Beyond Legends: Modern Art Evening Sale

Property from an Important Private Asian Collection

Property from an Important Private Asian Collection Lin Fengmian 1990 - 1991 Blooming pink gladioli ink and colour on paper signed in Chinese executed in 1958 65.5 by 65.5 cm; 25 ¾ by 25 ¾ in. This work is accompanied by a hand-written document signed by Pan Qiliu and an exhibition invitation card of Caves Art Gallery, Kaohsiung ---------------------------------------------- 亞洲重要私人收藏 林風眠 1900-1991 盛開的粉紅菖蘭 彩墨紙本 一九五八年作 款識 林風眠（左下） 65.5 x 65.5 cm; 25 ¾ x 25 ¾ in. 附：潘其鎏手寫之文件及敦煌藝術中心高雄新館開幕請柬

View 1 of Lot 1045: Lin Fengmian 林風眠 | Blooming pink gladioli 盛開的粉紅菖蘭

lin fengmian 林風眠 | blooming pink gladioli 盛開的粉紅菖蘭

Old Master, Modern & Contemporary Prints

Ten lithographs printed in colours, 1966, each signed in pencil, numbered 34/75, published by Erker Presse, St. Gallen, with their blindstamp, on BFK Rives wove paper, the full sheets, in good condition, loose within original cardboard folder (worn); with the invitation to the exhibition for the portfolio

10 lithografies (riviere 55-64)

English Literature, History, Children’s Books and Illustrations

From the Collection of Judy Taylor, MBE [ARDIZZONE, EDWARD] The Papers of Judy Taylor relating to Edward Ardizzone, including manuscript of Diana and her Rhinoceros, autograph letters, etc., comprising: Diana and Her Rhinoceros, autograph draft manuscript with several corrections, 9 pages including title-page, foolscap, [c. 1963], some browning and light staining; 18 Christmas cards featuring designs by Ardizzone, most with extra greetings and two with lengthy notes on reverse; 7 autograph letters signed (“Edward Ardizzone” and “Ted”) discussing Titus in Trouble, enclosing “a rough draft of… Diana and her Rhinoceros…”, discussing moving house, plans for future Tim books (“…I am now all keyed up to produce another Tim…”), the Hans Andersen award, etc., 9 pages, 4to, 1958-1977; set of production photographs for Gabriel White’s 1979 work on Ardizzone; together with other papers relating to Ardizzone (including newspaper clippings, postcards, correspondence, photocopies of selected Ardizzone sketchbooks or notebooks, invitation cards, specimen pages, photocopies of selected Ardizzone lithographs, script of a 1994 lecture (“Working with Ardizzone”); collection of exhibition and other catalogues; collection of ephemera (including 2 VHS video cassettes, 7 security pass holders, tote bag, plastic folder, wrapping paper, notepad, etc.) (qty.) Please see shipping calculator link: click here.

ardizzone, the papers of judy taylor relating to edward ardizzone, including manuscript, autograph letters, etc.

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

Gilbert and George A Collection of early works: (i) The Meal. Printed invitation letter to a dinner party to be held on 14 May 1969, with lineblock illustration in red ink, signed by Antony Mathews in gold ink, dyed and partially burnt by the artists, contact telephone number added in manuscript, one page (250 x 200 mm), 1969, previously folded for mailing, partially torn at perforation (ii) The Sadness in Our Art. Printed poem with lineblock illustration, published by Art for All, 4 July 1970, with the artists’ inkstamp in red ink, dyed and partially burnt by the artists, one page (375 x 255 mm), folded for mailing, with original envelope addressed to Joe Tilson (iii–ix) Limericks. Seven (of eight) greeting cards with verses (Shyness, Experience, Worldliness, Idiot Ambition, Normal Boredom, Manliness, and Artist’s Culture) and accompanying linecut illustrations, printed dedication to Joe Tilson, printed by Art For All in an edition of 25, dated 29 March to 19 May 1971, each signed by the artists and with original mailing envelopes stamped “Towards Progress and Understanding in Art”, THE DEDICATION COPIES, lacking no. 1 (Lost Day) (x) Autograph letter signed (“Gilbert and George”) inviting Mr and Mrs Tilson to “The Anniversary of Frank’s Sandwich Bar”, 1 page, 12 Fournier Street, London, with printed invitation and map, May 1969 (x–xx) 10 printed invitations to exhibitions and openings of works by Gilbert and George, 1970-74 Gilbert and George began to produce postal sculptures while still at art college. The idea that works of art in the form of a personal message could be sent through the post appealed to them and these were the seeds of their later pictures, under the banner "Art for All" Many examples, such as is the case here, were made on charred paper to resemble early charters, complete with frayed edges, burn marks and stamps reminiscent of mediaeval seals. The Limericks were an eight-part postal sculpture produced in 1971 in an edition of 25. Each recipient received one limerick each week for eight weeks and they were mainly addressed to other artists or friends of Gilbert and George. PROVENANCE Joe Tilson (1928–2023); sale in these rooms, London, 10 July 2001, lot 504

View 1 of Lot 60: Gilbert & George | A collection of printed works on paper, with related material, 1969-74

gilbert & george | a collection of printed works on paper, with related material, 1969-74

