The Jay T. Snider Collection of Benjamin Franklin

Benjamin Franklin The Private Life of the late Benjamin Franklin... Originally written by Himself, and now translated from the French. London: Printed for J. Parsons, 1793 8vo (205 x 130 mm). Half-title; infrequent pale spotting, short marginal tear to leaf B2, an uncommonly bright and fresh copy. Near contemporary quarter speckled calf over marbled paper boards, parchment corners, gilt-ruled spine, red leather spine label, edges stained yellow; a thin crack along the front joint, rubbing and wear. The first edition in English of Franklin's memoirs, among the most widely read and influential autobiographies ever written. Originally published in an unauthorized French translation in 1791 (see preceding lot), the book was translated back into English for this London edition. "The portion written by Franklin extends only to the year 1730, and the continuation is based upon Wilmer's 'Memoirs of … Franklin'" (NUC). REFERENCES ESTC T10670; Howes F323; Sabin 25573 PROVENANCE Sir Walter Calverley Trevelyan (English naturalist and geologist, bookplate)

View 1 of Lot 146: Benjamin Franklin | First edition in English of Franklin's memoirs

benjamin franklin | first edition in english of franklin's memoirs

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

Wolfgang Amadeus Mozart (1) Cosi fan tutte Dramma giocoso in due Atti… Weibertreue oder die Mädchen sind von Flandern komische Oper in Zwey Aufzügen [score], Leipzig, Breitkopf & Härtel, [1810] FIRST EDITION OF THE SCORE, 2 volumes in one, [1], [viii,] 3–153, [154], 155–269 pages, folio (348 x 262 mm), engraved music, plate number 1363, printed German libretto, WITH EXTENSIVE CONTEMPORARY ANNOTATIONS IN RED CRAYON TO ACT 1, chiefly, but not only, relating to the figuring of the bass part, manuscript number to title (“34575.”), nineteenth-century mottled half calf, spine gilt in compartments, red morocco label with gilt lettering to spine (“Cosi fan tutte”), engraved surface cropped in a few places, slight loss of paper to lower outer corner of pp.27–38 and 45–50, title on guard, light staining to title (2) Così fan tutte. Weibertreue oder die Mädchen sind von Flandern, komische Oper in Zwey Aufzügen… Klavierauszug Pr. 5 Rthlr. [vocal score], Leipzig: Breitkopf & Härtel, [1819] 1 leaf, 192 pages, oblong 4to (253 x 340 mm), lithographed music, plate number 2906, cast-list and index, nineteenth-century green half calf, gilt lettering to upper cover (“Johanna Zimmermann”), without original wrapper, title and first leaf becoming detached, light browning, a few corners creased The first edition of the full score of Mozart’s Così fan tutte appeared some sixteen years after the vocal score (1794). Of particular interest in the present full score are the numerous contemporary additions and annotations. In one place (on p.84), the (evidently English) writer takes issue with Mozart’s part-writing: “The effect of this termination [i.e. cadence] with 2 naked fourths is intolerable. I can scarcely believe Mozart wrote this passage [!]” LITERATURE: (1) RISM M 4693; Haberkamp, p.334; (2) Hoboken, xii 420

View 1 of Lot 99: Wolfgang Amadeus Mozart | First edition of the full score of “Così fan tutte”, and one other

wolfgang amadeus mozart | first edition of the full score of “così fan tutte”, and one other

A Marvelous Journey: The Collection of Maurice Tempelsman

Aaron Shikler 1922 - 2015 Mrs. Onassis on Couch, Book in Lap signed with the initials AAS and dated '68 (lower right) oil on paperboard 7 ¼ by 11 in. 18.4 by 27.9 cm. Executed in 1968.

View 1 of Lot 75: Mrs. Onassis on Couch, Book in Lap

mrs. onassis on couch, book in lap

Benjamin Franklin Poor Richard improved: Being an Almanack and Ephemeris of the Motions of the Sun and Moon … For the Year of our Lord 1752 … Fitted to the Latitude of forty degrees, and a Meridian of near five hours west from London; but may, without sensible error, serve all the Northern Colonies. Philadelphia: Printed and Sold by B. Franklin and D. Hall, [1751] 12mo (162 x 90 mm). Woodcut borders, anatomical man, and monthly panels; title-page torn and worn with tissue reinforcements, final leaf with primarily marginal restoration, some scattered spotting, staining, and offsetting. Modern speckled calf, covers ruled in gilt, spine with raised bands in six compartments, second with gilt lettering-piece, others with repeat floral motif in gilt. First edition. In the preface Franklin discusses the history of the calendar, a discussion provoked by the Parliament’s alterations thereof. He also includes a “brief chronology” from the birth of Jesus Christ concentrating on the history of Britain and her colonies. REFERENCES Miller 529; ESTC ; Evans 6670; Hildeburn 1239; Drake 9738

View 1 of Lot 56: Benjamin Franklin | Poor Richard ... for the Year 1752

benjamin franklin | poor richard ... for the year 1752

Fine Books and Manuscripts, Including Americana. Part 2

Carey, Henry Charles and Isaac Lea A Complete Historical, Chronological, and Geographical American Atlas, being a guide to the history of North and South America, and the West Indies: exhibiting an accurate account of the discovery, settlement, and progress, of their various kingdoms, states, provinces, &c. Together with the wars, celebrated battles, and remarkable events, to the year 1822. Philadelphia: H.C. Carey & I. Lea, 1822 Folio (445 x 302 mm). Mounted on guards throughout, with letterpress title, 1p. "Advertisement," 1p. "Contents" and "Index," letterpress text leaves, and 46 double-page hand-colored engraved maps of America, all but one with borders of letterpress descriptive text, 1 uncolored double-page engraved view showing the comparative heights of mountains throughout the world, 1 hand-colored double-page engraved table showing the comparative lengths of the principal rivers worldwide, 5 letterpress tables, 4 of which are double-page and 3 hand-colored; some faint toning, occasional spots and stains, dampstaining in the margins, some chips and tears mostly at edges, many of the tears closed, the tear on map no. 16 affecting the map title. Bound to style in half dark blue straight grained morocco, contemporary marbled paper covered boards, gilt lettered and decorated spine; boards rubbed with a few infill restorations to old losses. First edition of one of the most important early atlases printed in the United States: a handsome atlas of the Americas, with individual hand-colored maps of each state in the Union, including a seminal map of the West by Stephen H. Long. At the time of publication this was the best and most detailed atlas to be produced in the United States. Fielding Lucas, the major Baltimore printer, was the principal engraver and substantial historical background text accompanies each map. Among the most noted maps in the atlas is Major Stephen H. Long's "Map of Arkansas and other Territories of the United States." That map, which depicts the Missouri basin between Nashville in the east, the Mandan villages in the north and the Rocky Mountains in the west, was based on the surveys conducted by Long on his expeditions of 1819 and 1820. The map published in Carey & Lea's atlas preceded the official account of that expedition by expedition botanist Edwin James, which included a smaller map with similar detail (titled "Country drained by the Mississippi Western Section"). Carey and Lea's 1822 publication of James Account perhaps explains the prior inclusion of this map with Long expedition information in their atlas. On this famous map is the printed legend, which would perpetuate a myth for many years to come, identifying the high plains as the "Great American Desert." Carey and Lea's atlas was first issued, as here, in 1822; an 1823 second issue followed, largely the same as the first but with a new title and revised states of several maps and text leaves (generally minor, including additional shading to maps and improved resetting of several text leaves). REFERENCES Howes C133; Phillips 1373a; Sabin 15055

View 1 of Lot 352: Carey, Henry Charles, and Isaac Lea | An early atlas of the United States, containing an important map of the West

carey, henry charles, and isaac lea | an early atlas of the united states, containing an important map of the west

