present draft (and the final letter) are dated by the editors of The Letters of Ernest Hemingway on the basis of his having cancelled in the final letter the comment that he has been "finishing the rewriting of book" as well as a reference to his "new book." This indicates that he wrote to Piercy after completing A Farewell to Arms, the revisions of which he completed on 22 January 1929, as he reported to other correspondents. REFERENCE: Letters, ed. Spanier, et al., 3:513-14; cf. 514-15 for the final letter as sent PROVENANCE: Antony Mason (Christie’s New York, 19 May 2000, lot 288)

View 1 of Lot 22: Hemingway, Ernest | Autograph letter draft, about the principles of good writing; "I wrote a book called The Sun Also Rises in six weeks"

hemingway, ernest | autograph letter draft, about the principles of good writing; "i wrote a book called the sun also rises in six weeks"

Fine Books and Manuscripts, Including the Olympic Manifesto

The Property of a Gentleman HEMINGWAY, ERNEST The Sun Also Rises. New York: Charles Scribner's Sons, 1926 8vo. Publisher's black cloth with gold foil labels in dust-jacket with Cleonike Damianake illustration to front panel (cloth with minor edge wear; unrestored first issue jacket evenly faded with rubbing along folds, minor stain to front panel, small chip at upper edge, some creasing to bottom edge. Half-morocco slipcase. First edition, first issue of Hemingway's landmark of modern literature "...in all this there is nothing that has gone bad and not a word to be changed after so many years. It is all carved in stone, bigger and truer than life; and it is the work of a man who, having ended his busy term of apprenticeship, was already a master at twenty-six” (Malcolm Cowley, A Second Flowering, pp. 70-73). REFERENCE: Grissom A6; Hanneman A6; Connolly 50

the sun also rises. new york: charles scribner's sons, 1926

first edition, first issue, title-page vignette by Cleonike Damianakes, original black cloth with gold paper labels, dust-jacket (design as title-page vignette), collector's gold cloth folding box, very light browning, some light browning and minor fraying to dust-jacket

The Library of an English Bibliophile, Part II

8vo (190 x 132mm.), first edition, first issue, title-page vignette by Cleonike Damianakes, original black cloth with gold paper labels, dust-jacket (design as title-page vignette), collector's gold cloth folding box, light browning, light browning to dust-jacket with some minor tears

hemingway, ernest. the sun also rises. new york: charles scribner's sons, 1926, 8vo,...

Fine Books and Manuscripts Including Americana

8vo. Title vignette by Ceonike Damianakes. Original black cloth with printed gold paper labels in original illustrated dust jacket after the Damianakes design; spine label very slightly rubbed, jacket with short closed tear to upper margin of front panel, light rubbing, some minor chips from spine panel of jacket, but a wholly unrestored example of a book most often found overly restored . Morocco folding case.

FIRST EDITION, FIRST ISSUE, 8vo, title-page vignette by Cleon, original black cloth with gold lettering-pieces on upper cover and spine, DUST-JACKET (with same design as title vignette), jacket heavily restored, binding refurbished This lot contains 1 item(s).

hemingway, ernest. the sun also rises. new york: charles scribner's sons, 1926

Fine Books & Manuscripts, Including Americana

Fitzgerald, F. Scott Tender is the Night. New York: Charles Scribner's Sons, 1934 8vo. Publisher's dark blue-green cloth, spine lettered in gilt; boards lightly soiled. Pictorial dust jacket; spine panel lightly faded, light wear and a few short tears to edges, toning along fold of interior black flap, still a particularly bright example. First edition, a very fine association copy, inscribed to Donald Ogden Stewart on the front free endpaper: "Dear Don: This will amuse you I think. Scott." Donald Ogden Stewart (1894-1980) was a prominent American humorist and writer who achieved success in Golden Age Hollywood writing movies such as The Philadelphia Story, which won him the Oscar for best screenplay. He was a lifelong friend of F. Scott Fitzgerald, a relationship that began in the Summer of 1919 when Fitzgerald was reworking his draft of The Romantic Egoist into what would become his debut novel, This Side of Paradise. Stewart had literary aspirations of his own, and was among Fitzgeralds' pre-publication readers: "I got him to lend me [the manuscript of] This Side of Paradise, written in pencil. I approved of it, with my Yale reservations. I didn't know enough to appreciate his style and form, but the content was exciting" (Stewart, p. 86). Fitzgerald encouraged Stewart's literary ambition in turn, and he helped kickstart his career by connecting him with an old Princeton friend at Vanity Fair. Following the success of his H.G. Wells satire, A Parody Outline of History, he earned an invitation to the famous Algonquin Round Table. Throughout the 1920s he was part of a literary community that—in addition to the Fitzgeralds—included Dorothy Parker, Robert Benchley, John Dos Passos, and Ernest Hemingway. Stewart joined Hemingway on the trip to Pamplona that served as the inspiration for his debut novel, The Sun Also Rises; also serving as a model for the character of Bill Gorton. After returning from Europe, Stewart settled down in California and embarked upon a career in Hollywood. There, his path crossed once more with Fitzgerald, who had returned to Hollywood in dire financial straits when the cost of his opulent lifestyle and Zelda's medical bills finally caught up with him. The pair worked together (unsuccessfully) on screenplays for The Women (George Cukor, 1939), and the never-realized Air Raid (Paramount, 1939), but Fitzgerald privately ridiculed Stewart for his increasingly liberal politics (which would eventually earn Stewart a place on the Hollywood blacklist). It was quite possibly during this final period of collaboration—Fitzgerald died in 1940—that he inscribed this copy of Tender is the Night to Donald Ogden Stewart. Tender in the Night was Fitzgerald's last novel and, in his own opinion, his finest work. In the nineteen years which had passed between the publication of The Great Gatsby and the appearance of Tender is the Night in April 1934, anticipation and expectation had built around what would be Fitzgerald's last novel. However, on publication, it achieved neither the acclaim nor the sales which Fitzgerald hoped for, an outcome which puzzled him for the rest of his life. This was despite a number of overwhelmingly positive reviews, including that of John Chamberlain for The New York Times, who wrote: "Mr. Fitzgerald has not forgotten his craftsmanship... Beyond the story, there is [his] ability to catch the "essence of a continent", the flavor of a period, the fragrance of a night and a snatch of old song, in a phrase." "...a wonderful evocation of the second phase of American expatriates ... described with flashes of genius by an expert in self-destruction... " (Connolly). REFERENCES Bruccoli A15.1.a; Connolly 79; Donald Ogden Stewart, By a Stroke of Luck! An Autobiography, London: 1975 PROVENANCE Donald Ogden Stewart (presentation inscription) — Roger Rechler (Christie's New York, 11 October 2002, lot 91, achieved $119,500)

View 1 of Lot 1059: Fitzgerald, F. Scott | Tender is the Night, first edition, inscribed to Donald Ogden Stewart

fitzgerald, f. scott | tender is the night, first edition, inscribed to donald ogden stewart

Original Film Posters

Manhattan (1979) Poster, US, Signed by Mariel Hemingway

Manhattan (1979) Poster, US, Signed by Mariel Hemingway Unframed: 41 x 27 in. (104 x 69 cm) Mr. Sohal met Mariel Hemingway at the Trafalgar Studios in London, where she was starring in the play Fiesta: The Sun Also Rises. It is rare for anyone to have an original poster signed, as the majority of signatures are on pieces of paper, photographs, and video/DVD sleeves. This romantic comedy was directed by Woody Allen and written by Allen and Marshall Brickman. Allen stars in the film, together with Dianne Keaton, Michael Murphy, Mariel Hemingway, Meryl Streep, and Anne Byrne. Allen plays a twice-divorced comedy writer, who dates a young girl and then falls in love with the mistress of his best friend. All very complicated. The film was shot in black-and-white and features music by George Gershwin, including Rhapsody in Blue.