BooksBates, D., The Passing of the Aborigines: A Lifetime Spent Among the Natives of Australia, Oxford University Press, Melbourne, 1947 Battarbee, R., Modern Australian Aboriginal Art, Angus and Robertson, Sydney and London, 1951 Batty, J.D., Namatjira: Wanderer Between Two Worlds, Hodder and Stoughton, Melbourne, 1963 Groom, A., Wealth in the Wilderness, Angus and Robertson, Sydney, 1955 Groom, A., One Mountain After Another, Angus and Robertson, Sydney and London, 1949 Groom, A., I Saw a Strange Land, Angus and Robertson, Sydney and London, 1950 Finlayson, H.H., The Red Centre: Man and Beast in the Heart of Australia, Angus and Robertson, Sydney and London, 1946 Mountford, C., Brown Men and Red Sand; Journeyings in Wild Australia, Sun Books, Melbourne, 1967 Spencer, B., and F.J. Gillen, The Arunta: A Study of a Stone Age People, McMillan and Co., London, 1927, Volumes I and II Strehlow, C.,  Galtjindinjamea-Pepa: Aranda - Wolambarinjaka, Auricht’s Printing Office, Tanunda, 1924 (2 copies) Strehlow, C., Galtjindinjamea-Pepa: Aranda Wolambarinjaka, Auricht’s Printing Office, Tanunda, 1904 Strehlow, T.G.H. , Journey to Horseshoe Bend, Angus and Robertson, Sydney, 1969 Exhibition Catalogues An Exhibition of Paintings by the Arunta Group, Brisbane, July 1949 (2 copies) An Exhibition of Paintings by the Arunta Group, Brisbane Telegraph Auditorium, June 1954 (4 copies) Exhibition of Australian Art from the Queensland National Art Gallery, Jubilee Art Train, 1951 Paintings of the Arunta Group loaned by O.A.Wallent, Centaur House, May 1950 (5 copies) The Esso Collection of Australian Art, The Arts Council of Australia, South Australia (SA Division), Adelaide Various exhibition invitations Pamphlets Assimilation of our Aborigines, Minister for Territories, Commonwealth of Australia, Canberra, 1958 Australian Aborigines: A Study in Contrasts, Adelaide, n.d. Centralia’s Gateways, Methodist Inland Mission, Melbourne, n.d. (2 copies) Cooee: I Need Your Help, published by various missions, Adelaide, n.d. Graham, H., ‘And Nigel Conway’, The Kent Press, London, n.d. Our Aborigines, Minister for Territories, Commonwealth of Australia, Canberra, 1957 Progress Towards Assimilation: Aboriginal Welfare in the Northern Territory, Department of Territories, Commonwealth of Australia, Canberra, 1958 Schulz, J.F.W., Insere Reese noach Hermannsburg, Auricht’s Printing Office, Tanunda, 1935 Schulz, J.F.W., Meine irschte Reese noach Bethesda und Meine zweete noach Hermannsburg, Auricht’s Printing Office, Tanunda Miscellaneous Various press clippings relating to Albert Namatjira and the artists of HermannsburgThe Australian Magazine, 27 April 1954, featuring a photograph of Albert Namatjira on the coverA collection of photographs and postcards of Hermannsburg Mission from the 1920s and 1930sA collection of photographs of life on Hermannsburg Mission and surrounds, 1930sA collection of photographs of central Australian landscapes and Alice SpringsA collection of 10 hand-drawn cards by children at Hermannsburg Mission SchoolA collection of 8 black and white photographs of Hermannsburg watercoloursAssorted correspondence and records of sale of Hermannsburg watercolours belonging to O.A.Wallent and correspondence with Rex Batarbee and the Prime Minister B Chiefley6 Christmas cards featuring reproductions of paintings by Albert Namatjira and Rex Battarbeeand a photographic portrait of F.C.G. Wallent

the wallent collection of books, exhibition catalogues and ephemera

Gilbert & George. Postal sculptures: The Sadness in Our Art. Art for All, 1970, folio (370 x 252mm.), charred paper with stamp; [The Limericks]. Art for All, 1971, numbers 2-8 (of 8), produced in an edition of 25 signed by the artists, dedicated to Joe Tilson, with illustration and verse; 8vo; in the form of a greetings card; all with original envelopes; together with a small quantity of related material including an autograph letter inviting Joe Tilson to their exhibition "The Anniversary"' 1969 and the original invitation printed on charred paper to "The Meal"' given on behalf of David Hockney, 1969 (quantity) a fine collection of postal sculptures and related material by gilbert & george. Gilbert and George began to produce postal sculptures while still at art college. The idea that works of art in the form of a personal message could be sent through the post appealed to them and these were the seeds of their later pictures, under the banner "Art for All".. Many examples, such as is the case here, were made on charred paper to resemble early charters, complete with frayed edges, burn marks and stamps reminiscent of mediaeval seals. The Limericks were an eight-part postal sculpture produced in 1971 in an edition of 25. Each recipient received one limerick each week for eight weeks and they were mainly addressed to other artists or friends of Gilbert & George. References: The Words of Gilbert & George, pp.32-34 (illustrated)

gilbert & george. postal sculptures:

Never was the arrival of a traveling baseball exhibition more celebrated than when Babe Ruth led a team of American “All-Stars” to Japan in 1934. The red carpet was rolled out for the US team at Tokyo's plush Imperial Hotel. Offered is a unique baseball shaped invitation to a special dinner held at the venerable hotel in their honor hosted by The American Association of Tokyo. The single fold invitation has been singed on the back by Babe Ruth (8/10), Connie Mack (10/10), and Eric McNair (7/10). It has been mounted in a frame along with a typewritten essay that recounts the events of that very evening, including a particularly poignant encounter between Babe Ruth and a group of admiring children. Invitiation appears Excellent to Mint. LOA: PSA/DNA.

1934 tour of japan dinner invitation signed by ruth, mack and mcnair

Noble & Private Collections Including Property from Corby Castle, Cumbria, and Marco Voena’s London Pied-à-Terre

The archive of James Forbes, Queen Victoria's Commissioner at Balmoral Castle between 1896 and 1901, comprising:

The archive of James Forbes, Queen Victoria's Commissioner at Balmoral Castle between 1896 and 1901, comprising: i. Letters and ephemera: a) Queen Victoria. Series of more than 20 autograph letters and a Christmas card, to James Forbes, mostly signed (“VRI”) and a few written in the third person, chiefly discussing the management of Balmoral and court life (“…Please see that the Munshi Abdul Karim's wishes respecting a little improvement in the Kitchen sh[oul]d be carried out….”) and including warm and heartfelt references to family members (“…I am much interested to hear that... two of Mrs Forbes's Brothers have volunteered for S. Africa. The way in wh[ich] everyone comes forward is wonderful & most gratifying and g[rea]tly to be admired & is most gratifying to me…"), with a small number of incomplete letters and empty envelopes, c.80 pages, 8vo, headed mourning stationery of Balmoral, Osborne, Windsor Castle, and the Excelsior Hotel Regina, Ciminez, 13 May 1897 to 6 July 1900 (where dated) b) Queen Victoria. Other documents and letters: a watercolour calendar illustrated with portraits of the Forbes's three children, inscribed by Victoria to Mrs Forbes 1898; certificate of baptism for Albert Victor, son of James and Barbra Forbes, signed by Victoria as witness, 19 June 1898; letter signed by Queen Victoria, to Aberdeen University, ordering the amendment of the Balmoral Bursaries to make them accessible to both sexes, 29 October 1897; a letter of request by Forbes to the Queen relating to a Balmoral Bursary, superscribed “App[roved] VRI”, June 1900; also telegrams c) Visitors’ Book. Visitors’ book of Craig Gowan House on the Balmoral estate, with signatures including Queen Victoria (19 June 1900), Edward VII (twice, once as Prince of Wales), Queen Alexandra, the future Edward VIII and George VI as young children (twice), other royals, courtiers, ministers and aristocrats, 16 pages, plus blanks, large 4to, 1900-1913 d) Photographs. Photograph of the future George V signed (“George”) and dated 1893; with six other photographs e) Royal family. Printed royal ephemera including invitations, menus, and programmes, c.14 items, 1893-1901; correspondence relating to James Forbes and the royal family, 1890s-1900s; a small quantity of later material relating to the Forbes family and the Royal family, 20th century the collection contained in a handsome red morocco official dispatch case stamped with the royal monograph in gold, fitted inside with stamp box and ink wells, and with gilt brass lock and carrying handle, 430 x 310 x 150 mm. ii. Grant of the Dignity of a Member of the fifth class of the Royal Victorian Order to James Forbes Esquire, double sided manuscript certificate, ink on paper, signed 'Edward R', framed and glazed, 305 x 195mm., February 1901 iii. Joseph Edgar Boehm (British, 1834-1890) 'John Brown 1896', a bronze, head and shoulders, bust on a wooden plinth, signed 'sculp J.B.', 180mm. high (including plinth) iv. A silver christening mug, by Holland, Aldwinckle & Slater, London 1895, on domed stepped foot, the upper rim with embossed band of stylised scrolling foliate and shell pattern, the upper scroll of the acanthus capped scrolling handle formed as a mythical beast head, the side of the plain body engraved with inscription, with gilt interior, height to top of handle 120mm., weight 10oz., the presentation inscription reads: From Victoria R.J., June 1898 v. A heart shaped silver and tortoiseshell box, by J Batson & Son, London 1897, the tortoiseshell body framed with silver, the interior lip with presentation inscription, the lid with coin inset, (with damages), height 42mm., The inscription reads: To Mrs Forbes From Duke of York, April, 1899, The coin: With the bust of Queen Victoria facing left, the reverse with crowned lion rampart and Royal coat of arms, with legend 'Jubilee Of The Reign 1837-1897' vi. A small collection of medals, The Most Excellent Order of the British Empire, M.B.E., 1st type, Civil Division on a bow for a Lady, in Garrard case of issue; with a Diamond Jubilee Medal for 1897 and miniature, British Red Cross Medal, and minor prize medal Please note that this lot will not be on public view in our New Bond Street galleries for the auction exhibition, but we would be more than happy to arrange a viewing by appointment at New Bond Street. To enquire, please contact cameron.dileo@sothebys.com