Joseph Galloway Advertisement. Philadelphia, December 20, 1765. To the Publick. Whereas a Report has been propagated, That at a Meeting of the Gentlemen of the Bar of this City, I gave Opposition to the Opening of the Offices of Justice, and that such Opposition is the Cause of publick Business not being transacted in the usual Manner, without Stampt Paper. I have repeatedly, and in various Companies, denied the Truth of this Report, and fully explained my Conduct at this Meeting, in Hopes thereby to put a Stop to the further Progress of this Calumny, but in vain. I am therefore obliged, in Vindication of my Character, to undeceive the Publick, by the following Explanation. … Joseph Galloway. [Philadelphia: B. Franklin and D. Hall, 1765] Letterpress broadside (387 x 245 mm) on a half-sheet of laid paper (unwatermarked). Some wear and repair at left margin, remnants of two hinges on verso. In the midst of the Stamp Act crisis, Galloway—an able lawyer, wealthy merchant, and member of the Pennsylvania Provincial Assembly—vigorously refutes the “calumny” circulating that he opposed the transaction of judicial business except on “stampt paper.” The Stamp Act, which took effect 1 November 1765, sought new revenues from the North American colonies by taxing newspapers and legal documents. Galloway was sympathetic to the colonists' protests against Parliamentary taxation, but he was also disdainful and then angered by the radical element, believing that the difficulties were basically constitutional. He attempts in this broadside to prudently walk that narrow line between loyalty to the King and desire for independence. He writes that when the special meeting of the Philadelphia bar was opened, a proposal was made “that the Attornies should proceed in the Duties of their Profession, in the usual Manner, without Stampt Paper. Against this there was no absolute Objection made by any, save one, who said he thought it would be imprudent in the Officers of this Province to take the Lead, and that he had rather see the Officers of the other Governments first begin the Measure. A provisional Objection I made myself. I repeatedly declared, that I would proceed in my Office as usual, provided it was previously settled, and known, that the Judges would suffer the Proceedings and Practice of the Law to be carried on in the Courts, without Stampt Paper. But that unless this was done, I did not think it would be prudent in any Person to incur the Penalties of the Statute, nor hazard the Safety of his Person and Property, while those very Men, who must superintend the Recovery and Execution of the Penalties, were to remain free from any Risque, though equally interested in the Measure, and equally bound to join in it.” Galloway urges a conservative approach to the matter, in keeping with his general political principles: “It indeed appears to me a difficult Matter to reconcile the Warmth with which these Gentlemen urge the Opening the Publick Offices, with their steady and constant Opposition to the proposed Meeting of the Judges. If they are as desirous as they pretend to be, that publick Justice should be administered in the common Mode, and that cannot be done to Purpose, without the Assent of the Judges, why are they so averse to the obtaining that Assent?” In concluding, Galloway passionately defends his own honor and principles, as well as his position on the Stamp Act. “But what renders this Report still more ungenerous and dishonourable is, a Proposol that was made by one of the Gentlemen, and, as I thought, agreed to by all, for none objected to it. It was this, That as it would not be proper to mention the Sentiments of any particular Person, it would be prudent to inform the People, who should enquire after the Result of the Meeting, that there were various Opinions among us, and therefore nothing conclusive was agreed on. To which I answered, That I had delivered my Opinion on the Subject with Candour, and as it was founded on cool Reflection, it would give me no Concern should it be published from the Court-House Steps, and in every Street in the City, and yet I should chearfully comply with the Proposal, since it had been made. After this, I was not a little surprized, to find my Conduct so basely misrepresented, and that great Pains had been taken to throw the Odium, arising from the not opening the Publick Offices, on Mr. [George] Ross and myself, who were of the fame Opinion. I have taken some Pains to discover the Authors, but without Succes, I shall therefore leave them to reconcile their Conduct, in this Respect, if they can, to the Principles of Honour and Truth, if they cannot, to the Checks of their own Consciences.” George Ross served with Galloway in the Pennsylvania legislature and the Continental Congress. Initially a Tory and crown prosecutor, his allegiance to the colonial assemblies grew as they rebelled against perceived Parliamentary overreach like the Stamp Act. Galloway was able for a time to swing public sentiment to his side, and he was elected speaker of the Pennsylvania House from 1766 to 1774, the latter being the year he led the Pennsylvania delegation in the First Continental Congress, where he proposed a union—which received little support—between the thirteen colonies and Great Britain. By 1776 his loyalties had turned British and he fled, first to the countryside and then to England, where he was a spokesman for the American Loyalists and continued to work for accommodation. The 1783 peace treaty was to leave him disliked on both sides of the Atlantic. Issued without imprint, Miller ascribed the present broadside to the Franklin and Hall press because of an entry in their 1765 Workbook: “Joseph Galloway, Esq., For printing 400 Copies of his Vindication relating to opening the Publick Offices, £1.5.0.” Despite this print run, Galloway’s advertisement-answer “To the Publick” is exceptionally rare. Only a single copy is recorded in Rare Book Hub, a duplicate from either the Library Company of Pennsylvania or the Historical Society of Pennsylvania sold at Parke-Bernet Galleries, 20 January 1970, lot 7 (the sale was titled “The American Revolution: Books & Pamphlets, Broadsides, Maps, Newspapers from the Collections of the Library Company of Pennsylvania and the Historical Society of Pennsylvania,” but individual lots were not specifically designated). These two Philadelphia institutions account for two of the three copies located by ESTC, the other being held by the American Antiquarian Society. REFERENCES Miller 838; ESTC W1354; Evans 9977; Hildeburn 2127; Campbell 714

View 1 of Lot 99: Joseph Galloway | "in Vindication of my Character"

joseph galloway | "in vindication of my character"

George Eliot Middlemarch. A Study of Provincial Life. London & Edinburgh: William Blackwood & Sons, 1871 FIRST EDITION IN THE ORIGINAL PARTS, 8 volumes, 8vo (182 x 122 mm), half titles, advertisements, errata slip tipped in to part 4, publication notices tipped in to parts 5–6, publisher's 62-page catalogue bound in at the end of part 8, original printed wrappers, one half of first leaf of advertisements torn away and lacking pages 17–18 in same, occasional scattered foxing, lower wrapper and backstrip of part 1 replaced with plain green paper, top margin of upper wrapper of part 3 extended with plain green paper, lower wrapper of same detached, spines faded, split, and torn with some losses to spine ends RARE IN THE ORIGINAL PARTS. The pagination conforms to the book edition of four volumes, with each set of two parts having consecutive pagination. PROVENANCE: Sale in our New York rooms, 15 June 2006, lot 148 LITERATURE: cf. Sadleir 815

View 1 of Lot 54: George Eliot | Middlemarch, Edinburgh and London, 1871, first edition in the original parts

george eliot | middlemarch, edinburgh and london, 1871, first edition in the original parts

Thomas Hardy Tess of the d'Urbervilles. A Pure Woman. London: James R. Osgood, McIlvaine and Co., 1891 FIRST EDITION, FIRST IMPRESSION (with incorrect wording "[Chapter] XXV" on p. 199, volume 2), 8vo, half-titles, blanks, original smooth tan cloth, upper covers decorated in gilt with honeysuckle stems (after design by Ricketts), spines blocked and lettered in gilt, extremities slightly bumped FIRST EDITION OF HARDY'S CELEBRATED TRAGIC NOVEL. PROVENANCE: "H.R.S. Jr.", bookplate LITERATURE: Purdy, pp.67-78; Sadleir 1114

View 1 of Lot 70: Thomas Hardy | Tess of the d'Urbervilles. A Pure Woman, 1891, first edition, first impression

thomas hardy | tess of the d'urbervilles. a pure woman, 1891, first edition, first impression

Man Ray Mr and Mrs Woodman. La Haye: Edition Unida, 1970 4to (280 x 240 mm). Signed "Man Ray" and numbered to colophon in black ink, 27 gelatin silver prints tipped to thick card, first print signed "Man Ray" in blue ink to verso, each stamped "epreuve orginale Man Ray"; a few spots. Original red morocco by M. Bueno, front cover with "MR" stamped in blind, spine gilt-lettered, beveled edges gilt, marbled endpapers. [With:] A numbered original engraving (275 x 245 mm), signed "Man Ray" and numbered "49/50" in pencil. A captivating testament to the artist's recurring and iconic motif. Originally photographed in 1947 and published only in 1970, Man Ray's use of mannequins would play an important role—appearing in several paintings and rayographs, spotlighted in his portfolio Resurrection of the Mannequins (1966), and finally within the present work. Bringing the figurines out of their typical use in still-life, the surrealist artist makes the inanimate animate, in stylized provocative poses. An additional 15 copies were printed, numbered I to XV, and reserved for the artist and his collaborators. Introducing the mannequins as abstractions of human life, Man Ray's preface grounds their existence: "Of course it is unnecessary to say that Mrs. and Mr. Woodman first met in the forest. After a century or so they were liberated from their trees or from the same tree where they might have already been united in pre-marital bliss."