View 1 of Lot 95: Manhattan (1979) Poster, US, Signed by Mariel Hemingway

manhattan (1979) poster, us, signed by mariel hemingway

Hemingway, Ernest Typed letter signed ("Yours always, Ernest Hemingway"), to Robert J. Carino ("Dear Bob") at the University of Maryland Half page on a leaf (277 x 215 mm) of Finca Vigia, San Francisco de Paula, Cuba letterhead (watermarked Esleeck Fidelity Onion Skin), 4 May 1952, accompanied by the original typed envelope with Habana, Cuba, postmark; envelope worn with loss at edges A very warm and revealing letter written to a University of Maryland student who had evidently written to Hemingway about his enjoying a novel by Hemingway that he had read as a class assignment, touching on many themes of Hemingway’s philosophy of writing that he continually espoused over his career: "Thank you very much for your letter. I’m glad if you and the class liked the book. Your letter made me feel very good. This is a Sunday morning and I don’t have to work and have two good books to read so I feel good anyway. But your letter made me feel even better. "You see when you write you never think about the books that you have written. Once in a while you read a little part of one to cheer you up. But all the time you are trying to write better than you ever wrote before and to do what you could never do and it is rough. Every book that I’ve written is as good as I could write at that time and under those circumstances." Hemingway next describes an effect that he tries to achieve that he had ascribed to Turgenev in The Sun Also Rises; the principal character, Jake Barnes, reading Turgenev early one morning considered that one day he would recall what he had read and imagine that it had actually happened to him: "What I try for is to invent something that will come out so truly that whoever reads it will feel after they read it that it had happened to them and if I have good luck and get it right that it will become a part of their experience. That is what I shoot for. But it is awfully hard to do. I love to write. But it is harder all the time because of trying to best what I have written." Hemingway next mentions his forthcoming novella, The Old Man and the Sea. "This fall I have a book I think you will like. I had the best luck writing it that I think I ever had. Truly, I believe you can take a chance and figure that you will like it. But now I’m writing again and trying to beat it and your letter makes me feel more like biting on the old nail again tomorrow." He also thanks Carino's professor for assigning his novel, "Please give my best to the Prof. If she hadn’t have liked the book she couldn’t have read it so that the class like it. Good luck whatever you do." PROVENANCE: Charles Hamilton Galleries, 3 May 1973, lot 67 (undesignated consignor)

View 1 of Lot 36: Hemingway, Ernest | Typed letter signed to Robert J. Carino; "Every book that I’ve written is as good as I could write at that time "

hemingway, ernest | typed letter signed to robert j. carino; "every book that i’ve written is as good as i could write at that time "

Hemingway, Ernest Typed letter signed (“Hemingway” in pencil), to Arnold Gingrich (“Dear Captain Gingritch”), a lengthy criticism of Gertrude Stein 2 pages (280 x 215 mm), [Madrid], 26 September [1933]; single-spaced on two sheets of poor quality tan paper, with a 50-word holograph postscript in pencil by Hemingway and a one-word penciled correction by him, very slight rubbing at folds. "Well I liked Stein very much, was always damned nice to her and loyal as hell until kicked out on my backside" An important letter mostly devoted to Hemingway’s critical view of Stein: “... Haven’t seen the G. Stein book [her The Autobiography of Alice B. Toklas had been published 1 September]. Read what was in the Atlantic [Monthly] and so much malice and so many lies made me sore but not very sore. Among other things G. Stein once liked me very much. Toklas was extremely jealous of all Stein’s friends who were not fairies and, I suppose, could be of those who were ... all of Stein’s friends were offered up on the altar of love. The more she liked them the worse roasted they were ... Toklas really very strong woman, wears plenty of the pants in that menage. Has gotten everything she wanted. Could tell you some very funny things. Picasso’s opinion of her. One time when I came in and heard her giving Stein hell [an incident Hemingway later recounted in A Moveable Feast]. Well I liked Stein very much, was always damned nice to her and loyal as hell until kicked out on my backside ... it gives you a jolt to have someone lie so much and with such malice. I’m always damned polite to people older than myself and I suppose if they have enough conceit they take that for adoreing [sic] worship and sitting at the feet of. “Who, she or [Sherwood] Anderson, taught me how to write the Chapter Headings [the vignettes] in In Our Time? From which one did I learn how to write the first and last chapters in A Farewell to Arms? ‘Hills Like White Elephants’? Some other stories and the fiesta part of The Sun Also [Rises]? Which one taught me how to write dialogue? I started the Sun Also in Madrid on my birthday July 21 [1925] and finished it on September 6. Jesus if I only could have seen Gertrude during that time what a fine book it might have been. Then she had the gall to say I talked over parts of it with her. I did, all right, a year after it came out ... G. Stein is a good psychologist though. She knows I don’t get sore at being called any damn thing I am truly. But blow up like a set piece of fireworks if accused of anything I’m not. So she has me frail ... I’ve been cut, sliced, torn...and always was very proud of how quickly I healed and what small importance gave to incidents at time and after ... She says that whenever attempted any ‘manly sports’ was always breaking a bone or being knocked out, taught to shadow box by Sherwood [Anderson]. My God. Old Mother Hubbard herself. That used to be worn out walking to her house. Am yellow (read that in Time now and N. Y. Times yesterday). I’m not yellow the funny thing is. Well what the hell. She certainly knows how to get me damned sore. It’s damned intelligent malice ...” This is apparently the first lengthy criticism of Stein in a letter by Hemingway. In later years he would voice similar views in letters to various critics and scholars (Charles Fenton, Malcolm Cowley, et al). REFERENCE: Letters, ed. Spanier, et al., 5:493–95 PROVENANCE: Arnold Gingrich (recipient) — Jonathan Goodwin (Sotheby's Parke Bernet, 12 April 1978, part of lot 717) — Maurice F. Neville (Sotheby's New York, 13 April 2004, lot 108)

View 1 of Lot 28: Hemingway, Ernest |  Typed letter signed to Arnold Gingrich, a lengthy criticism of Gertrude Stein 

hemingway, ernest | typed letter signed to arnold gingrich, a lengthy criticism of gertrude stein