View 1 of Lot 20: Victoria, Queen of England, 1819-1901.

victoria, queen of england, 1819-1901.

English Literature, History, Children's Books and Illustrations

a) Morris, William. Five letters by Morris, declining to give an opinion of Catterson-Smith’s work, lamenting lack of speakers on the Socialist cause and noting his own endeavours (“As for me, I am nearly through all the possible ways of putting the same thing, though I go desperately Sunday after Sunday to the Street Corner”), inviting Catterson-Smith to contribute to the Kelmscott Chaucer (“I want you to try a little job in connection with the designs for wood-cuts which Burne-Jones is doing for me…”) and giving details about an illustration for ‘The House of Fame’ (“re the lady’s foot in the ‘Well’, I was thinking if there were any thing in the designs already done which would help you. I find there is in Griselda going back home you will find pretty much the same action, turned the other way of course, and the foot is very pretty there…”) (10 pages, 1885 – 1895, two envelopes)--b) Burne-Jones, Edward. Forty-nine letters by Burne-Jones arranging meetings, offering advice and criticism (“…if you have by you another photograph will you cover it with Chinese white and send it me and I will draw over it with pencil – the Queen looks rather stiff and expressionless and I could start on a new one much more easily…”, “I have designed a bookplate for my books… could you come… to see it and take it away for development”, “I wonder if it would be possible for you to come… and so a little work for me apart from the Chaucer – it is a sudden necessity and I believe you could help me…”) together with copy of Burne-Jones’ testimonial for Catterson-Smith (57 pages, 1887-1898 and undated, 32 with envelopes)--c) Burne-Jones, Georgina. Twenty-seven letters by Georgiana Burne-Jones requesting help with publishing plans, organising numerous meetings, praising Catterson-Smith’s work on Burne-Jones’ drawings, offering a loan (“do you remember Rossetti on the subject of sharing money between friends”) and giving her view of spiritual truths (88 pages, 1896-1916 and undated, 8 with envelopes)--d) Cockerell, S.C. Eighteen letters by Cockerell commenting on Catterson-Smith’s work and making arrangements (“…I now have Mr Morris’ authority to hand over the Chaucer drawings…”, “It is wonderful how you have made out obscure things, and put in what EB-J intended”, “A Kelmscott Chaucer in first rate condition was recently valued by Sotheby’s for probate at £120. I should think that £150 would be a moderate estimate for an inscribed copy. Seven or eight years ago it would have been worth twice or thrice that sum…”) (26 pages, 1896-1938)--e) Ellis, F.S. Autograph letter by Ellis discussing Catterson-Smith’s work (“The beautiful drawings arrived this morning… There is one little head that is worth a million of money…”) (2 pages, 1897)--f) Shaw, G. Bernard. Three letters and postcards by Shaw on lecturing, economic climate, and a request for assistance (“Do you remember… putting me on to a chap who made photographic enlargements of Bewick birds? I want to give a set to Elizabeth Asquith as a wedding present… She will get all the fish slicers and gold cigar lighters in Parkins and Gotto’s shop from the other people; but I have to give her something that nobody else will think of…”) (4 pages, 1919-1920)--g) Webb, Philip. Nineteen letters by Webb mostly discussing the manufacture of the University of Birmingham mace (“…I have heard of the skill and marked success with which you have translated some of E. Burne-Jones’s minute and delicate designs for reproduction; for those designs I have seen of this kind of his work, it seemed to me a pity they should be wholly locked up in the originals”, “I could not have forecast in my old age – with my betters passed away, that I should find again a companion collaborator to work with, such as you daily prove to be: a great boon”) (40 pages, 1891-1903, 2 with envelopes) together with nine letters by Catterson-Smith to Webb--h) Wood, Henry J. Two letters by Wood noting his own background in art (“Many years ago, I was a student at the ‘Slade’ before I took up music…”) and requesting drawing lessons for his daughter (3 pages, 1921, 1 with envelope)--i) Yeats, John Butler. Letter by Yeats to Mrs Catterson-Smith discussing numerous topics and noting “WBY is lecturing in America + making a fortune (for a poet). The Dun Emer business is getting on well…” (4 pages, 1903)--j) c. 200 others including letters or cards from  C.R. Ashbee, T.J. Cobden-Sanderson, Walter Crane, Roger E. Fry, Charles and Margaret Gere, Loyd Haberly, Gordon Herickx, W.R. Lethaby, Jane Morris, May Morris, John H. Muirhead, William Rothenstein, John Todhunter, Emery Walker and many others (c. 400 pages, 1896-1939 and undated) together with a significant number of drafts of replies--k) collection of other papers comprising a significant number of lectures, notes, lists, notebooks, etc. by Catterson-Smith, including lecture notes on illustrating the Kelmscott Chaucer (“It is not possible for a draughtsman to draw over again another man’s work…”), 16 pages; Catterson-Smith’s “Black Notebook”, containing notes on artistic training, etc., c. 88 pages; Catterson-Smith’s notebook, containing various notes, 29pp.; lecture notes on sex, 12pp.; printed invitation for dinner for members of The Arts and Crafts Exhibition Society, 1899, with RC-S notes on Morris, 2 pp.; contract for Headmastership of Vittoria Street School, 1901, 2pp.; Burne-Jones Memorial Service, admittance card, 1898; Burne-Jones Memorial Service, order of service, 1898 and recipe for modelling wax (qty.)