View 1 of Lot 447: Man Ray | Mr. and Mrs. Woodman

man ray | mr. and mrs. woodman

Robert Browning and Arthur Rackham The Pied Piper of Hamelin. London: George G. Harrap & Co, 1934 SIGNED BY THE ILLUSTRATOR, 8vo (236 x 155 mm), signed and dated ("Arthur Rackham | 1934") with pen drawing of two rats, four coloured plates (including frontispiece) and fourteen black-and-white drawings (one double-page), publisher's gilt-lettered limp vellum, top edge gilt, endpapers patterned with rats, deckled edges, housed in publisher's cardboard slipcase, very occasional light spotting, vellum slightly browned at top edge﻿

View 1 of Lot 117: Robert Browning and Arthur Rackham | The Pied Piper of Hamelin, 1934, deluxe edition

robert browning and arthur rackham | the pied piper of hamelin, 1934, deluxe edition

[Brontë, Emily] Wuthering Heights. New York: Harper & Brothers, 1848 12mo (188 x 125 mm). Foxed, several gatherings dampstained, a few old creases at corners, one or two ink stains. Publisher's ripple-grain cloth, boards stamped in blind, spine lettered and embellished in gilt; overall rubbed with loss and fraying, staining and soiling to cloth, joints starting. The first American edition of the turbulent Gothic romance between Cathy and Heathcliff. "Whatever our souls are made of, his and mine are the same" (71). Wuthering Heights was Emily Brontë's only novel, published after her death and here incorrectly attributed to her sister Charlotte, "the author of Jane Eyre." The misattribution stemmed from the Brontë's London publisher, Thomas Newby, who erroneously believed that the sisters Charlotte, Emily, and Anne—writing under the pen names Currer, Ellis, and Acton, respectively—were in fact one person, an untruth which spread to the novel's American publishers. The true authorship was not revealed to the public until Charlotte's biographical notice was added to the novel's 1850 uniform edition (Smith). The exceptionally scarce first English edition, published in December 1847, was issued in 2 volumes and correctly attributed to Ellis Bell; it also included an additional volume by Anne Brontë, Agnes Grey, under her pseudonym Acton. The first American edition, only Wuthering Heights, was published on 21 April 1848, simultaneously issued as a single cloth volume (75¢) and as two parts with paper wrappers (25¢ each), with no priority (Smith). The present copy bears ownership inscriptions from the year of publication: John Henry Williams, who owned the historic Woodlawn house in Nashville, and his daughter Lera, indicating interest from young women readers early on. The volume remained in the Woodlawn library for over a century. The enduring tale of love, class, possession, and jealousy certainly lives on; its star-studded adaptation earlier this year grossed nearly $214 million worldwide. REFERENCES Smith p. 74-75; Symington, p 100; Tinker 389 PROVENANCE John Henry Williams (ownership inscription to title page, dated "Nashville, Sept 1848") — several contemporary manuscript inscriptions and initials to pastedowns — Lera D. Williams (ownership inscription in pencil to endpapers, "Woodlawn Tennessee"; her name is also listed on the pastedown in a different hand) — Mrs. Dorothy Moore, who purchased Woodlawn and its library in 1922 — gifted to Paul Clements in 1982 — thence by descent to the current owner

View 1 of Lot 399: [Brontë, Emily] | Wuthering Heights, first American edition

[brontë, emily] | wuthering heights, first american edition

Montgomery & Winters A South-East Prospect of the Pennsylvania Hospital, with the Elevation of the Intended Plan. Philadelphia: Printed and Sold by Robert Kennedy, 1761 Hand-colored engraving (274 x 367 mm). First state, before the addition of the numbers, signed in the plate "Montgomery & Winters Del." and "J Steeper & H Dawkins sculp.t"; lightly toned, marginal repairs, with one closed crack barely passing the neatline at the left, and one touching the engraved text at lower right corner, expertly rebacked. Framed. The first state of this early view of Pennsylvania Hospital, apparently a unique impression. "This Building by the Bounty of the Government, And of many private Persons, Was Piously founded, for the Relief of the Sick and Miserable." This engraved view shows Pennsylvania Hospital, located at 8th and Pine Streets in Philadelphia, as seen from the southeast. It treated men and woman for both physical and mental illnesses. Of particular note is the garden in the foreground, where invalids are seen taking air and exercise, assisted by groups of well-heeled and charitable Philadelphians. The view was made to stimulate public interest in the Pennsylvania Hospital, and it was sold to raise funds for the institution's continued growth. Co-founded by Dr. Thomas Bond, a Philadelphia physician who first conceived of the institution, and Benjamin Franklin, who helped secure the necessary funding, it was the nation's first chartered hospital. The Pennsylvania Assembly pledged £2,000 for the institution but required that the founders raise a matching amount from private individuals (see lot 60 for a collection of Pennsylvania Hospital Promissory Notes, printed by Franklin). The goal was easily met, and the hospital was chartered in 1751. After a short period in a temporary building, the east wing opened its doors in 1756. Although the full building, as designed by Samuel Rhoads, is depicted here, the central and western wings were not completed until after the Revolution (west wing, 1795-96; central pavilion, 1796-99). As such, the hospital required additional funding to complete the building, which is what this engraving would likely have funded. The charitable nature of the print is made doubly clear by the roundel at the bottom of the image. It includes an illustration of, and a bible passage from, the Parable of the Good Samaritan (Luke 10:35) — "take care of him & I will repay thee." Pennsylvania Hospital's Pine Building still stands today. It recently opened as a museum in May 2026, the year the hospital celebrated its 275th anniversary. This print was last sold in 1973 at Sotheby's, and evidently no copy of any state of the print has appeared at auction since then, per Rare Book Hub. We are only able to locate a single institutional example, held at the Library Company of Philadelphia. REFERENCES Snyder, City of Philadelphia, 24 (this copy); Roger W. Moss, "Rhoads, Samuel," from Philadelphia Architects and Buildings, a project of the Athenaeum of Philadelphia (https://archive.carpentershall.org/items/show/25803); Julie Wood, "The History of Pennsylvania Hospital's Pine Building," Penn Medicine, May 7, 2026 (https://www.pennmedicine.org/news/the-history-of-pennsylvania-hospital-pine-building?path=News&path=the-history-of-pennsylvania-hospital-pine-building) PROVENANCE Martin Snyder

View 1 of Lot 62: [Pennsylvania Hospital] — Montgomery & Winters | The first state of this early view of the nation's first chartered hospital, likely a unique impression

[pennsylvania hospital] — montgomery & winters | the first state of this early view of the nation's first chartered hospital, likely a unique impression

Album Amicorum Oblong 8vo (185 x 104 mm), 83pp. excluding blanks, manuscript title on engraving mounted on first leaf, 9 silhouette portraits, 1 engraved silhouette, 5 watercolour illustrations, 1 pastel, 1 drawing, many cut down and mounted, contemporary half calf, marbled endpapers, housed in buckram clamshell case, browning throughout, some leaves detached, some mounted on guards, binding worn, gatherings exposed A charming late eighteenth-century album amicorum containing entries dating from 1779 to 1793, featuring numerous silhouettes and watercolours collected in Berlin, Dresden, Halle, Heidelberg, Jena, and Leipzig.

View 1 of Lot 2: Album Amicorum | Der Freundschaft gewidmet, 1779-1793, manuscript in German

album amicorum | der freundschaft gewidmet, 1779-1793, manuscript in german

Christoph Willibald Gluck Autograph manuscript of part of the celebrated air “J’ai perdu mon Eurydice” from Orphée et Eurydice A WORKING DRAFT DIVERGING FROM THE FIRST EDITION, including changes to the music and text, beginning with the accompanied recitative for Eurydice and Orphée (“[Reçois] donc mes derniers adieux”), including Orphée’s fatal backward glance and Eurydice’s death, and concluding with the opening twenty-five bars of Orphée’s air (up to the Adagio “C’est ton amant”), in score, for voices and instruments, notated in dark brown ink on three five-stave systems per page, some annotations in pencil and red crayon, with deletions, smudging, and alterations, the manuscript extensively reworked by the composer, including a revision of the passage leading up to Eurydice’s death, notated on a single stave at the foot of the first page, with some earlier passages, diverging from the final published versions, still legible (including “objet de mes amours”) 4 pages, folio (c. 300 x 230 mm), 16-stave paper, [1774], a few minor tears, a little paper loss caused by oxidation of the ink, some spotting and staining, strengthened at spine THIS IS THE AUTOGRAPH MANUSCRIPT OF ONE OF THE MOST FAMOUS ARIAS IN ALL OPERA; IT IS WITHOUT DOUBT THE MOST IMPORTANT MANUSCRIPT BY GLUCK TO HAVE BEEN OFFERED AT AUCTION. This is a working manuscript, containing Gluck’s draft of the crucial scene preceding Orphée’s famous air, where, having been forbidden to look back at Eurydice as he leads her out of the underworld, the hero finds he is unable to resist her plaintive cries, glances at her, and causes her death. Gluck has deleted early versions of several passages in Orphée’s part and extensively remodelled them, the earlier drafts still visible under his heavy deletions; some of these reveal different words as well as different music from the final versions known today. The moment of Eurydice’s death is underscored by the momentary singing together of the two voices (not found in the Italian version), and this too is subject to deletions and revisions. Gluck deletes the first version of the words and writes the revision at the foot of the page (“Eu Orfée o Ciel je Meurs”). Even the words of Orphée’s “J’ai perdu mon Eurydice” are different, the second line “…rien n’égale mon Malheur” here given as “j’ai perdu tout mon bonheur”; similarly the words “c’est ton Epoux” of the Adagio are given here as “c’est ton amant”. Gluck originally wrote Orfeo ed Euridice as an opera in Italian (Vienna, 1762), with the hero sung by a castrato. No autograph manuscript survives: the first edition is the primary source for the Vienna version. The composer greatly amplified the opera for Paris in 1774, rewriting the hero’s part for haut-contre (a high tenor). There is no complete autograph manuscript of the Paris version, though sections survive in Paris, Berlin and Stanford, amounting to roughly two-thirds of the score. In the present manuscript, Orphée’s part is notated in the alto clef, although the composer mistakenly began writing part of the opening of the air in the tenor clef. This air has been celebrated as a star vehicle for mezzo sopranos and contraltos from Pauline Viardot in the nineteenth century to the present. It was especially beloved in this country as “What is life to me without thee?”, as sung by the great contralto Kathleen Ferrier. PROVENANCE: Sale in these rooms, 3 December 2008, lot 35