Hemingway, Ernest Typed letter signed (“Ernest” very hastily in pencil), to Arnold Gingrich, (“Dear Mr. G.”) in Chicago, on writing and publishing novels 3 pages (278 x 215 mm), [Havana], 18 August [1934]; single-spaced in a larger font than usual, on two sheets of poor quality tan paper, a small marginal fold tear, original stamped Ambos Mundos Hotel envelope addressed in Hemingway’s hand. “The real secret in writing a novel is to keep inside of your action all the time like a horse.” An exceptional letter, mostly about novel writing, in response to Gingrich’s telling him that he had signed a contract with Alfred A. Knopf to write one. “ ... You can’t write a novel that way. All right, now you write one and show me. But put it — you shouldn’t write a novel that way ... no matter how good a paragraph it would make for your obituary how you ran this mag days and wrote a novel nights. That is not the way to write a novel. Writing a novel is such hard work that it is a full time job. You can’t occupy all your time doing it but you will so poop yourself if you write it well that you’ll need the rest of the day to come back in ... [The Knopfs] turn out nicely printed books and they have a sound jewish flare for Europe and what comes out of same. But they will drop you like a redhot horseshoe if anything ever seems to go wrong or not to go right and they are sharpshooters all the way down the line. There are no wonderful publishers but they are among the least wonderful ... There is no reason for everybody to have written a novel. OK to write it but to write it to a definite publication is an insult to the lousy novel and your own intelligence." “You mention the Sun etc. I wrote that [The Sun Also Rises] in six weeks (first draft) but I had nothing else to do at the time and was on a vacation with my belly full of what to write and my ear oversensitized by alcohol. But after writing it knew the first draft was lousy so arranged to get another vacation and re-wrote the first part up until they go to Spain down in Schruns in Austria with nothing to bother me. Then went to N.Y. on business [where he switched from Liveright to Scribner’s] and came back to Schruns where nobody could bother me and wrote the Spain part all and completely over. It would have been publishable as written first but it would have been lousy ... About working five hours. What makes it is when you go over the whole piece each day from the start to where you go on from — re-writing it really and then going on. Even then the actual writing is probably only about an hour and a half. Of course lots of times you can’t write but nearly always you do. Each day you throw out what turned out to be shit in the stuff you did the day before." “But the real secret in writing a novel is to keep inside of your action all the time like a horse. Don’t let the damned horse run away on you when you are going to have to keep racing him forever. And always stop at an interesting place when you still know what is going to happen. Then you can go on from there the next day and the next and etc. Never write yourself out in those bursts. It is just like making a 300 mile race a succession of runaways. Do a certain amount everyday or every two days and always stop where it is interesting and while you are going good.” Hemingway then, for about two-third of a page, discusses Edwin Balmer, a writer and editor who was very helpful and encouraging to the young Hemingway right after the war. He closes: “How do you think it would be for me to lay off writing for yr. mag for a while? The customers all seem to list me as one of the bad features. Must say the lousy readers can’t hate my stuff as much as hate their stinking little prats so will be perfectly willing to continue punishing them. If I really thought the bulk of them didn’t like the stuff I swear I would give them something to really dislike. Chances are though they are just tossing bricks at the top of the column. Does anybody ever say they like the stuff except me and you?” REFERENCE: Included in the forthcoming sixth volume of The Letters of Ernest Hemingway, ed. Spanier, et al. PROVENANCE: Arnold Gingrich (recipient) — Jonathan Goodwin (Sotheby's Parke Bernet, 12 April 1978, part of lot 717) — Maurice F. Neville (Sotheby's New York, 13 April 2004, lot 111)

View 1 of Lot 30: Hemingway, Ernest | Typed letter signed to Arnold Gingrich, on writing and publishing novels

hemingway, ernest | typed letter signed to arnold gingrich, on writing and publishing novels

The Library of Dr. Rodney P. Swantko

Fitzgerald, F. Scott Tender is the Night. New York: Charles Scribner's Sons, 1934 8vo. Publisher's dark blue-green cloth, spine lettered in gilt; boards lightly soiled. Pictorial dust jacket; spine panel lightly faded, light wear and a few short tears to edges, toning along fold of interior black flap, still a particularly bright example. First edition, a very fine association copy, inscribed to Donald Ogden Stewart on the front free endpaper: "Dear Don: This will amuse you I think. Scott." Donald Ogden Stewart (1894-1980) was a prominent American humorist and writer who achieved success in Golden Age Hollywood writing movies such as The Philadelphia Story, which won him the Oscar for best screenplay. He was a lifelong friend of F. Scott Fitzgerald, a relationship that began in the Summer of 1919 when Fitzgerald was reworking his draft of The Romantic Egoist into what would become his debut novel, This Side of Paradise. Stewart had literary aspirations of his own, and was among Fitzgeralds' pre-publication readers: "I got him to lend me [the manuscript of] This Side of Paradise, written in pencil. I approved of it, with my Yale reservations. I didn't know enough to appreciate his style and form, but the content was exciting" (Stewart, p. 86). Fitzgerald encouraged Stewart's literary ambition in turn, and he helped kickstart his career by connecting him with an old Princeton friend at Vanity Fair. Following the success of his H.G. Wells satire, A Parody Outline of History, he earned an invitation to the famous Algonquin Round Table. Throughout the 1920s he was part of a literary community that—in addition to the Fitzgeralds—included Dorothy Parker, Robert Benchley, John Dos Passos, and Ernest Hemingway. Stewart joined Hemingway on the trip to Pamplona that served as the inspiration for his debut novel, The Sun Also Rises; also serving as a model for the character of Bill Gorton. After returning from Europe, Stewart settled down in California and embarked upon a career in Hollywood. There, his path crossed once more with Fitzgerald, who had returned to Hollywood in dire financial straits when the cost of his opulent lifestyle and Zelda's medical bills finally caught up with him. The pair worked together (unsuccessfully) on screenplays for The Women (George Cukor, 1939), and the never-realized Air Raid (Paramount, 1939), but Fitzgerald privately ridiculed Stewart for his increasingly liberal politics (which would eventually earn Stewart a place on the Hollywood blacklist). It was quite possibly during this final period of collaboration—Fitzgerald died in 1940—that he inscribed this copy of Tender is the Night to Donald Ogden Stewart. Tender in the Night was Fitzgerald's last novel and, in his own opinion, his finest work. In the nineteen years which had passed between the publication of The Great Gatsby and the appearance of Tender is the Night in April 1934, anticipation and expectation had built around what would be Fitzgerald's last novel. However, on publication, it achieved neither the acclaim nor the sales which Fitzgerald hoped for, an outcome which puzzled him for the rest of his life. This was despite a number of overwhelmingly positive reviews, including that of John Chamberlain for The New York Times, who wrote: "Mr. Fitzgerald has not forgotten his craftsmanship... Beyond the story, there is [his] ability to catch the "essence of a continent", the flavor of a period, the fragrance of a night and a snatch of old song, in a phrase." "...a wonderful evocation of the second phase of American expatriates ... described with flashes of genius by an expert in self-destruction... " (Connolly). REFERENCE: Bruccoli A15.1.a; Connolly 79; Donald Ogden Stewart, By a Stroke of Luck! An Autobiography, London: 1975 PROVENANCE: Donald Ogden Stewart (presentation inscription) — Roger Rechler (his sale, Christie's New York, 11 October 2002, lot 91, achieved $119,500)