extensive series of letters to catterson-smith, together with numerous otherpapers, comprising:

Travel, Atlases, Maps & Natural History

DAR AL-KISWAH1. Sixteen templates and watercolour designs, including embroidery stencils for the Kiswah and the bag for the Ka'bah keys, from the reigns of Sultan Hussein Kamel of Egypt (1914-1917), Fuad I (1917-1922) and Farouk I (1922-1952), many designs officially stamped or sealed and on official paper (various sizes from 353 x 249mm. to 328 x 1007mm.), some tears and stains2. Album of 34 photographs by royal court photographer Riad Chehata showing the fine embroidery of Dar al-Kiswah, exhibited at the Agricultural Industrial Exhibition of 1931, oblong folio (310 x 430mm.), silver prints, mounted on card, original grey half cloth, over faux crocodile skin, upper cover lettered in Arabic in gilt, some guards torn, binding rubbed; with a medal awarded to Dar al-Kiswah at the 1931 exhibition3. Four ledgers or log books from Dar al-Kiswah, recording in manuscript ink or pencil, in Arabic, the materials used in manufacture (cotton, silks, silver and gold thread), accessories for the camels, tents, iron chains and tools, plus details of work carried out by the artisans and timekeeping (c.1920s)4. Photographs of the artisans of Dar al-Kiswah (1920s-1930s), 27 passport photographs mounted on card (357 x 250mm.), nearly all identified in ink on the mount, many being members of the Nada family, including Hag Kamel Ameen Nada who trained young Saudi artisans in the craft and who oversaw the 1975 and 1976 Kiswahs made in Saudi Arabia, some gaps where photographs were previously mounted5. Photograph of Al Zohdi, the renowned calligrapher of Makkah and Madinah, mounted on card (290 x 230mm.), with an original stencil embroidery template of Al Zohdi's signature6. Two templates relating to the granting of titles, (700 x 850mm. and 570 x 400mm.)7. Two albums of photographs relating to the Mahmal (15 photographs) and Dar al-Kiswah (29 photographs); loosely inserted in each album is a list of the photographs8. Collection of tools and items from the workshops of Dar al-Kiswah, including a cutting tool, weaving instruments, samples of cloth, rolls of silver thread, 3 tassels, a cloth bag (with the arms of the Egyptian government stamped in black) and a calligraphic pen9. Two framed photographs of embroidered work produced by Dar al-Kiswah, including one of the Kiswah curtain (c.1931)10. Two Certificates of Gold medals awarded to Dar al-Kiswah at International Exhibitions: the first in Liège in 1930 (435 x 495mm.), the second in Paris in 1937 (380 x 355mm.); each mounted on card, some slight wear and stains to both11. Printed Books: Sourdel-Tomine, J. Clefs et Serrures de la Ka'ba, notes d'Épigraphie Arabe. Paris, 1971, photographic illustrations of locks and keys of the Ka'bah at Makkah from the Topkapi Museum in Istanbul--Ahmed Youssef. Al Mahmal wal Hajj. Cairo, 1937, vol.1 (all published), inscribed by the author to the explorer and scholar Prince Youssef Kamal--Helmy, I. Kiswat Al Ka'bah Al Musharrafah, wa founoun Al Hajj. Cairo, 1991, modern cloth, title slightly worn--Abdel Mo'ty, H. Al 'Elaqat Al Masreyah Al Hegazieh fi Al Qarn Al Thamen 'Ashr. Cairo, 1999--Al Halwani, S.B. Al 'Elaqat bayna Masr wal Hegaz wa Najd, fi Al Qarn Al Tase' Ashr [Relations between Egypt and the Hegaz and Najd in the 19th century], first edition--Ahmed, Y. Al Khat Al Kufi. Cairo, 1934, first edition, inscribed by the author; [bound with:] Ibid. Al Khat Al Kufi. Cairo, 1933, first edition, 2 works bound in one; all 8vo, various bindings12. Collection of 35 printed newspapers, periodicals and magazines, with articles on the Kiswah and Mahmal, various formats, (1880 to 2010) THE MAHMAL, THE PILGRIM AND THE HAJJ1. Two original photographs by Muhammad Sa'oudi: 1. Pilgrim's hat on a tripod, of a type worn by Yemeni pilgrims (85 x 140mm.); 2. Pilgrims on the road between Jeddah and Makkah (75 x 80mm.)2. Miniature Qur'an, [Bulak, 1343 AH (1923 AD)], (24 x 16mm.), original wrappers, in original engraved silver box, slight oxidisation to box, one corner bumped3. Islamic coins, a collection of 6 coins (c.1927-c.1956), with printed list in Arabic describing each coin, explaining the numismatic evolution during this period and witnessing the formation of the new Kingdom of Saudi Arabia4. Printed books: Al Deshnawi, A.I.M. Al Hajj wal Ziyarat [The Hajj and the visit]. [no date], 8vo, Arabic text, original wrappers, some stains, wrappers slightly worn--Hamzah, A., ed. Al Hajj. Cairo, 1948, Arabic text, 8vo, photographic and other illustrations, modern cloth--Hattah, M.K. Labeik Allahoma Labeik. Kitab Al Sha'b, no 81. Cairo, 1960, 8vo, modern cloth--Moustafa, A.W. Al Risalat Al Faroukiyah Al Khaledah fi manasik al Hajj wa Al 'Omrah, tibk 'Amal Al Rasoul Salah Allah 'Alayhi wa Salam fi higat al wida'. Cairo, 1948, second edition, 8vo, original wrappers, minor stains to wrappers5. Photographic postcards: album of 19 photographic postcards (105 x 130mm.) of Makkah and Madinah, each numbered; together with a box of 17 vintage and 3 modern postcards of Makkah, Madinah and the Egyptian Mahmal6. Prints and documents: (i) Donation certificate for the restoration of the well of Zubeida (AH1345/1927AD, 420 x 269mm.), printed in red and black, stamped with the seals of the president and members of the Association of the Zubeida well. (ii) Certificate of completion of the Hajj rituals, pictorial coloured lithograph (520 x 380mm.), depicting the Ka'bah and the Prophet's Mosque, backed on linen and mounted on card, heavily worn with loss. (iii) 'La marche de la Caravane du Grand Caire pour la Mecque,' engraved print (135 x 340mm.), from P. Lucas's Voyage... dans la Grèce, l'Asie Mineure, la Macedoine et l'Afrique (Amsterdam, 1714). (iv) 'Tableau du Mouvement du Pélerinage de l'année 1891 depuis l'ouverture du Campement,' purple ink on paper (135 x 340mm.), paper watermarked 'Gouvernement Egyptien.' (v) Printed invitation to the Mahmal Procession, June 1922, sealed by the vice governor of Egypt, with envelope. (vi) Large book of stamps, issued by the Arab government of the Hejaz in 1924 on the order of Al Sherif 'Ali Al Hussein, King of the Arabian Hejaz, some stamps missing or gummed together7. A group of 11 photographs and illustrations of the Mahmal, officials and pilgrims and other documents, including a photograph of 'The keeper of the Prophet's Mosque at Madinah' by Sadiq Bey (c.1881); others by various photographers showing the Mahmal procession in Cairo, officials of the Mahmal, Egyptian pilgrims returning from Makkah by boat, engraved map showing pilgrim routes and 2 facsimiles of documents announcing the first documentary film on the Egyptian Mahmal (1923) and a documentary film 'La Mecque' (1934)