View 1 of Lot 61: Christoph Willibald Gluck | Autograph manuscript of part of the celebrated air 'J’ai perdu mon Eurydice' from "Orphée et Eurydice", 1774 

christoph willibald gluck | autograph manuscript of part of the celebrated air 'j’ai perdu mon eurydice' from "orphée et eurydice", 1774

Pessoa, Fernando Mensagem. Lisbon: Parceria Antonio Maria Pereira, 1934 8vo (196 x 120 mm). Signed by author “Fernando Pessoa” to prelim. Publisher’s wrappers, yellow dust jacket; lightly soiled with tear of 4.2 cm at the front joint of the jacket. First edition, presentation copy of Mensagem, signed and inscribed: “Á Albino Forjaz de Sampaio, / Com um abraço / de / Fernando Pessoa / 8–XII–1934." This epic poem by Portugal’s most celebrated poet after Camões is organized in three parts: “Brasão,” “Mar Português,” and “O Encoberto,” and comprises 44 short poems celebrating Portuguese history. Outside of Mensagem, Pessoa was an active contributor to various modernist publications, like A Águia and Presença (see lots 301 and 328) during his lifetime. Fame would truly materialize after Pessoa's death in 1935, a year after the publication of the present work. REFERENCES Stoddard 5; Blanco, Fernando Pessoa, Esboço de uma bibliografia PO 127; Rui de Sousa, Fotobibliografia de Fernando Pessoa, p. 176; Bloom, The Western Canon, pp. 3, 485–92 PROVENANCE Albino Maria Pereira Forjaz de Sampaio

View 1 of Lot 327: Pessoa, Fernando | "Deus Quer, o homenm sonha, a obra nasce (God wills it, man dreams it, the work is born)"

pessoa, fernando | "deus quer, o homenm sonha, a obra nasce (god wills it, man dreams it, the work is born)"

William Smith An Answer to Mr. Franklin's Remarks on a Late Protest. Philadelphia: Printed and Sold by William Bradford, at his Book-Store, in Market-Street, adjoining the London-Coffee-House, M.DCC.LXIV (1764) 8vo (187 x 116 mm). Ornamental headpiece; title's inner margin reinforced, marginal chips, a few checkmarks to margins, ink stains to leaf B2, toned with a few stray stains and foxing throughout, lacking final blank. Modern half red morocco over marbled paper-covered boards, black gilt-lettered spine label, grey endpapers. Housed in a custom red cloth slipcase and folding chemise. First edition—Sabin's state B, with two lines of text below "protestors" on page 3 and the Churchill reference on page 21. One installment in a controversial printed debate between Franklin and his fellow Pennsylvanians. On 1 November 1764, the Pennsylvania Journal published a Protest signed by John Dickinson and nine others against the General Assembly's decision to appoint Franklin as agent of the province in England. Franklin then published a reply, Remarks on a Late Protest, to which the present lot was a response. REFERENCES ESTC W11639; Evans 9841; Hildeburn 1952; Sabin 84586

View 1 of Lot 96: William Smith | An Answer to Mr. Franklin's Remarks on a Late Protest

william smith | an answer to mr. franklin's remarks on a late protest

(Juan II, King of Castile) Comiença la Cronica del Serenissimo Rey Don Juan el Segundo deste nombre, impressa en la muy noble y leal ciudad de Logroño: por mandado del catholico rey don Carlos su visnieto… Logroño: Arnaldo Guillen de Brocar, 1517 Folio (360 x 245 mm). Large woodcut to title, 2 full-page woodcuts, printer's device below colophon, text printed in red and and black; 4 small wormholes touching a few letters to leaves of quire q, generally crisp. Contemporary blind-tooled calf; professionally rebacked, refurbished, with new clasps, endpapers renewed, some wear to corners, spine rubbed. First edition—only two other copies have been offered at auction in the last 50 years. Published by Arnão Guillen de Brocar at the command of Charles V, this chronicle is described as “one of the most sumptuously printed of early Spanish books” (Lyell, Early Book Illustrations in Spain). The printer moved and opened offices frequently due in part to his increasing reputation and significant activity. Brocar would begin printing in Pamplona in 1490, then moved to his workshop in Logroño, where the present work was completed with new Gothic letter and commentary types, devices, and some of the woodcut initials of Brocar's press. Crónica was one of the final works printed in Logroño shortly after his appointment to royal printer to Charles V. It would be during the printer's appointment to the University of University of Alcalá de Henare that Brocar would produce other fine works like the Complutensian Polyglot Bible (see lot 305). Succeeding his father at age two, Juan II of Castile's rise and maintenance of his royal authority was a casualty due to the influence of the meddling nobleman, Álvaro de Luna. Using the King's favor to become one of the most powerful men in Spain, it's unsurprising that Crónica's attitude towards de Luna and his relationship with the King would be favorable. Beginning with the death of Juan II's father, Enrique III, the present work is organized by years of his reign subdivided into chapters. Crónica culminates with the death of King Juan II and his final years of unstable reign without the shadow of de Luna. Significant in his lackluster reputation as a statesman and remembered by his impressionable disposition, Juan II had the longest rule within the Trastámara dynasty. Suspected for involvement in a murder at court, Luna's reign of influence ended when Juan II, now under the influence of his second wife, had his former favorite beheaded—the final episode of the work. The authorship of the chronicle has been much debated with numerous bibliographic entries listed solely under "Chronica." The prologue is written by Álvar García de Santa María with the colophon noting corrections by doctor Lorenço Galíndez de Carvajal. REFERENCES Palau 64966; Lyell, Early Book Illustration in Spain, pp.285-8; Haebler, Early Printers 49, 119; Norton, Descriptive Catalogue, 427; Updike, Printing Press II, 47, 65; Ward, Oxford Companion to Spanish Literature, p. 305; Ticknor Catalogue, p. 266; Salvá 3117; Heredia 3131; not in Adams

View 1 of Lot 318: (Juan II, King of Castile) | A rare chronicle of King Juan II

(juan ii, king of castile) | a rare chronicle of king juan ii

Charles Woolverton Christ the Eternal Word, the only means of man's salvation. Philadelphia, B. Franklin, 1738 8vo (166 x 100 mm, some leaves uncut, preserving deckle at fore-edge). Typographic ornaments in text; title-page and final leaf lightly soiled, expert restorations to the title and in the margins of the text, one short marginal tear in leaf D2, a vertical split close to the gutter in leaf D3. Full period calf; expertly rebacked, preserving original spine, scuffing and rubbing to boards. A Quaker tract printed by Benjamin Franklin — only two other copies known. The imprint states that Franklin printed this tract "for the author," but Miller located an expense voucher from the Yearly Meeting of the Society of Friends of Philadelphia recording a payment to Franklin of £4.10.0 for 300 copies, so it evidently was an officially sanctioned Quaker publication. Not much is known about the author, Charles Woolverton, besides the fact that one of the first books Franklin published was a discourse by him (cf. Miller 12), though no copies of that work are known to survive. Very rare—we locate two copies in institutional collections (University of Pennsylvania and Swarthmore) and, according to Rare Book Hub, none have appeared at auction since 1902. REFERENCES Miller 160; ESTC W17623; Evans, 4327; Sabin 105216