View 1 of Lot 16: Fitzgerald, F. Scott | Tender is the Night; first edition, inscribed to Donald Ogden Stewart

fitzgerald, f. scott | tender is the night; first edition, inscribed to donald ogden stewart

Fine Books and Manuscripts, Including Americana. Part 2

Hemingway, Ernest The Sun Also Rises. New York: Charles Scribner’s Sons, 1926 8vo. Half-title. Publisher’s black cloth with gilt labels; head and foot lightly bumped. Dust jacket; restoration, primarily at the spine panel ends, folds, and lower portion of the front panel, facsimile portions of the title, publisher's imprint, and a few words on the bottom of the front panel, verso of spine reinforced. First edition, first issue, the Goldstone copy, with “stoppped” on p. 181 and the front panel of the jacket citing "In Our Times" instead of "In Our Time." Hemingway's first major novel, the bulk of it written in six weeks, published in October 1926 in an initial edition of 5,090 copies. This fraught work roman à clef examines the "lost generation" as they gather in across Paris and Spain to search for meaning in the harsh post-war world. Jeffrey Meyers, Hemingway's biographer, states that it is now "recognized as Hemingway's greatest work." "The Sun Also Rises... soon became a handbook of conduct for the new generation... It is all carved in stone, bigger and truer than life; and it is the work of a man who, having ended his busy term of apprenticeship, was already a master at twenty-six..." (Malcolm Cowley, A Second Flowering). Adrian Homer Goldstone’s collection was exemplified by fine copies of American literature by Steinbeck, Fitzgerald, and Hemingway. A well-provenanced example with the scarce jacket. REFERENCES: Connolly 50; Hanneman A6a PROVENANCE: Adrian Homer Goldstone (bookplate)

View 1 of Lot 1041: Hemingway, Ernest | "A handbook for conduct for the new generation..."

hemingway, ernest | "a handbook for conduct for the new generation..."

The Sun Also Rises. New York: Charles Scribner's Sons, 1926

hemingway, ernest.

Autograph letter signed (“E. Miller” — the latter was Hemingway’s middle name), 3 pages (10 1/2   x 8 1/8  in.; 267 x 207 mm), [New York], “Thursday” [mid-February 1926] to “Gents”:  his good friend Bill Smith and the writer Harold Loeb, the model for Robert Cohn in The Sun Also Rises, in Provincetown, Mass.; in dark brown ink on the rectos of three sheets of thin beige paper, folds  and some slightly wrinkling.

hemingway, ernest

The Sun Also Rises. New York: Scribner’s, 1926

The Sun Also Rises. New York: Scribner’s, 1926 In 8s (7 1/2  x 5 3/16 ; 190 x 131 mm). Original black cloth, printed gold paper labels. Pictorial dust jacket by Cleonike depicting a seated classical figure on the front (repeated on the title-page); some trivial soiling. Red half morocco slipcase.

L12404

expressing in rambunctious prose his loathing of the film of The Sun Also Rises ("...I was a little pissed off at everybody but me making money from Sun Also and a shitty picture to boot...") and his wish that Viertel would leave Hollywood and return to writing ("...Go ahead and write your damned book. But don't think you can keep jerking yourself off for pictures and then command any fee at stud. Finish this book no matter how hard it is to do..."), with four word autograph subscription in pencil ("Best to Luis Miguel [Dominguín]", the bullfighter), 1 page, folio, onionskin headed stationery of Finca Vigia, San Francisco de Paula, Cuba, 1 May 1958, two folds

typed letter signed ("papa"), to peter viertel ("pete")

Waldorf Collection

The Sun Also Rises. New York: Charles Scribner's Sons, 1926 8vo. Publisher's black cloth with printed gold foil labels. Original dust-jacket with iconic design by Cleonike Damianakes; very fine with only the slightest of rubbing along folds, a crisp, unfaded, and wholly unrestored example and very scarce thus. In a full-morocco slipcase.

Autograph letter signed ("E. Miller" — the latter was Hemingway's middle name), 3 pages (10 1/2 x 8 1/8 in; 267 x 207 mm), [New York], "Thursday" [mid-February 1926], to "Gents," his good friend Bill Smith and the writer Harold Loeb (the model for Robert Cohn in The Sun Also Rises), both in Provincetown, Mass.; in dark brown ink on the rectos of three sheets of beige paper, folds and some slight wrinkling.

N08811

The Sun Also Rises. New York: Charles Scribner's Sons, 1926 8vo (190 x 132 mm). Publisher's black cloth with gold paper labels in pictorial dust-jacket; spine label rubbed, very minor bumping to corners; first issue jacket rubbed with minor loss at slightly faded spine ends, few minor closed tears along bottom of rear panel, a little rubbed overall.

Books &amp; Manuscripts

Group of 4 titles inscribed to longtime friend Guy Hickok.  The Sun Also Rises. New York: 1927. Hemingway's first novel inscribed while in Paris "To Guy with much | affection Ernest | Paris 1927" —  Death in the Afternoon. New York, 1932. 'To Guy, or Monsieur Tripas, | with much affection. | Ernest"  — Winner Take Nothing. New York: 1933.  "To Guy with much | affection | Ernest | Paris Oct 28 1933" — Green Hills of Africa. New York: 1935. "For Guy (look what | s got out of your scrap book | now) with much | affection, repect and the | wish to be drunk with soon | again | Ernest." All 8vo in publisher's cloth, second and fourth titles in worn jackets, last three titles first editions.

The Sun Also Rises. New York: Scribner's, 1926

The Sun Also Rises. New York: Scribner's, 1926 In 8s (7 1/2 x 5 1/4 in.; 191 x 133 mm). Pages slightly browned at edges. Publisher's black cloth, printed gold paper labels on spine and upper cover; spine somewhat worn, some wear to labels.

discussing family and financial matters including income from film versions of his work ("...this year they are making, supposedly, sun also rises and a farewell to arms...") and the sale of manuscripts, and his own writing; referring also to politics and professional boxing, the final pages embellished with a sketch of a large pot which encloses a series of typed pound and dollar signs, captioned “Pots and Pots of good Küss”, 3 pages, 4to, onion-skin paper, headed stationery of Finca Vigia, San Francisco de Paula, Cuba, autograph airmail envelope, 22 to 28 January 1956

autograph and typed letter signed ("papa"), to his eldest son john hemingway ("dear bum")