a large and extensive collection of original embroidery templates and artwork from the workshops of dar al-kiswah in cairo, together with manuscript ledgers, photographs and rare books relating to the mahmal, the hajj, makkah and madinah. [late nineteenth to late twentieth century]

including: CorrespondenceIncluding awards of medals, 1848; the ‘mention honorable’ for Bisson frères by the jury of the Exposition de 1849; a suggested itinerary for photographing cathedrals and monuments in the Loire valley and Touraine; the appointment of Auguste Rosalie Bisson as vérificateur des poids et measures for Rambouillet, 1850; letter in the name of Pius IX, in Latin, 1856; laudatory ALs by Henri, comte de Chambord, 1857; the letter announcing the award of brevet des fournisseurs to the Emperor (5 July 1857); Letter from Bisson frères to the Director of the Chemins de Fer de l’Est, requesting concessionary travel, 1858; several reduced price or free railway tickets, generally endorsed "Gratuité de bagages"; a letter signed by Baron Haussmann, 19 November 1858, reserving judgment on the acquisition of their collection of photographs of Paris monuments until the project is completed; official correspondence, permits and letters of introduction for photographic expeditions to Egypt (including a letter in Hebrew by the Chief Rabbi, with a translation into Arabic), Rome and elsewhere; official requests to the Sardinian and Italian customs, 1859 and 1863, to allow free passage of their photographic equipment; a letter announcing their selection for the Universal Exhibition in London in 1861; draft statutes for the new business formed when Dollfus-Ausset became a sleeping partner, c.1855; official permits for photographing public buildings and locations, including the Luxembourg gardens, the Louvre, churches and other public buildings in Rouen, the Castel Sant’Angelo in Rome; an invitation to exhibit in Berlin, 1865; a letter signed by Lesseps, acknowledging a request from Bisson jeune, 1879; a passport for Auguste Bisson "dessinateur", aged 56, 1882, for a trip to Russia and Germany; an autograph letter signed by Rosa Bonheur, 1895, inviting Bisson to dine with her in the country and to bring his daughter-in-law and grandchildren if he likes, and not to weigh himself down with photographic equipment. The collection also includes a facsimile copy of Bisson’s memoir entitled "Système de coloration par impression des images obtenues par la photographie ou par les procédés qui en dérivent". The Mont Blanc Expedition:The brothers’ first Alpine photographs were taken in 1854 and 1855 at the behest of the industrialist Daniel Dollfus-Ausset, who had become a sleeping partner in the business that year. Included in the present collection is a prospectus for the ascent of 1860, to be led by the Alpine guide Auguste Balmat, and which was to be financed by subscription ("…par la souscription, chaque voyageur sera capable de retenir, comme résultat de des idées dans l’entreprise, un souvenir bien plus durable que les seules reminiscences mentales de ses exploits aventureux…"), and a printed pamphlet by Balmat (Annecy, 1861). There are six pages of notes on practical matters for the ascent, entitled "Notes pour M M Bisson", listing both clothes ("veste habit, large et chaude en bon drap. Les vestes longues en forme de redingote s’accrochent par les pans"), equipment including ropes, provisions ("le poulet rôti et le jambon sont les seules viandes qui plaisent là-haut…un pot de moutarde, fort utile pour faire trouver passable la viande gelée etc…200 gr de thé noir! – le meilleur ressource contre le froid…"). There is also a quantity of correspondence relating to the Album de Haute-Savoie, including the commission from the Prefect for an album of photographs of the department, 1863, and several letters of introduction, one addressed by the prefect to all the mayors and police commissioners of the department. The importance of an expedition to Mont-Blanc and Savoy was not merely scientific: Savoy had become part of France in 1859, and in August 1860 Napoleon III undertook a journey of inspection of his new provinces. The correspondence includes letters from the chamberlains of Napoleon III and Empress Eugénie, 1860, thanking them for the album of photographs of Mont Blanc. Photographsincluding a quantity of cartes-de-visite, by Bisson Frères and other leading photographic studios, many relating to the Bisson family and including portraits of the photographer brothers [see illustrations], some portraits of celebrities of the day, three studies of Rosa Bonheur, various processes, one full-length portrait of Auguste Rosalie Bisson, Salt Print, a quantity of photographs relating to the ascent of Mont Blanc, the majority carte-de-visite format and credited to Bisson Frères, a small number of small format studies of Rome and other European locations, Albumen Prints, a study of Eugènie in formal wear [illustrated], Salt Print, with a cropped reference to 'Bisson' in ink on the mount, four carte-de-visite portraits (two of Napoleon III, one each of Eugènie and the Prince Imperial), Albumen Prints, mounted on card with the Disderi & Co blindstamp on the mount below image, seven stereographs, Albumen Prints, of views in the Holy Land, each on card printed with the credit 'Photographie du Couvent Arménien/Jérusalem'. The name of Bisson ranks with those of Le Gray, Baldus, Nadar and Nègre among the great figures of the history of photography in nineteenth-century France. The elder, Louis Auguste, had worked with his father between 1841 and 1847 producing daguerrotypes, generally portraits and reproductions of works of art (their iconic image of Balzac in his shirt-sleeves dates from 1842). Auguste Rosalie also took up photography on his own account, being known as Bisson jeune, and it was not until 1852 that the two brothers set up the enterprise of Bisson frères, which moved to its celebrated address at 8 rue Garancière two years later. Soon the premises were occupying three floors of the building and the brothers were employing some thirty co-workers. Despite the partnership with Dollfus-Ausset and the success of the Alpine photographs, the business ran into financial difficulties, and was sold at auction in April 1864 to the sole bidder, Paul Placet. Louis Auguste became an employee of Placet. Auguste Rosalie continued his work under the name of Bisson jeune, undertaking another ascent of Mont Blanc in 1868 and an expedition to Egypt in 1869, and in 1873 produced photographs of the Louvre galleries for Maison Goupil.

an archive of correspondence and photographs, 1840s-1870s

roosevelt, franklin d. formal white house invitation cards to the ``hot-dog picnic''...