View 1 of Lot 14: Charles Woolverton | A rare Quaker tract printed by Franklin

charles woolverton | a rare quaker tract printed by franklin

[John Wallis] Untitled map of the United States, one of the earliest cartographical depictions of the new nation created by the Treaty of Paris. The large surrounding cartouche with figures of Benjamin Franklin and George Washington. [London: John Wallis, March 1783] Engraved map (sheet: 217 x 290 mm; platemark: 178 x 208 mm). Unrecorded proof state, hand-colored; minor soiling and staining, a few very short edge tears; two corners creased. An unrecorded proof state of this highly decorative map published at the end of the Revolutionary War, commemorating the Treaty of Paris, and celebrating the newly formed United States of America. After the preliminary treaty of Paris was signed on 20 January, 1783, most mapmakers, like Carrington Bowles, Jean Lattré, and Sayer and Bennett, reworked old copperplates and re-engraved "The United States" into their cartouches. This map, on the other hand, is an entirely original engraving, officially published on 18 March 1783. The unusual composition gives far more space to the allegorical border than it does to the rather simple, oval map. That said, the map does delineate the basic borders of each state and gives city and place names. It also includes various other details like the location of French Louisiana, the Spanish Floridas, some major rivers and lakes, as well as a note locating the "Country of Mines" in present-day Missouri. The inset map is flanked by two of America's most important founding fathers—General George Washington, who fought and defeated the British, and diplomat Benjamin Franklin, who negotiated the Treaty of Paris and officially ended the Revolutionary War. Both are accompanied by allegorical figures. Washington is shown being led by Liberty, and Franklin is seen being advised by Wisdom and Justice. Above Washington, winged Fame, with a wreath of laurels in one hand, blows her trumpet to announce the new nation. The background near Franklin includes a pine tree and a pineapple, symbols of American resilience, wealth, and promise. While the publication of a map celebrating American independence in 1783 London may seem surprising, there had for decades been a significant group of Whigs among the British governing classes and their pundits who believed in liberalism and constitutionality. As such, Wallis could have expected this map to be commercially viable. There is a second state of the map dated 18 March 1783, and with the imprint of Wallis and the engravers Thomas Jones Woodman and Henry Mutlow. That state of the map is known in a single copy held at the British Museum (number 1865,0610.1143). Another variant of the map is sometimes found on patriotic transferware jugs (including one offered here at Sotheby's, "Fine Books and Manuscripts," 16 July 2021, lot 50). Wallis produced a second commemorative map of the United States, dated 3 April 1783, titled "The United States of America laid down from the best authorities, agreeable to the Peace of 1783" (Library of Congress, call number G3700 1783 .W3). The second revision's large size, greater detail, and wider availability, may help explain the rarity of the present map. Interestingly, the decorative cartouche on the April map matches the untitled map offered here almost identically, but the oval inset contains the map's title and is surmounted by a flag, the Stars and Stripes. This led British Museum catalogers to posit that the map offered here may have been cut from that larger plate. However, given the dates that Wallis engraved on his maps, as well as certain small inconsistencies in the engraved longitude lines and at the lower border, it is far more likely that Wallis inserted this smaller copperplate into the larger one and reworked it. REFERENCES Unrecorded, but other states and variants can be found in: Ashley Baynton-Williams, "Maps of the United States (1778–1800)," Mapforum.com, no. 1, maps 22 and 23; (https://www.britishmuseum.org/collection/object/P_1865-0610-1143); (https://www.sothebys.com/en/buy/auction/2021/fine-books-and-manuscripts-2/american-revolution-a-rare-transferware-jug; https://www.loc.gov/resource/g3700.ct000080/?r=0.504,0.608,0.254,0.152,0)

View 1 of Lot 125: John Wallis | A map celebrating America's independence featuring Washington and Franklin, an unrecorded proof state

john wallis | a map celebrating america's independence featuring washington and franklin, an unrecorded proof state

Berredo, Bernardo Pereira de Annaes historicos do Estado do Maranhão. Lisbon: Francisco Luiz Ameno, 1749 Folio (290 x 185 mm). Title page in red and black, woodcut initials, headpieces, and tailpieces; title-page soiled, minor dampstaining to lower margin of license and preceding leaf, some foxing to outer margins of a few gatherings, but overall a clean copy, a few leaves mispaginated. Modern half morocco over green cloth-covered boards, spine with raised bands in six compartments, second and fourth gilt-lettered, edges speckled red; wear at joints, spine faded, some scuffs, top edges dust-soiled. First edition of this history on Maranhão by its future governor. Discovered in the early 16th century, the state of Maranhão originally comprised lands from Amazonia to Ceara. Covering the state's political, religious, and military events until the year Berredo is appointed governor in 1718, Annaes's longstanding significance lies in its capture of key details of the Amazon river, colonial conflicts, trade, and missionary work. REFERENCES Alden & Landis 749/25; Azevedo-Samodães 2396; Borba de Moraes (1983) I, 103; Bosch 196; Griffin 3369; JCB II, i, 915; JCB, Portuguese and Brazilian Books 749/1; Rodrigues 388; Sabin 4967; Palau 218678; Palha 4262

View 1 of Lot 304: Berredo, Bernardo Pereira de | First edition of this history on Maranhão by its future governor

berredo, bernardo pereira de | first edition of this history on maranhão by its future governor

Benjamin Franklin INTRODUCTION TO LOTS 82–87 The Snider Collection is especially rich in materials illuminating the long friendship between Benjamin Franklin and Mary (Polly) Stevenson Hewson (1739–1795), daughter of his London landlady, Mrs. Margaret Stevenson, as the following six lots demonstrate. The editors of The Papers of Benjamin Franklin describe Stevenson (later Mrs. Hewson) as “one of the charming, intelligent girls to whom [Franklin] gave the long and affectionate friendship for which he had such a talent. … Polly’s almost filial devotion to him was a major influence in her life. She had acquired an unusually good education and by the time [Franklin] arrived at Craven Street in 1757, she was spending most of her time as companion to an elderly aunt, a Mrs. Tickell, in Wanstead, a village about ten miles from London, apparently with the understanding that the aunt would leave her a comfortable estate. Nothing came of [Franklin’s] hope of having her as a daughter-in-law; in 1770 she married William Hewson, a brilliant young physician and anatomist, who four years later died from an infection incurred while dissecting. Polly devoted the rest of her life to the care and education of her two sons and daughter” (Papers 8: 122–123). In 1784, Polly and her family visited Franklin in Passy, and in 1786, about a decade after Franklin had first suggested it, she and her children moved to Philadelphia; she was with Franklin at his death. Among their voluminous and eclectic correspondence, are eight letters by Franklin (including the present) that were published in later editions of his Experiments and Observations on Electricity. Franklin reflected on their friendship in a 27 January 1783 letter to Polly: “In looking forward,—Twenty-five Years seems a long Period; but in looking back, how short!— Could you imagine that ’tis now full a Quarter of a Century since we were first acquainted!— It was in 1757. During the greatest Part of the Time I lived in the same House with my dear deceased Friend your Mother; of course you and I saw and convers’d with each other much and often. It is to all our Honours, that in all that time we never had among us the smallest Misunderstanding. Our Friendship has been all clear Sunshine, without any the least Cloud in its Hemisphere. Let me conclude by saying to you what I have had too frequent Occasions to say to my other remaining old Friends, the fewer we become, the more let us love one another” (Papers 39:67–68). Autograph letter signed ("BFranklin") to Mary “Polly” Stevenson (“My Dear Friend”), 2 pages (318 x 201 mm) on a bifolium of laid paper (watermarked Pro Patria with Maid of Dort, countermarked crowned GR), London, 22 March 1762, regarding her study of electricity and other subjects, eight-line autograph postscript, integral leaf with autograph address panel (“To | Miss Stevenson | at Mrs. Tickell’s | Wanstead Essex”) on verso; some light staining at top of first page, long separations at head and foot of central vertical fold, a short marginal separation at horizontal fold, seal tear and repair, but red wax seal preserved largely intact. Half maroon morocco folding-case gilt, chemise. Franklin congratulates Stevenson on her reading his Experiments and Observations on Electricity in the French translation of Thomas-François Dalibard, and responds to a question she had posed in a letter to him, 10 March 1762, concerning Leyden jars: “I was about to ask a Question I find you cannot answer—How it happens that the Surface of the Bottle which contains less than it’s natural Quantity of Electric Fire does not immediately replenish itself from the Hand that holds it, unless the Fire which has a Communication with the other Surface is applied to something that will receive it’s superabundant Quantity” (Papers 10:65–66). He here replies, “I must retract the Charge of Idleness in your Studies, when I find you have gone thro’ the doubly difficult Task of reading so big a Book on an abstruse Subject and in a foreign Language. “The Question you were about to ask is a very sensible one.— The Hand that holds the Bottle receives & conducts away the electric Fluid that is driven out of the outside by the repulsive Power of that which is forc’d into the inside of the Bottle. As long as that Power remains in the same Situation, it must prevent the Return of what it had expell’d; tho’ the Hand would readily supply the Quantity if it could be receiv’d.—” These two opening paragraphs appear, virtually verbatim, as Letter LIII in the 1769 (pp. 460–61) and 1774 (pp. 470–71) editions of Experiments and Observations on Electricity, made at Philadelphia in America. The letter then turns to the topic of a new play that Stevenson was keen to see, a comedy in verse by William Whitehead that had premiered the previous month, and Franklin does not miss the opportunity to gently tease her about the title: “Your good Mama bids me tell you, that she has made Enquiry and finds that the School for Lovers will not be acted till the Benefits are over; but when she hears that it is to be acted she will send you timely Notice. I need not add, that your and your Friends Company at Dinner that Day will be a great Pleasure to us all. But methinks ’tis a Pity, that when you are so desirous of studying in that School, it should not be open, and must we be depriv’d of the Happiness of seeing you till it is? Rather than that should be, I would almost venture to undertake reading you a few Lectures on the Subject myself.” Franklin requests that she send Dalibard’s translation of his work (which he terms “the French Letters, on Electricity”) to him “as a Friend is desirous of perusing them.” He closes by sending his “sincere Respects to Mrs. Tickell, Mrs. Rooke, Miss Pitt, etc.,” but adds a postscript that has evidently not previously appeared in print: “P. S. We were greatly alarm’d in the Night between Friday & Saturday by a Fire at the Bottom of the Street that has almost destroy’d two Houses. Our House & Yard were cover’d with falling Coals of Fire but as it rain’d hard nothing catch’d. We mov’d a few of the most valuable Things; but suffer’d no Damage, tho’ we lost——some Rest.” This bit of news, since it concerned her mother’s house, might well have been quite distressing to Stevenson, which is undoubtedly why Franklin added a joke to the conclusion. REFERENCES Papers of Benjamin Franklin, ed. Cohn, 37:144–145 (not locating the original, text [surprisingly accurate, but lacking the postscript entirely] taken from Stan V. Henkels, Catalogue No. 1262) PROVENANCE Stan V. Henkels, Catalogue No. 1262, The Great Autograph Sale, 1 July 1920, lot 31 (undesignated consignor) — Robert L. McNeil Jr., of Philadelphia (acquired by Snider from the McNeil estate through the offices of Joe Rubinfine American Historical Autographs)