Masterworks of Time: George Daniels, Visionary

• Movement: gilded full plate, steel cylinder escapement, decoratively pierced and engraved balance cock with an eagle at the neck, silver regulator plate, diamond endstone, fusee and chain, movement signed and numbered Geo. Margetts, London, 1• Dial: astronomical dial with white enamel ground, 16 gear train for dial indications advancing clockwise (except fixed mean time dial with Roman numerals, gold north indicator and two gold parallel parabolas) tidal dial indicating tides at eight English ports: Portsmouth, London, Hull, Yarmouth, Dover, Downs (a safe anchorage point in the English Channel), Plymouth and Dublin, the fixed moon hand indicating on the gold rim with four spokes the latitude of the planet together with its position in the Zodiac and declination in degrees on the nearest calibration of the main dial, one spoke to rim engraved with a dragon whose extended tail points to sign and degree of Zodiac marked on the middle calibration, dial edge with annual calendar read against sun hand which also indicates sun’s declination and position in the Zodiac, observer’s horizon indicated by tangential parabola, space between it and inner parabola is astronomical twilight zone, viewed in area of dial enclosed by them is rise, southing and fall of constellations, age of moon engraved on gold through circular aperture to tidal dial • Cases: plain gold inner with stirrup pendant and bow, aperture for winding to case back • gold outer case centred with a portrait of the muse of Astronomy (Urania) en grisaille, the surround decorated with translucent red enamel over engine-turning, further heightened with swags of opaque white enamel beads spaced with ovals of green enamel, the bezels decorated with translucent green enamel over engine-turning, with opaque enamel beaded stringing • both cases hallmarked 1778 and with case maker's mark IW for John Willis

an important gold and enamel pair cased cylinder watch with tidal dial, annual calendar and astronomical indications, the outer case back with enamel panel painted en grisaille1778, no.1

Celebration of the English Watch Part II: John Harrison’s Enduring Discovery

• Movement: gilded full plate, cylinder escapement with steel wheel, decoratively pierced and engraved balance cock with classical bust to its neck, ruby endstone, fusee and chain with Harrison’s maintaining power • signed gilt metal dust cap engraved with an elephant and a pagoda within an Oriental landscape • movement and dust cap signed Geo. Margetts, London, movement numbered 312

• Movement: gilded full plate, cylinder escapement with steel wheel, decoratively pierced and engraved balance cock with classical bust to its neck, ruby endstone, fusee and chain with Harrison’s maintaining power • signed gilt metal dust cap engraved with an elephant and a pagoda within an Oriental landscape • movement and dust cap signed Geo. Margetts, London, movement numbered 312• Dial: astronomical dial with white enamel ground, 16 gear train for dial indications advancing clockwise (except fixed mean time dial with Roman numerals, gold north indicator and two gold parallel parabolas) tidal dial indicating tides at eight English ports: Portsmouth, London, Hull, Yarmouth, Dover, Downs (a safe anchorage point in the English Channel), Plymouth and Dublin, the fixed moon hand indicating on the gold rim with four spokes the latitude of the planet together with its position in the Zodiac and declination in degrees on the nearest calibration of the main dial, one spoke to rim engraved with a dragon whose extended tail points to sign and degree of Zodiac marked on the middle calibration, dial edge with annual calendar read against sun hand which also indicates sun’s declination and position in the Zodiac, observer’s horizon indicated by tangential parabola, space between it and inner parabola is astronomical twilight zone, viewed in area of dial enclosed by them is rise, southing and fall of constellations, age of moon engraved on gold through circular aperture to tidal dial which also shows black spot for an eclipse - large for lunar and small for solar eclipses• Case: later silver custom made case hallmarked 1813 and maker’s mark FC for Frederick Comtesse over possibly FHB (rubbed), pendant with maker’s mark M.A for Michael Atkins

a very rare and fine cylinder watch with tidal dial, annual calendar and astronomical indications in later custom made silver casemovement circa 1783, no. 312

Age of Wonder

From the Library of Jay Michael Haft Dickens, Charles Bleak House. London: Bradbury and Evans, 1853 2 volumes, 8vo (210 x 130 mm). Engraved additional title–page, engraved frontispiece, 38 illustrations by J.K. Browne (“Phiz”), with the 10 “dark” plates; some foxing to plates, as usual, one or two closed marginal tears. Contemporary half green calf, and marbled paper-covered boards, smooth spines ruled and lettered in gilt, edges marbled; extremities rubbed. First edition, bound from the original parts — Dickens's commentary on urban environments. "Implacable November weather. As much mud in the streets, as if the waters had but newly retired from the face of the earth, and would it not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes – gone into mourning, one might imagine, for the death of the sun. Dog, undistinguishable in mire" (Dickens, Bleak House). Charles Dickens’s Bleak House offers plethoric instances of ill health incited by environment. In this opening paragraph, the novel's narrator is discussing weather in literal terms, but is also suggesting that something in the general insalubrity of London—not unlike Melville's New York (see the preceding lot)—breeds an uncanny atmosphere. Pollution causes “the death of the sun,” upending the natural world. With soot falling like snowflakes, in mourning for what the omniscient narrator and reader know has been disordered through the rise of this modern city, it becomes the disarray of the everyday world the metropolis’s inhabitants can’t escape. The passage is concerned with the actual filth that buries the city as well as its occupants—“[d]og, undistinguishable in mire,” and the notion of “ill-tempers” spreading like “infection”—implying a direct correlation between the physical salubrity of a place and its inhabitants, and establishing the theme of contagion, a central element of the novel’s plot. The opening continues: […] Foot passengers, jostling one another’s umbrellas, in a general infection of ill-temper, and losing their foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating a compound interest. […] Fog everywhere. Fog up the river, where it flows among the green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping, and the waterside pollution of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwhales of barges and small boats" (Dickens, Bleak House). The pervasive fog serves as one of the most considered aesthetic features of Bleak House. Other than its miasmatic properties—the insalubrity it carries—the mist is obfuscating, an agent of concealment, foreshadowing much of the later deception and confusion that arises in this novel of connections. It is noteworthy that Dickens begins this passage with the boat yard; the pervasive brume is not something London has produced solely on its own, but is partially, or at least potentially, foreign. This “sea smoke,” as it was sometimes referred to, has the capacity to carry in diseases from more exotic climes. It is not only the fever nests of the degraded corners of London that are to blame, but also this sense of passage and transmission. Related to these ideas of social panorama and conveyance, it is significant that Dickens does not open his narrative with the impressions of Esther Summerson (the first person narratorial perspective that alternates with the third person), but with this all-seeing presence. As he sets the tone for the tale, Dickens is suggesting a broader social truth—that burgeoning, unhealthy environments are everyone's concern. Dickens, in addition to being a prolific novelist, was one of the greatest social reformers of his day. On May 10th 1851, as he was planning Bleak House, he delivered the anniversary speech for London's Metropolitan Sanitation Association. Addressing the assembly, Dickens began: "That no one can estimate the amount of mischief which is grown in dirt; that no one can say, here it stops, or there it stops, either in its physical or moral results, when both begin in the cradle and are not at rest in the obscene grave [hear, hear], is now as certain as it is that the air from Gin Lane will be carried, when the wind is Easterly, into May Fair, and that if you once have a vigorous pestilence raging furiously in Saint Giles, no mortal list of Lady Patroness can keep it out of Almack’s. [Hear, hear]" (Dickens "Metropolitan Sanitary Association"). While Bleak House suggests an undeniable link between the direction of the wind and spread of disease, here, a year before the first installment of the novel was issued, it is clearly articulated. Significantly, Dickens is also citing a connection between physical and moral climates, as well as between pollution and contagion. It would seem that for the author, no corner of London was safe until it was made clean. This point is further underscored when Esther Summerson—the tale's heroine—contracts smallpox following an act of charity toward a neglected child (see lot 1004). A charming copy of one of Dickens's most important novels. REFERENCE: Dickens, "Metropolitan Sanitary Association, 10 May 1851," The Speeches of Charles Dickens, ed. by K.J. Fielding (Oxford: Clarendon Press, 1960), pp. 127-132, (pp. 128-29); Dickens, Bleak House (London: Bradbury and Evans, 1853), 1; Eckel 64–66; Gimbel A154; Smith I:10