South Africa, Orange Free State, a group of 9 'post notes', all used and dated 1898 or 1899, for 1/-, 1/6, 2/6, 5/-, 7/6, 10/-, 17/6 and £1 (2) (cf. Pick S681-689); together with other items including cheques, unused letter cards, telegrams, invitations, photographs and ephemera, some relating to Sudan, all pasted or placed into a volume on watercolouring to form a scrapbook, generally in very fine condition

South Africa, Orange Free State, a group of 9 'post notes', all used and dated 1898 or 1899, for 1/-, 1/6, 2/6, 5/-, 7/6, 10/-, 17/6 and £1 (2) (cf. Pick S681-689); together with other items including cheques, unused letter cards, telegrams, invitations, photographs and ephemera, some relating to Sudan, all pasted or placed into a volume on watercolouring to form a scrapbook, generally in very fine condition (lot) Blank 'post notes' served as currency during the Boer War.

south africa, orange free state, a group of 9 'post notes', all used and dated 1898 or 1899, for 1/-, 1/6, 2/6, 5/-, 7/6, 10/-, 17/6 and £1 (2) (cf. pick s681-689); together with other items including cheques, unused letter cards, telegrams, invitations, photographs and ephemera, some relating to sudan, all pasted or placed into a volume on watercolouring to form a scrapbook, generally in very fine condition

Contemporary Art Day Auction

invitation card 3

to "Doctor T. Ullrich....Montag d. 8 März Mittag 12 Uhr", inviting Ullrich to a musical entertainment, with the printed signatures of Robert and Clara Schumann

to "Doctor T. Ullrich....Montag d. 8 März Mittag 12 Uhr", inviting Ullrich to a musical entertainment, with the printed signatures of Robert and Clara Schumann 7.5 x 12cms, no date, inscribed on verso in a later hand "1847"

printed invitation card inscribed by the composer in brown ink

Eight autograph letters signed ("Alfred Douglas", "Alfred Douglas (Bosie)"), to Diana Gould, offering friendly compliments and variously commenting on his current worries, In Excelsis, his "'Borstal Boy' copy book", Wilfred Meynell,  a forthcoming "matinee of The Importance of Being Earnest", visits and dining together, her "dull part in Barrie's play" and her scalding accident, the Home Office's stealing his manuscript, the London blitz, and other matters, with references to Alan Lennox-Boyd, Osbert Peake, Herbert Morrison, Shane Leslie, Martin Secker (his new edition of Sonnets), and others, 16 pages, 4to, seven autograph envelopes, 22 October 1942 to 4 July 1944; together with three telegrams by him; a typed letter to Douglas signed by Harold Nicolson (about Douglas's "admirable point about the difference between 'In Excelsis' and 'De Profundis'", 26 November 1942); an invitation card inscribed by Douglas for his lecture on poetry for the Royal Society of Literature, 2 September 1943; and two copy-letters by Lennox-Boyd

douglas, lord alfred.

L12404

containing carefully arranged manuscript notes giving detailed summaries of the ceremonials attendant on 60 funerals, mostly royal, in some cases with additional eyewitness notes in purple ink, 55 pages, large folio, paper wrappers, 1869, lacking lower wrapper

containing carefully arranged manuscript notes giving detailed summaries of the ceremonials attendant on 60 funerals, mostly royal, in some cases with additional eyewitness notes in purple ink, 55 pages, large folio, paper wrappers, 1869, lacking lower wrapper [with:] about 50 further manuscript items relating to royal funerals including drawings of canopies for the funeral of the Duke of Gloucester signed by  J.W. Banting, plans of St Anne's Church for the funeral of the Duchess of Cambridge (1889) with related notes and memoranda ("Foreman & his 8 men will be for some time in the Vault from which they must on no account go out until dismissed by W.B. ... they must preserve the most rigid silence, they must not talk except by whispers, not cough or make any other sound..."), samples of fittings for coffins, miscellaneous manuscript notes of royal funeral costs, memoranda and notes of instructions, letters and telegrams relating to the organisation of funerals, lists of mourners, business cards, and invitations; 13 rubbings and prints of casket plaques including those of George IV (1830), Queen Adelaide (1849), Prince Albert (1861), and Edward VII (1910); 54 printed orders of service, orders of proceeding and ceremonials, for royal and other funerals, including the Duke of Sussex (1843), Queen Adelaide, the Duke of Wellington, Prince Albert, King Georg V of Hanover (1878), the Duke of Albany (1884), the Duchess of Cambridge (1889), Field Marshal Lord Napier (1890), the Duke of Clarence (1892), Francis of Teck (1910), and Edward VII, some with manuscript notes, instructions and corrections; engravings depicting the funeral procession of the Duke of York (1827), Queen Caroline (1821),and the Duke of Wellington; printed matter such as press cuttings and illustrated magazines on the funeral of the Prince Imperial (1879); most items mounted on large folio sheets, disbound, significant wear and tear to some items, dust staining

album, "rough details connected with the funerals of the royal family"

Prints

Color reproduction of the Mona Lisa, mounted on to an invitation card, 1965, signed in black ball-point pen, and inscribed 'rasée', from an edition of 100, framed

l. h. o. o. q. shaved (schwartz 375)

18 four-line stanzas, including two cancelled stanzas, substantially different from the published text, 5 pages, 4to and 8vo, dated 5 May 1819; [with:] a group of seven letters to Campbell, by Thomas Moore (reluctantly rejecting a proposed editorial collaboration on the basis of his own laziness), Thomas Telford (2), Joanna Baillie (on translations of Klopstock's Messiah), R.L. Edgeworth (sending a copy of Maria Edgeworth's Patronage), Francis Jeffrey, and James Smith, 12 pages, 4to and 8vo, with two address wrappers and two invitation cards, 1810-1830; [also with:] Thomas Campbell, autograph letter signed, to Stevenson, on financial affairs, 1 page, 4to, 28 May 1806; altogether 13 items, professionally conserved and strengthened

autograph manuscript draft version of his poem 'to the rainbow'