View 1 of Lot 82: Benjamin Franklin | A lesson in electricity, later printed in Experiments and Observations

benjamin franklin | a lesson in electricity, later printed in experiments and observations

Claude Debussy Autograph manuscript of the song Flots, palmes, sables, signed (“Ach. Debussy”) an essentially fair-copy manuscript, scored for voice and piano, notated in black ink on up to four three-stave systems per page, with an autograph DEDICATORY TITLE-PAGE TO HIS MUSE AND FIRST LOVE MARIE-BLANCHE VASNIER (“a Madame Vasnier. / Flots, palmes. Sables. (poésie tirée des Nuits persannes d’Armand Renaud) Musique. Ach. Debussy”), the text beginning “Loin des yeux du monde”, dated and signed in bold stylized fashion at the end (“2 Juin 1882 Ach. Debussy”), with a number of deletions, corrections, annotations and revisions by the composer, some in pencil, with an autograph three-bar draft, possibly relating to the song, contained on the otherwise blank last leaf 6 pages in all (on 4 leaves), including title-page and an otherwise blank leaf with a 3-bar draft, with two blanks, oblong 4to (c. 270 x 352 mm), stamp of the “Société des Auteurs …3 Oct 1947-621,602…Paris” to title and first blank page, unbound, modern cloth folding case, vertical folds, first and last leaf joined at spine with old transparent adhesive tape, outer pages browned and with some marginal staining, a few tiny tears to edges, very small loss of paper to three corners, not affecting text THIS IS THE AUTOGRAPH MANUSCRIPT OF A COMPLETE SONG BY THE NINETEEN-YEAR-OLD COMPOSER, DEDICATED TO HIS FIRST LOVE. It is currently unpublished in the modern critical edition of Debussy’s works. It was while acting as accompanist for Madame Moreau-Sainti’s singing classes that the young composer met the soprano Marie-Blanche Vasnier, fourteen years his senior and married to the Parisian civil servant Henri Vasnier. Part lover, part muse and part mother figure, she was the inspiration behind nearly thirty of his early songs, including the present one. Also significant in shaping the composer’s early musical aesthetic was the large library at the Vasnier residence, for it was here that Debussy became acquainted with the poetry of Paul Verlaine, Théodore de Banville, and Leconte de Lisle. Madame Vasnier’s exceptionally high and supple voice encouraged Debussy to write florid and ornate vocal lines, as in the present song Flots, palmes, sables, where Debussy’s vocal arabesques are used to great effect in invoking the “waves”, “palms” and “sands” of Armand Renaud’s Persian-inspired exotic lyric. It would appear that Debussy began the song - for voice and piano - in late 1881 or early 1882, and then completed it with a harp part in June 1882. There are no other autograph sources for the work, with the exception of the harp part, the whereabouts of which are currently unknown.

View 1 of Lot 47: Claude Debussy | Autograph manuscript of the song “Flots, palmes, sables”, signed, 1882

claude debussy | autograph manuscript of the song “flots, palmes, sables”, signed, 1882

Benjamin Franklin Mémoires de la vie privée de Benjamin Franklin écrits par lui-même, et adressés à son fils. Paris: Buisson, 1791 8vo (200 x 123 mm). Title-page ornament; occasional chips or paper flaws at leaf edges not affecting text, a few minor spots and lightly toned leaves, a wide-margined copy. Contemporary French tree calf, gilt spine, red leather spine label, all edges stained red, green silk ribbon; restorations at joints, spine ends, and corners, hinges cracked and front joint starting but holding soundly. The first appearance anywhere of the first part of Franklin's renowned memoirs—"the most widely read of all American autobiographies … this book holds the essence of the American way of life” (Grolier). This unauthorized first edition of Franklin's memoirs was translated into French by naturalist Jacques Gibelin from a 1771 manuscript. It covers Franklin's life up to 1731 and is written as a series of letters to his son William, to whom he also offers his thoughts on philosophy, religion, politics, war, and much more. The remaining account of his life is taken from Wilmer's Memoirs of Franklin. Franklin's autobiography was not published in English until two years later (see following lot), followed by the first American edition in 1794. Both were re-translations from this French text. REFERENCES Sabin 25549; Howes F323; Ford 383; Grolier/American 21; Streeter sale 7:4171; Struggle for North America 91

View 1 of Lot 145: Benjamin Franklin. Mémoires de la vie privée de Benjamin Franklin

benjamin franklin. mémoires de la vie privée de benjamin franklin

(Constitution of Colombia) Constitucion de la Republica de Colombia. Rosario de Cúcuta: Bruno Espinosa, 1821 4to (222 x 170 mm). Uncut and unopened. Stitched as issued. First printing of the first constitution of Gran Colombia (Colombia, Venezuela, Panama, mainland Ecuador, and portions of Peru and Brazil), with Simón Bolívar as president and Francisco de Paula Santander as vice-president. The title-page is preceded by (and conjugate with) a five-page introductory address "El Congreso General a los Habitantes de Colombia," signed in type by Miguel Peña, President of Congress; Rafael Obispo, Vice President; and deputy secretaries Fancisco Soto, Miguel Santamaria, and Antonio José Caro. This prefatory matter is typically lacking from the few surviving copies of the constitution. Printed in the small town of Cúcuta on the border between Colombia and Venezuela on the portable press of Bolívar's Army of Liberation, the Colombian constitution adopts the United States separation of power among the executive, legislative, and judiciary branches, but defines powers and responsibilities more precisely than the U.S. Constitution. A superb copy of a very rare publication. REFERENCES Not in Palau; see Ardila & Hernández, “Los impresores como constructores de la República de Colombia. Los casos de Espinosa, Roderick y Navas, 1819-1830,” in Procesos. Revista Ecuatoriana de Historia 53 (2021): 77–107

View 1 of Lot 343: (Constitution of Colombia) | First printing of the first constitution of Gran Colombia

(constitution of colombia) | first printing of the first constitution of gran colombia