View 1 of Lot 1017: Dickens, Charles | "Fog up the river, where it flows among the green aits and meadows..."

dickens, charles | "fog up the river, where it flows among the green aits and meadows..."

Property from the Workman Collection Dickens, Charles The Life and Adventures of Martin Chuzzlewit...Edited By Boz. London: Chapman and Hall, January 1843-July 1844 20 parts in 19, 8vo. (222 x 140 mm). 40 plates by Hablot K. Browne ("Phiz"), final double number with etched title page with "£100" on the sign post, 14-line errata as usual, with the four small booklets of advertisements by E. Moses and Son in parts 9 and 10 (often missing); some scattered spotting, some short closed marginal tears, some of which expertly repaired, two plates detached in part 19. Original blue-green wrappers; some minor chipping and soiling, part 2 with closed tears to wrappers neatly repaired, part 18 with marginal loss to lower corner of upper wrapper. Housed in custom brown morocco clamshell case. First edition, in the original monthly parts—Dickens' tour of America. In American Notes, which Dickens published following his first American tour in 1842, the author expressed his love of Boston, but was critical of the sanitary conditions of American cities generally. Martin Chuzzlewit explores some of the elements of life in the United States that Dickens was most critical of. When the young Martin Chuzzlewit arrives in America, for example, and travels southward along the Eastern Seaboard to stake his claim in the City of Eden estate, he anticipates what the name suggests: a prelapsarian haven, far more abundant than the England he has left behind. But Dickens was modelled his fictional Eden on the Cairo Settlement, which had been established where the Ohio and Mississippi rivers met. As Martin reaches this halloed destination, he is faced with misery and insalubrity: "The monotonous desolation of the scene increased to that degree, that for any redeeming feature it presented to their eyes, they might have entered, in the body, on the grim domains of Giant Despair. A flat morass, bestrewn with fallen timber; a marsh on which the good growth of earth seemed to have been wrecked and cast away, that from its decomposing ashes vile and ugly things might rise; where the very trees took the huge aspect of weeds, begotten of the slime from which they sprung, by the hot sun that burnt them up; where fatal maladies, seeking whom they might infect, came forth, at night, in misty shapes, and creeping out upon the water, hunted them like spectres until day; where even the blessed sun, shining down on festering elements of corruption and disease, became a horror; this was the realm of Hope through which they moved." In a manner, this insalubrious view of America parallels some of the images of London Dickens offers in Bleak House and Little Dorrit (see lots 1057-1059), it also demonstrates the author's early concerns with sanitation and broader environmental causes. REFERENCE: Hatton and Cleaver 185-212

View 1 of Lot 1049: Dickens, Charles | Martin Chuzzlewit, in the original monthly parts

dickens, charles | martin chuzzlewit, in the original monthly parts

Treasures

the octagonal case signed on the side CHRISTOPHERVS SCHISLER ME FECIT AVGVSTE VINDELICORUM ANNO DOMIN 1556, (Christopher Schisler made me in Augsburg in the year of our Lord 1556), hinged on diametrically opposed sides and edges opening to form six separate plates 1a. A geographical astrolabe engraved on a circular disc rotating within an hour scale (1-12 x 2 reading to 15 minutes) also marked meridies (south) along one edge. Consisting of a stereographic projection of the Earth from the North pole onto the plane of the Earth's equator showing named continents and seas (originally silvered) and with the tropics and equator named. Over this plate rotates a rete consisting of  the ecliptic circle only with names, signs and a rule carrying a latitude scale. 1b. A circular map of the Low Countries centred around Breda and Dordrecht with the names of approximately 120 towns together with rivers and inlets, fishermen lowering their nets into the sea (originally silvered) and sea monsters. Pivoted in the centre is an index-arm marked HOC REG CO? SITV: VRBI with a sliding cursor to which is pivoted a second arm used to ascertain the bearing of one town from another. Around the edges of the map twelve compass directions are marked. 2a. A horizontal string-gnomon sundial with inset with inset central compass and five hour scales for degrees of latitude 42, 45, 48, 51 and 54. Spring-loaded folding arm for attaching the upper end of the gnomon in one of the five positions corresponding with the latitudes marked on the plate. 2b. The latitudes of 35 towns in the Low Countries situated between 50 and 53 degrees surrounding the underside of the compass which is decorated with engraved foliage, and a spring drum containing the reserve for the gnomon. 3a. A solar aspectarium explained by the inscription ORBIS INTERIOR SVRGET RVTILANS SOL QUANDO CADATVE EXTERIOR LVCIS SPATIUM TIBI DENOTAT (the shining sun rises on the inner disc, when the sun sets the outer shows you the length of light), consisting of a central volvelle engraved with a diagram of astrological aspects of the planets (trine, quadrature and sext), a circular aperture for the sun and two indexes which provide direct readings and conversions between the three hour scales engraved concentrically around the volvelle. 3b. A rectilinear or 'de Roias' horary diagram, also refered to as an Organum Ptolomei, used, with the rule pivoted at the centre, to determine the times of sunrise and sunset for any latitude, is engraved on the recessed plate, a month calendar engraved on the surrounding rim. This plate is also a nocturnal which, in conjunction with the separate extension, can be used to sight Ursa Major in relation to the Pole star to determine the time at night. The hours on the plate are marked by fourteen buttons and a sharp point at 12 form 'reading' the scale by touch in the dark. The whole is explained by the inscription NOCTVRNALE VERSVS POLVM ARTICVM VEL VRSAM MELORES APLICANDVM (the nocturnal is directed towards the Pole star or the Great Bear). For convenience in use, the hinge pin of this plate can be removed and the plate used separately from the rest of the compendium. The instrument is completed by a separate wind-vane  (which may be mounted at the centre of plate 1) and a chased and folding plummet holder. Both of these accesssories are usually missing from surviving compendia.