Music, Continental and Russian Books and Manuscripts

mainly about the Japanische Festmusik, op.84, discussing the composition of the work and its first recording, requesting that it take place in Munich rather than in Berlin "as there one lives in the cellar", discussing his opera Guntram and matters concerning the Ständiger Rat für die internationale Zusammenarbeit der Komponisten, of which he is the president, enquiring when he will receive written documents concerning Goebbels's desired changes to the statutes, asking Rosen to convey his apologies to Goebbels, as it will be impossible for him to record Till Eulenspiegel during this fatiguing week, observing that musicians are always the stepchildren of good fortune, and most composers are reduced to receiving State hand-outs, informing him of his decision against proceeding with the Jessonda project, adding that he has promised Clemens Krauss to participate in arranging Gluck's Alceste for Salzburg;  together with Strauss's autograph manuscript of a speech at a performance of Tod und Verklärung by the La Scala Orchestra, given in Garmisch on 17 August 1941

mainly about the Japanische Festmusik, op.84, discussing the composition of the work and its first recording, requesting that it take place in Munich rather than in Berlin "as there one lives in the cellar", discussing his opera Guntram and matters concerning the Ständiger Rat für die internationale Zusammenarbeit der Komponisten, of which he is the president, enquiring when he will receive written documents concerning Goebbels's desired changes to the statutes, asking Rosen to convey his apologies to Goebbels, as it will be impossible for him to record Till Eulenspiegel during this fatiguing week, observing that musicians are always the stepchildren of good fortune, and most composers are reduced to receiving State hand-outs, informing him of his decision against proceeding with the Jessonda project, adding that he has promised Clemens Krauss to participate in arranging Gluck's Alceste for Salzburg;  together with Strauss's autograph manuscript of a speech at a performance of Tod und Verklärung by the La Scala Orchestra, given in Garmisch on 17 August 1941 ...Nach Berlin kann ich vorläufig nicht, auf jeden Fall so lange nicht kommen, als man dort im Keller wohnt...Wir Musikanten sind doch immer die Stiefkinder des Glücks: jetzt werden die meisten Componisten auch noch zu Staatsalmosenempfängern degradiert u. aus dem von Ihnen selbstgeschaffenen Heim durch die sog. U"Componisten" vertrieben...Ich bin ohne jede Nachricht von Herrn Dr. Drewes, wie es mit der für 3. März geplanten Sitzung steht u. erwarte bis jetzt vergebens den Bescheid von Dr. Drewes u. weiteren Herren des Ministeriums, den Sie mir mündlich in Aussicht gestellt hatten, damit ich schon hier Gelegenheit habe, Einsicht zu gewinnen, wie sich die Wünsche des Herrn Ministers u. einen Ihrer dazu geäußerten Vorschläge in die Tat umgesetzt haben... A remarkable series of letters showing how Richard Strauss dealt with Nazi functionaries at the Propaganda Ministry set up by Goebbels in 1933 (the Reichskulturkammer or RKK).  Strauss, who had been forced to resign his presidency of the Reichsmusikkammer in 1935, proved, in the event, rather difficult to control.  Strauss nevertheless strove to maintain some relations with the regime, if only to protect his Jewish daughter-in-law and grandsons from persecution. Strauss mentions Goebbels and Rosen's immediate superior, Heinz Drewes, but not the Head of Department, Peter Raabe. These letters, which have hitherto remained inaccessible to Strauss scholarship, provide a fascinating insight into Strauss's delicate dance with the National-Socialist apparatus, and the circumstances surrounding one of the works he wrote to maintain relations with the Reich, the Japanische Festmusik, Op.84.  Strauss was only one of a number of European composers who had been approached to write music in celebration of the 2600th anniversary of the Japanese Empire (another was Benjamin Britten, with the Sinfonia da Requiem). The work was completed at Merano in 1940 and first performed in Tokyo on 7 December of that year.  See N. Del Mar, Richard Strauss, ii (London, 1969), p.294. 41 pages, various sizes, including 6 postcards and invitation cards, one autograph address panel, Strauss's speech annotated on the verso by Rosen, one letter with a Nazi salutation, Merano, Garmisch and elsewhere, 27 April 1940-4 June 1942, some light creasing, integral of the letter of 14 October 1941 splitting along horizontal fold, very light spotting to a few letters A remarkable series of letters showing how Richard Strauss dealt with Nazi functionaries at the Propaganda Ministry set up by Goebbels in 1933 (the Reichskulturkammer or RKK).  Strauss, who had been forced to resign his presidency of the Reichsmusikkammer in 1935, proved, in the event, rather difficult to control.  Strauss nevertheless strove to maintain some relations with the regime, if only to protect his Jewish daughter-in-law and grandsons from persecution. Strauss mentions Goebbels and Rosen's immediate superior, Heinz Drewes, but not the Head of Department, Peter Raabe. These letters, which have hitherto remained inaccessible to Strauss scholarship, provide a fascinating insight into Strauss's delicate dance with the National-Socialist apparatus, and the circumstances surrounding one of the works he wrote to maintain relations with the Reich, the Japanische Festmusik, Op.84.  Strauss was only one of a number of European composers who had been approached to write music in celebration of the 2600th anniversary of the Japanese Empire (another was Benjamin Britten, with the Sinfonia da Requiem). The work was completed at Merano in 1940 and first performed in Tokyo on 7 December of that year.  See N. Del Mar, Richard Strauss, ii (London, 1969), p.294.

series of 23 autograph letters, signed ("drrichardstrauss"), to dr. hans rosen, unpublished, and an autograph draft of a speech about tod und verklärung

Natural History, Travel, Atlases & Maps

PHOTOGRAPHS: over 310 photographs of various sizes, comprising approximately 70 relating to the Sudan, the remainder relating to Sinai, including 50 studio photographs of leading political, religious and military figures, friends and acquaintances of Naum Shoucair, many taken by the leading photographic studios in Cairo and London, many signed by the sitters, together with 4 invitation cards to Naum Shoucair, of which 3 are Khedival, preserved in five modern albums

PHOTOGRAPHS: over 310 photographs of various sizes, comprising approximately 70 relating to the Sudan, the remainder relating to Sinai, including 50 studio photographs of leading political, religious and military figures, friends and acquaintances of Naum Shoucair, many taken by the leading photographic studios in Cairo and London, many signed by the sitters, together with 4 invitation cards to Naum Shoucair, of which 3 are Khedival, preserved in five modern albumsBOOKS: Shoucair Bey, Naum. [Tarikh Sina] The History of Sinai and Arabs, with a resumé of the history of Egypt, Syria, Mesopotamia and Arabia, etc. Cairo, 1916, first edition, 8vo (243 x 157mm.), title in Arabic and English, Arabic text, many photographic plates, large folding map of Sinai, original green cloth, upper cover lettered in gilt, lower joint split, rubbed; Ibid. [History of Sudan]. Beirut, 1981, 8vo, (a reprint of the 1903 edition), publisher's binding; Nashr Ul Mandal Al 'Atir. [A collection of obituaries of Naum Shoucair]. Cairo, 1923, 8vo, photographic portrait of the author, original printed green wrappers, lower wrapper torn and detachedTogether 3 volumes MAP: Sinai Peninsula, sheet 2, 460 x 640mm., printed in colours, scale 1:250,000, "For Official Use Only", War Office, March 1915, backed on linen

of photographs and books relating to his travels and political missions to sinai and the sudan. [late nineteenth and early twentieth century]