Napoleon I (association)—Madgett Histoire de Jean Churchill, duc de Marlborough... imprimee par ordre de Sa Majeste Imperiale. Paris: Imprimerie Impériale, 1808 FIRST EDITION, 3 volumes, 8vo, half-titles, engraved portrait and 5 large folding maps and battle plans, contemporary calf gilt, bindings rubbed [with, loosely inserted:] 1 page letter of 25 April 1870, from booksellers Williams & Norgate to Sir Willoughby Jones, identifying Napoleon's library stamp ("Our Paris agent... thinks that the books, having the said stamp, must have proceeded from the Bibliothèque de la Malmaison") A REMARKABLE ASSOCIATION COPY: A BIOGRAPHY OF ENGLAND'S PRE-EMINENT MILITARY LEADER OWNED BY FRANCE'S GREATEST MILITARY COMMANDER, WITH NAPOLEON'S MALMAISON LIBRARY STAMP. Napoleon had ordered the publication of this and may well have read the present volumes. The volumes were later acquired by Sir John Jones, a noted Napoleonic era General, who befriended Wellington during the Peninsular Campaign (later becoming a baronet upon Wellington's recommendation). PROVENANCE: Napoleon I (1769–1821), his red Malmaison stamp to titles; Major General Sir John Thomas Jones, 1st Baronet (1783–1843, noted British Army officer who served in the Napoleonic Wars), gilt stamps to upper covers ("JOHN T. JONES | RL ENGR"), by direct descent to Sir Willoughby Jones, 3rd Baronet (1820–1884), armorial bookplate; sale, Christie's, 16 March 2006, lot 417

View 1 of Lot 101: Napoleon I's copy—Madgett | Histoire de Jean, duc de Marlborough, Paris, 1808

napoleon i's copy—madgett | histoire de jean, duc de marlborough, paris, 1808

William Heath Robinson "All but blind in his chambered hole | Gropes for worms | The four-clawed mole", 1916 c.110 x 82 mm (frame 225 x 225 mm), pen and ink, captioned "(TAIL-PIECE) | ALL BUT BLIND", mounted, framed, and glazed, very light marginal dampstaining A charming original illustration for the lyric "All but Blind", reproduced in Walter de la Mare's Peacock Pie (London: Constable & Co., 1916, p. 121). EXHIBITED: The Robinson Brothers, Chris Beetles Gallery, 15 February–20 March 1992, item no. 342 PROVENANCE: Chris Beetles Gallery, gallery label to verso

View 1 of Lot 122: William Heath Robinson | "All but blind in his chambered hole...", original illustration for Walter de la Mare's Peacock Pie, 1916

william heath robinson | "all but blind in his chambered hole...", original illustration for walter de la mare's peacock pie, 1916

[Mary “Polly” Stevenson Hewson] Portrait of Polly Stevenson by an unknown artist. Probably London: ca. 1770s Pastel on paper (232 x 185 mm). Areas of restoration to margins, edges chipped with few neat repairs, one or two scratches. Matted, glazed, and likely in the original gilt oval frame (overall 280 x 235 mm). "Our Friendship has been all clear Sunshine, without the least Cloud in its Hemisphere…" (Franklin's letter to Polly Stevenson, 27 January 1783). The present portrait captures Polly Stevenson, with whom Franklin maintained a close transatlantic friendship across the decades. Indeed, after years of living with Polly and her mother in London, he considered the Stevensons a sort of second family. Polly presumably brought this portrait along with her in 1786 when, at Franklin's encouragement, she moved to Philadelphia after the death of her husband. REFERENCES Bell, "'All Clear Sunshine': New Letters of Franklin and Mary Stevenson Hewson" in Proceedings of the American Philosophical Society, vol. 100, no. 6, 17 December 1956, p. 521; Lopez, The Private Franklin, illustrated in the plates after p. 140; Metropolitan Museum of Art, Benjamin Franklin and his Circle, 89 EXHIBITION Metropolitan Museum of Art, "Benjamin Franklin and his Circle," 1936; Benjamin Franklin Tercentenary traveling exhibition, "Benjamin Franklin: In Search of a Better World," 2005-2008 PROVENANCE Mary “Polly” Stevenson Hewson, thence by descent to — Katherine N. Bradford — Joan Bradford Wiederseim — Theodore E. Wiederseim

View 1 of Lot 84: [Mary “Polly” Stevenson Hewson] | Portrait of Polly Stevenson by an unknown artist

[mary “polly” stevenson hewson] | portrait of polly stevenson by an unknown artist

(Poe, Edgar Allan) — Sarah Helen Whitman

(Poe, Edgar Allan) — Sarah Helen Whitman Edgar Poe and His Critics. New York: Rudd and Carleton, 1860 12mo (182 x 115 mm). Half-title, publisher's advertisements at end; minor toning, one or two stray spots, marginal chip to half-title. Full brown morocco, bound by Frank Lawrence Embree, spin with raised bands in six compartments, top edge gilt, turn ins with multiple gilt rules, marbled endpapers, original brown cloth cover bound in at end; extremities rubbed, split to head of spine, upper joint starting, some offsetting onto endpapers. First edition. Sarah Helen Whitman—once the object of Edgar Allan Poe's affection—was a transcendentalist, and a talented essayist and poet in her own right. Poe and Whitman exchanged letters and poetry for some time before becoming engaged in 1848. Poe vowed to remain sober during their engagement, but this promise was broken within days. Beyond this, Whitman's mother discovered that Poe was also pursuing Annie Richmond. Still, the wedding had come so close to occurring that in January 1849, a newspaper in New London, Connecticut, had announced their union.

View 1 of Lot 420: (Poe, Edgar Allan) — Sarah Helen Whitman | An early appraisal by the poet's one-time fiancée

(poe, edgar allan) — sarah helen whitman | an early appraisal by the poet's one-time fiancée

Rowling, J.K. Harry Potter and the Philosopher’s Stone. London: Bloomsbury, 1997 8vo. “10 9 8 7 6 5 4 3 2 1” on publisher’s imprint page, “1 wand” repeated on p. 53; leaves toned, as usual, preliminaries lightly foxed, final third rippled. Original publisher’s pictorial paper wrappers by Thomas Taylor, lower cover has misspelt “Philospher’s”; wrappers lightly creased, spine sunned, extremities rubbed. First edition of the spellbinding novel that introduced The Boy Who Lived—one of 5,150 paperback copies. On 26 June 1997, alongside 500 hardback first editions of the then-unknown Philosopher’s Stone, Bloomsbury ordered a simultaneous first issue of 5,150 paperback copies, of which the present lot is one. Soon after, lightning struck, and the charming novel soared to worldwide popularity. The initial installment in the Harry Potter series has since sold over 120 million copies, making it one of the best selling books of all time. Harry, Ron, and Hermione’s adventures at Hogwarts bewitched audiences upon the novel’s first release 29 years ago, and the wizarding world’s popularity has certainly continued to grow to this day, with a new adaptation slated for release later this year. The present copy was gifted to a young boy, near Harry's age, in the year of publication. REFERENCES Errington, Rowling A1(aa) PROVENANCE Gift inscription in pencil to upper pastedown

View 1 of Lot 423: Rowling, J.K. | Harry Potter and the Philosopher's Stone, first edition, paperback

rowling, j.k. | harry potter and the philosopher's stone, first edition, paperback

[John Armstrong] The Art of Preserving Health: A Poem. London, Printed: Philadelphia: Re-printed, and Sold by B. Franklin, M.DCC.XLV (1745) 4to (192 x 124 mm). Complete with all four section-titles, woodcut title-page ornament and tailpieces (Miller, appendix B, 19 and 21); dampstaining, early ownership marking on title page. Period-style full calf, blind-ruled, maroon morocco spine label. Dark blue slipcase, chemise. An exceedingly rare Franklin imprint: the first American edition of physician-poet John Armstrong's poem on health and well-being. John Armstrong (1709–1779), aScottish-born poet and physician, blended his two professions when he penned this long didactic poem in blank verse. It is divided into four books, each pertaining to a different pillar of good health: air, diet, exercise, and the passions. Despite having "a somewhat unpromising subject for poetic treatment [it] is gracefully and ingeniously handled" (John W. Cousin, A Short Biographical Dictionary of English Literature, London: J.M. Dent, 1910). The poem was very successful when first published in London by Andrew Millar in 1744, and it afforded its author a degree of contemporary fame. Armstrong published both prose and verse regularly after 1744, and was an active member in London's literary circles. He corresponded extensively with Tobias Smollett, James Thomson, John Wilkes, and others. He also practiced as a physician and published several medical works. It is a testament to The Art of Preserving Health's widespread success that Benjamin Franklin, across the Atlantic in Philadelphia, decided to reprint the poem so soon after it first appeared in London. Rare—ESTC lists only twelve copies in institutions; the last copy that sold at auction was in 1941 at Parke Bernet, and prior to that, copies appeared at Henkels in 1932, 1921, and 1917; Rosenbach offered a copy in 1917; the great Franklin collector Samuel Pennypacker never owned a copy. REFERENCES Miller 367; ESTC W872; Evans 5532; Hildeburn 913; Sabin 2023; R. B. Austin, Early American Medical Imprints 78;Lewis M. Knapp, "Dr. John Armstrong, Littérateur, and Associate of Smollett, Thomson, Wilkes, and Other Celebrities," in PMLA, Vol. 59, No. 4 (Dec., 1944), pp. 1019–1058 PROVENANCE Largely illegible early ownership signature on the title-page, possibly beginning with "A" and "G"