christopher schissler. a gilt-brass astronomical compendium, german, dated 1556 | a gilt metal compendium watch plus four pieces with astrolabes and sun dial

Fine Classical Chinese Paintings & Calligraphy

The setting sun, that vagabond, west of the little bridge; Spring scenes now fading, feelings so confused.Before the gate of Broidered Village the stream still good for laundry;Inside the shrine on Yellow Ridge the birds yet chattering.To burn, seeking conch-dust incense to give the priest in charge; To fry, bringing cow-milk cheese, instructing the kitchen maid. Jewels, hairpins by the thousands ? Alas, none of them out here! Returning home, all they want are baskets for carrying blossoms. The day the fragrance dies away is the season of new life.These plum girls, and these peach blossom maidens all give birth to children!But now, folks have dispersed, the wine wears out, and spring too takes departure:The reds diminish, the greens expand - no, nature has no feelings.Envy of surplus silken beauties? Leave it to the rich neighbor.But scattering, like patterned writings! - they brush the ground so low...In vain I remember when I was young, those arenas of hairpins, dances...!Gone, all gone, and now, today, only temple hairs like white silk remain. Together they bring such springtime sadness to this traveler's brow;Chaotically, in wild profusion as I stand here long.I think of summoning the Green Maiden, but it's hard to form the chant!I'd playfully compare them to Red Child, but - tedious to write so many poems!I overlook the river, eastern breezes riffling my short temple hairs;Perfuming the air, the clear-sky sun joins their wandering threads.And now I follow the butterflies, pursuing them as they fly:At the wall's corner, now appearing, a half-branch hiding there! Wealthy, offering riches galore, spring filling every tree!Then fragrance floats, petals drop, the trees are poor again. The red and fragrant now sloughed off - immortals achieving the Way!The greenery begins full shade - a son cultivating humaneness.While some are added to swallows' nests - the mud receiving grace - Others are made into honey by bees; liquid made divine.Year after year, there is one who grieves yet more for you:The moth-browed beauty, she who still remains unmarried yet. Floating, floating, sailing, dancing, far away from home:From down below I trace their path back up to the treetop.Chao Wu would grasp their shame, rain-driven to 'mud and plaster';The Palace of Ch'in would surely regret the smearing of their rouge!Wild in feeling, loving wine, they stick to the red sleeves;Driven, hurried, threading the blinds, mooring on jade hooks!Oh! I would gather these fragmented flowers, pound them into a pill,But, grieved by spring, too hard to heal, the sorrow here, in me. Jade bridles, silver jars - grown weary of the journey,Flying east or falling west, now they make us sad.Rapidly escorting spring away, first they part from trees;Faint, supported by the wind, they barely reach the pavilion.Fish-bubbles of life, some powdery pollen remains;Spider-threads of love, tiny red bits still cling.Their color, their fragrance - long mired in the realm of the senses:But contrition, repentance? How could they ever emulate Buddhist nuns? And who has twisted, crushed them to piles of broidered cloud,Touching earth, spread on the ground, supported by the moss?Sadness, resentment born at night from my pillow, hearing rain;Sinking, floating, entering next morning my 'Farewell, Spring!' cup of wine.Among the branch tips, a few remain, still stolen by the warblers;Fluttering, riding the back of the breeze, tailorbirds press them on.The blink of an eye! The Rise and the Fall! The whole just worth a laugh!In the end, why is it that they drop? Why is it that they're born? Along the twelve boulevards, the pleasure-seekers roam:But now red rain, filling the avenues, thwarts them with spring grief.They realize that time flows on, so difficult to hold back! They waken to the emptiness of the material world, and contemplate withdrawal.Now at dawn, they regret the insensitivity of servants' sweeping petals;Returning late, are saddened by horses' trampling them underfoot.Yet the next day, again they boast of 'cherry lips', 'bamboo-shoot fingers':With Miss Green Leaf, Miss Yellow Oriole, at the old pleasure-house again! Yesterday's flowery glory dazzled our eyes when it was new;This morning, in a twinkling, it's all turned to dust again.Deeply ensconced within his gates, Yang Hsin has no visitors;Sprawled at leisure in his pavilion, Chou Yu has drunken guests.Tears of dew, misty snivel - we mourn the things that pass;Snail-mucus, ant trails - we lament the lingering spring.Gateways, walls, walking paths - all deserted now;If the Prime Minister understood this time, he would not explode in rage. An entire garden of peach and plum - they lasted but a moment;White on white, red on red - whole trees stripped of them!Pavilion? I marvel that the greensward's darkness is topped now by old white;Window? I fret it's easily mottled, speckled by new red!They have no way to float afar, as does the wanderer;Thus they wither, fade away, just like an old man.Next year, again they'll blossom, and surely that is good:Another little poem again will show their flourishing and dying. The 105 Days have gone by now in the twinkling of an eye! Overnight, not a single tree not shaken by the wind.Girls dancing, singing Stomping Songs, will conjure willows white!Poets pouring, drinking wine, will chant of rainfall red !Along Gold River they'll send their fragrance, far off with the waves;On stairs of jade, seeking their shadows, in moonlight - nothing left.While blossoming, deep in the courtyard locked securely away,Now they float beyond the walls, to the west and to the east... Wave upon wave they flutter in a blur, cannot be clearly seen;A downpour's time - the fragrant trees have lost their soul and spirit!Yellow gold could not refine the longevity's root for them;Reddish tears in vain lament the brevity of spring life.Upon the sward, a few remain, temporary traces left;On roads, some ground into mud beneath pleasure-seekers' horses.Everybody will be preparing wine to be drunk next spring;Ashamed of lingering to see them again there's only this old man." Wildly, wildly, thickly, thickly, sideways, slantwise too;How can we bear their delicacy, their lightness on the air?'Adhering to mud' like Master Liao - but no sign of his craziness!'Clinging to this thing', Old Man P'o earned a name for wrong.Seeing off rain, seeing off spring, at the Temple of Long Life, Flying hither, flying thither, in the city of Loyang!Please, do not hold a grudge against the wind and rain today!The Creator of Things has always placed a 'taboo on exorbitance'.(Translation courtesy of This Single Feather of Auspicious Light.) signed Changzhou Shen Zhou, inscribed "above are my Poems on Falling Flowers, exhausting the length of the paper at Shuang-e Mountain Studio", with two seals of the artist, qi nan, bai shi weng Titleslip by Wu Hufan (1894-1968)Titleslip on mounting boarder by Wu Dacheng (1835-1902), signed Kezhai Wu Hufan's inscription:To the right is a handscroll of Falling Flowers poems written out by the venerable gentleman, Shih-t'ien (Shen Zhou), thirteen poems in all. It was originally collected in the Yüan-chin Temple (the Ch'an Buddhist Temple of the Perfected Ford, popularly known as the Young Lady’s Shrine) at Chu-chia chiao (Chu Clan Corner), Ch'ing-pu (a small town west of Shanghai, in the direction of Lake T’ien-shan and of Suchou; now part of the Greater Shanghai Industrial Corridor). During the late Ming period a certain distinguished monk, who was in charge of the temple, maintained extremely intimate relations with such men as Tung Wen-min (Tung Ch’i-ch’ang), Chen Mi-kung (Ch’en Chi-ju), Wang Hsün-chih (Wang Shih-min) and Wu Mei-ts’un (Wu Wei-yeh). And he too was good at poetry and painting. For this reason, the masterpieces collected in his temple were quite numerous. Ten years ago, together with Wang Hsü, Yüan-wen, I travelled there and was able to view the works there collected, and this handscroll of Falling Flower poems by Shen Shih-t’ien was included among them. I myself considered that some former man had produced a fake which was perfectly congruent with this handscroll in layout and form. There were a few other items as well, such as hanging scrolls by Wang Hsüan- chao (Wang Chien) and Wang Shih-ku (Wang Hui) which seemed to be of the same type. When one examined the paper and ink (of the fakes) it appeared that they must have been executed within the last fifty years. And thus I realised that the present scroll too must have been substituted for there (by a fake version) within the same sort of period. For it was just forty years ago that the label (of this original) was inscribed by the late Master K’o- chai (Wu Ta-ch’eng). At the present time, in this temple there exists an album of the Chin-kang ching (the Diamond Sutra) as calligraphed by Ch’en Chi-ju, Wu Wei-yeh, Wang Shih-min, Wang Chien, Chu-ch’a (Chu I-tsun) and so on - a total of thirty-two hands working together. It was created in successive stages from the T’ien-ch’i through K’ang-hsi periods (i.e. circa 1621 - 1722) and is indeed an object greatly worthy of viewing. There is also a hanging scroll portrait of that monk in charge of the temple, and it is remembered that Wang Hui added in its landscape elements; but unfortunately the signature cannot be clearly read. Last year in Shanghai there was a conference on Literary Documents from Ten Counties, at which I heard a friend of mine claim that half the treasures of the temple had been destroyed by fire in the ‘battle of Ch’i and Lu’ of the year chia-tzu (1924); and I lamented to hear it. Also, last winter the temple again suffered the depredations of warfare, and now we hear that the place is in desolation, and practically nothing remains. Alas, this gives rise to great sadness at the extreme fate to which cultural objects may be exposed. Thus for this handscroll to have survived among the tattered scroll-baskets, must it not have enjoyed divine protection?(Translation courtesy of This Single Feather of Auspicious Light.) Colophon signed Wu Hufan, dated wuyin (1938), the eighth lunar month, inscribed "on the occasion of the scroll being remounted, I have recorded this account”, with one seal, wu hu fan With five collector's seals of Wu Hufan, wu hu fan zhen cang yin, mei ying shu wu, wu shi tu shu ji, wu (3), jiang na wu shi shi jia, and one other collector's seal, gan quan jiang shi gui chou yi hou shou cang yin ji