View 1 of Lot 35: (John Armstrong) | An exceedingly rare Franklin imprint

(john armstrong) | an exceedingly rare franklin imprint

Baum, L. Frank — John R. Neill (illustrator)

Baum, L. Frank — John R. Neill (illustrator) The Tin Woodman of Oz. Chicago: The Reilly & Lee Co., 1918 [but ca. 1935] 4to (230 x 173 mm). Numerous black and white full-page and in-text illustrations; front-free endpaper and half-title loose but holding, half-title lightly dampstained, minor toning to leaves, a few stray stains, pen marks, and adhesive residue to gutter of one text leaf. Brown cloth with colorful pictorial label to upper cover, printed black title and Tin Man vignette to spine; upper hinge cracked but holding, corners and head and foot of spine bumped and lightly frayed with some loss, light wear to pictorial cover label, stain to lower cover, lacking dust jacket, adhesive residue with some abrasions to front free endpaper recto not affecting signatures. Baum's playful Oz sequel, inscribed by the principal cast of The Wizard of Oz (1939) including Judy Garland, Margaret Hamilton, and more. The twelfth installment in the Oz series, in which Baum reveals the beloved Tin Man's human backstory. Baum's Wizard of Oz inspired one of the most iconic films in history. The present lot is signed on the verso of the front-free endpaper and the half-title by the film's stars: Jack Haley (The Tin Man), Ray Bolger (Scarecrow), Bert Lahr (Cowardly Lion), Frank Morgan (the Wizard), Billie Burke (Glinda), Margaret Hamilton (Wicked Witch of the West), and Judy Garland (Dorothy). Haley, Morgan, and Hamilton have addressed their inscriptions to "Bill": "Bill / greatest wishes," Jack Haley writes; "To Bill - best wishes," Margaret Hamilton writes. Garland, opting for a more formal inscription, has signed the half-title, "To William / Warmest wishes / Judy Garland." Evidently a later printing (Greene & Hanff). A glimpse behind-the-curtain at the enduring Hollywood classic. REFERENCES Greene & Hanff XII

View 1 of Lot 398: Baum, L. Frank — John R. Neill (illustrator) | A cast-signed copy of this charming Oz sequel

baum, l. frank — john r. neill (illustrator) | a cast-signed copy of this charming oz sequel

PROVENANCE: 1. Made in the last quarter of the 15th century, part of a large choir book, illustrating the line from Psalm 53 in which the fool is one who denies God: ‘The fool says in his heart “There is no God.”‘ . 2. Captain John Henry Ball (d.1938): his red stamp on the reverse. Acquired probably in the 1920s and placed on deposit with his substantial collection of antiquities, arms and armour, and medieval items, at the Hertfordshire Museum, St Albans. By descent to: 3. His son, John Brayfield Ball (d.1940); bought by Capt. Ball’s executor, Sydney Edward Lucas (d.1970), by whom withdrawn from the Museum and sold at: 4. Christie's, London, May 16, 1961, probably part of lot 146 (the figure identified as Lazarus) bought by Rogers. 5. Collection of Karl and Elizabeth Katz, their sale at Christie’s: Script and Illumination: Featuring the Karl and Elizabeth Katz Collection on12th Dec 2017, lot 27. One of the Middle Ages’ most popular and ever present figures: the Fool, in an elegant pink initial ‘D’ COMMENTARY: Against a blue ground decorated with swirling white tracings stands the figure of a happy fool, safely encased by the soft pink body of a letter ‘D’ with white leaf-like embellishments. The male figure is dressed in a grey tunic that is coming apart at the seams, carrying a club and wearing a cap of very faintly visible feathers. His gaze is turned upwards, to heavens, unaware of where his next step is going to take him — off a cliff or into the next adventure? The fool was a central figure in the imagination and visual landscape of the Middle Ages, from murals to paintings, to card games, human foolishness embodied in the figure of the fool was ever present. In liturgical manuscripts, the fool was traditionally used to illustrate the introduction of Psalm 53, opening with Dixit insipiens in corde suo (‘The fool said in his heart’) where he took centre stage. Our content looking figure can be attributed to the artist Antonio Maria da Villafora, who was active in Padua for an extensive period from 1469 until his death in 1511 (Armstrong 2018, p.76). Payment records survive for a Missal illuminated in his hand and a copy of the Speculum Humanae Salvationis by Vicent Beauvais and Antonio Maria is further documented in 1482 at the University of Padua, where he worked as an illuminator attached to the faculty of law (cf. Bagatini 2001). Besides working for individual patrons, such as Pietro Barozzi, Bishop of Padua (1489–1505), whose manuscripts and incunabula are now in the Biblioteca Capitolare in Padua, he also worked on monastic commissions of impressive liturgical books. In his later years he almost exclusively worked for the Benedictine congregation of San Giustina in Pada (Canova 1978, Bagatin 2001, Bollati 1994, p.69–73) for whom he illuminated a number of psalters — now held at Padua, Biblioteca Civica, ms.811, 812. In Gnaccolini’s Dizionario biografico dei miniatori italiani, Antonio Maria is praised as the leading figure of the Paduan Renaissance for the volume, continuity, and high quality of his output. (Gnaccolini 2004, pp.36-9). His recognisable style is marked by the strong features of his human figures, often with slightly upturned noses as exemplified by the figure of the fool in our initial. The portrait also demonstrates his careful modelling of faces which is achieved through multiple layers of brushstrokes — a technique that Villafora perfected towards the end of his career. The depiction of the fool is a clear foreshadowing of this artistic trajectory and pinnacle of his work. LITERATURE: Alexander, J. J. G. The Decorated Letter. New York: George Braziller, 1978, nos.17–18. Alexander, J. J. G., and A. C. de la Mare. The Italian Manuscripts in the Library of Major J. R. Abbey. London: Faber and Faber, 1969, 109. Bagatin, Pier Luigi. Antonio Maria da Villafora: tra università, curia e monasteri, un miniatore ritrovato. Antilia. Treviso: Antilia, 2001. Bradley, John W. A Dictionary of Miniaturists, Illuminators, Calligraphers, and Copyists. 3 vols. London, 1887–1889. D’Ancona, Paolo, and Hans Aeschlimann. Miniature Painting. Milan, 1949. De Ricci, Seymour. Census of Medieval and Renaissance Manuscripts in the United States and Canada. 3 vols. New York: H. W. Wilson, 1935–1940, vol. 2, 1337. Fumian, Silvia. Gli incunaboli miniati e xilografati della Biblioteca Capitolare di Padova. Fonti e ricerche di storia ecclesiastica padovana 38. Padua: Istituto per la storia ecclesiastica padovana, 2014, 49–63, 157–227. Gnaccolini, Laura Paola. Dizionario biografico dei miniatori italiani. Milan: Editrice Bibliografica, 2004. —. “Antonio Maria da Villafora.” In Dizionario biografico dei miniatori italiani, 36–40. Kidd, Peter. “Medieval Manuscripts from the Collection of Captain Jack Ball.” In Beyond Words: New Research on Manuscripts in Boston Collections, edited by Jeffrey F. Hamburger, Lisa Fagin Davis, Anne E. McGee Morgan, Nancy Netzer, and William P. Stoneman. Turnhout: Brepols, 2016. Mariani Canova, Giordana. Miniatura veneta del Rinascimento. Venice: Neri Pozza, 1969, 80–96, 96, 130–136, 134–135, 163, cat. 117. New York, The Art of the Renaissance Book (exh. cat.). New Haven and London: Yale University Press, 2005–2006, no. 30, 154–157. Padua, Biblioteca Capitolare: Manuscripts of the Renaissance (exh. cat.). Padua, 1999, nos. 139–142, 153–165, 167. Walther, Ingo F. Codices illustres: The World’s Most Famous Illuminated Manuscripts. Cologne: Taschen, 2001, 386–389. The Art of the Renaissance Book. New Haven and London: Yale University Press, 2005.

View 1 of Lot 74: Illuminated Manuscript—Initial ‘D’ from a choir book illuminated by Antonio Maria da Villafora, (North-Eastern Italy, Padua), last quarter 15th century

illuminated manuscript—initial ‘d’ from a choir book illuminated by antonio maria da villafora, (north-eastern italy, padua), last quarter 15th century

Results for "books"