 shen zhou | poems on falling flowers in running script

A mina'i pottery bowl Persia, late 12th/early 13th century finely potted in a deep rounded form resting on a tall foot and with a narrow ridge below the rim, decorated with underglaze and overglaze colours of cobalt blue, turquoise, aubergine, yellow, pale blue and gilt with red outline, the design of a courting couple flanking a central cypress tree above a pool of water with a bank of lush vegetation, a pair of birds above their heads, the interior rim with a band of kufic reserved on a blue ground, the exterior rim with a band of geometric designs reserved on a blue ground above seven circular motifs, four paper labels applied within the footring 20.5 cm. diameter Provenance Formerly in the collection of M. Emile Paravicini Exhibited International Exhibition of Persian Art, London 1931, no.CR21 Published Pope 1938, vol.V, in colour plate 693 Inscriptions Around the rim interior: dama laka al-nasr wa...[ma] tala'a al-shams laka al-nasr wa...[ma] tala'a al-shams wa al-qamar 'May Victory and...last for you as long as the Sun rises. May there be victory and....as long as the Sun and the Moon rise.' This is a beautiful mina'i bowl painted with a delicacy that befits the romantic theme of its decoration. It is the painterly aspect of this bowl which makes it particularly appealing and highlights the close link between mina'i decoration and painting traditions of the period. Pope, discussing this bowl in Survey of Persian Art, believed that it belonged to a small group of mina'i pieces either signed, attributable to, or by a follower of Abu Zayd. This name appears on some very high quality mina'i pieces, all painted in this style and some with dates in the late twelth century (Pope 1938, plates 686-692). There is little information about Abu Zaid except that which is contained on pieces of pottery and the significance of this name was not always clear. However, the name also appears on Kashan lustre-decorated pieces sharing decoration of similar themes and style to the signed mina'i works. Some of the lustre signed pieces also bear dates from a similar period to the mina'i examples. This evidence, taken with comparative analysis of the epigraphy, has recently led to the more confident identification of Abu Zaid mentioned on the two types of pottery as the same man (Watson 1994, pp.170-175). This provides some information regarding the practice of potters in medieval Persia and gives clear evidence that there was production of mina'i pottery at Kashan in central Persia. The similarity in style and theme between the signed works of Abu Zaid and our bowl encourages us to support Pope's hypothesis that it too was a product of the atelier of this great medieval master potter.

a mina'i pottery bowl

The Property of a Gentleman [DICKINSON, EMILY] The Indicator: A Literary Periodical Conducted by the Students of Amherst College. Volume II. Amherst: Published by the Editors, June, 1849 - April, 1850 8vo. Woodcut vignette to title-page; minor toning and offsetting, a few stray spots. Half-brown calf over contemporary marbled boards, edges speckled red, brown endpapers; rebacked, some rubbing to extremities. In custom clamshell case. Dickinson's first published work, in the form of a valentine (pp. 223-4) "Sir, I desire an interview; meet me at sunrise, or sunset, or the new moon—the place is immaterial..." Dickinson's valentine (published anonymously) appeared in the February 1850 issue of Amherst College's newly-formed student literary magazine, The Indicator. Like all of Dickinson’s writings published during her lifetime, it was believed to have appeared without her consent. It would seems that the editors of the magazine received a number of contributions from female admirers, but selected this one for publication. It is likely that Dickinson's valentine was intended for George Gould, and editor of The Indicator. Gould was a commanding 6’8″, and from rural Worcester County. He was also regarded as one of the most brilliant men of Amherst’s class of 1850. Gould was a classmate, friend, and fraternity brother of Austin Dickinson, Emily's brother. Given this, he would have been on close terms with the family. The valentine is a flurry of effusive langue and stirring imagery: "Our friendship sir," Dickinson writes, "shall endure till sun and moon shall wane no more, till stars shall set, and victims rise to grace the final sacrifice...I am Judith the heroine of the Apocrypha, and you are the orator of Ephasus..." We locate no records for this at auction — the "black tulip" for any Dickinson collector. PROVENANCE: James Buckland (ownership signature to title-page)

[dickinson, emily] | the indicator: a literary periodical conducted by the students of amherst college. volume ii. amherst: published by the editors, june, 1849 - april, 1850

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