Music and Continental Books & Manuscripts

written in the blank spaces of a printed invitation card, humorously incorporating the printed words ("...REQUEST THE PLEASURE OF...COMPANY TO TEA AND CARDS...An answer will oblige...Sold by H. Richards, 74. G.t Portland S.t") into a new message: "On Mr. Felix Mendelssohn Bartholdy's REQUEST THE PLEASURE OF having a printed card has been done to him by Mrs Moscheles, and as he prefers music and Mrs. Moscheles' COMPANY TO TEA & CARDS he has the honour to accept Mrs Moscheles' kind invitation. An answer will oblige him by no means...", 1 page, 7.7 x 11.3cm, printed stationery card, laid down on paper, London, no date [c.1830s?], light browning, tiny tear to lower right-hand corner, slightly affecting written text 

autograph letter in english, to charlotte moscheles

L13313

Chastel, A. The Vatican Frescoes of Michelangelo. New York: Abbeville Press / London: Times Books, 1980, folio, number 128 of 600 copies of which this is one of 400 copies in English, 4 vol. including smaller volume and suite of loose plates, photographic plates by Takashi Okamura, two volumes in original morocco with onlays, folding box, some water-damage to suite, splitting to folding box--

Chastel, A. The Vatican Frescoes of Michelangelo. New York: Abbeville Press / London: Times Books, 1980, folio, number 128 of 600 copies of which this is one of 400 copies in English, 4 vol. including smaller volume and suite of loose plates, photographic plates by Takashi Okamura, two volumes in original morocco with onlays, folding box, some water-damage to suite, splitting to folding box-- Hussey, C. The Life of Sir Edwin Lutyens. Country Life Limited, 1950, original cloth-- Churchill, W. A History of the English-Speaking Peoples. Cassell, 1956-58, 8vo, 4 vol., first editions, original cloth, dust-jackets-- Ruskin, J. Modern Painters. Smith, Elder and Co, 1846-60, 8vo, 5 vol., mixed issue, contemporary vellum, Eton School prize presentation bookplate to Mark Birley-- Garnett, D. Lady into Fox & A Man in the Zoo. Chatto & Windus, 1967, 8vo, reprint, original cloth, dust-jacket--Richardson, J. A Life of Picasso Volume I. New York: Random House, 1991, 4to, first edition, original cloth, remnants of dust-jacket-- Beardsley, A. Under the Hill. Bodley Head, 1904, 4to, first edition, original cloth gilt-- [Royal Naval College]. The Greenwich Collection 1948 Portraits by Oswald Birley. [Fosh & Cross, 1948], 8vo, original wrappers-- West, R. The Modern “Rake’s Progress”. Hutchinson & Co., 1934, numerous colour plates by David Low, 4to, cloth-backed boards, binding worn with joints split-- Mazzotti, G. Palladian and other Venetian Villas. Alec Tiranti, 1966, folio, original cloth, slipcase, some leaves loose, joints splitting-- The Modern Portrait Gallery. [First and Fifth Series]. Cassell, Petter, Galpin and Co., [c.1880s], 4to, 2 vol., numerous plates, original cloth, some leaves loose-- Album of Dinner Menus. Collection of c. 70 menu cards, invitations, concert programmes, Christmas cards, etc. [c.1901-1913], laid down within “Gibraltar Souvenir” album with enamelled boards featuring Japanese-style scene, album worn with loss-- Bateman, H.M. The M.F.H. who ran riot! [Moss Bros., 1934], colour plates, original wrappers, worn and soiled-- Lafuente, E. Valazquez. Phaidon, 1943, folio, original cloth-- Goldscheider, L. Donatello. Phaidon, 1941, folio, original cloth-- Goldscheider, L. Michelangelo die Gemalde. Phaidon, 1940, folio, original cloth-- Suida, W.E. Raphael. Phaidon, 1941, folio, original cloth-- Novotny, F. Cezanne. Phaidon, 1937, folio, second edition, original cloth-- Uhde, W. Vincent Van Gogh. Phaidon, 1941, folio, original cloth-- Krahl, R. The Anthony de Rothschild Collection of Chinese Ceramics. Eranda Foundation, 1996, folio, number 32 of 750 copies, 2 vol., numerous colour plates, original cloth, slipcase-- Flint, W. Russell. Drawings. Collins, 1950, folio, number 125 of 500 copies signed by the artist, numerous plates, signed plate loosely inserted, original buckram-backed boards-- Edwards, R. The Dictionary of English Furniture. Country Life, 1954, folio, 3 vol., second edition, original cloth-- Salmi, M. et al. The Complete Work of Michaelangelo. Macdonald, 1966, folio, 2 vol., original cloth-- Landseer, E. The Landseer Gallery. Sampson Low…, 1878, folio, new and enlarged edition, original cloth gilt-- [Academia Nacional de Belas Artes]. Os Primitivos Portugueses (1450-1550). Lisboa: [Impressa nas oficinas graficas de casa Bertrand limitada], 1940, folio, presentation copy inscribed to Sir James Purves-Stewart, original wrappers bound in, contemporary calf tooled in blind, binding worn with loss-- Hemans, C. Classic works in the Vatican Gallery… Rome: Luigi Piale, 1854, folio, text in Italian and English, original vellum, soiled-- Ottomeyer, H. ed. Das Wittelsbacher Album... Munchen: Prestel, 1979, number 388 of 650 copies, original silk, slipcase-- Bartlett, F. ed. Hong Kong – Return to the Heart of the Dragon. Hong Kong: O&A Editions, 1993, folio, original cloth, dust-jacket, folding box--  Wartmann, W. Honore Daumier. Nicholson & Watson, 1946, folio, original cloth-backed boards--Colin, P. Le Tumulte Noir. [Paris: Editions d'Art Succes, 1927], folio, loose as issued in original wrappers, 12 (of 22) plates, collector's folding box

collection of 29 works in 45 volumes, mostly art reference, comprising:

L13408

i) Birthday card, 205 by 104mm., 2 leaves, upper panel design in ink and coloured pencil, signed and dated on the lower panel, also dated 7 November 1944 Changi Gaol, Singapore; ii) Preview invitation card, 90 by 130mm., 2 leaves, upper panel design in ink and coloured pencil; iii) Programme for “Speakeasy”, 178 by 128mm., 2 leaves, coloured paper, upper panel design and additional embellishments in ink and coloured pencil, dated 12 September 1944; iv) Programme for “All this and Heaven Too”, 182 by 129mm., 2 leaves, upper panel design in ink and coloured pencil, dated 9 October 1944--together with four ink cartoons by George Sprod, each signed “Sprod” (8)

four items drawn in changi gaol, singapore, comprising:

Alchemy: Objects of desire

signed invitation card for St. Petersburg card

untitled (st. petersburg invitation)

Music and Continental Books and Manuscripts

4to (302 x 225mm.), copy number 25 of a limited edition of 125 copies, copy produced for Monsieur J. Bourdel, numerous illustrations by Schmied, some heightened with gold, two dinner invitation cards from Le Livre contemporain for June 1924 bound at end (one with text, one without), crushed grey morocco binding by David, a heron inlaid on upper cover, small triangular designs inlaid on lower cover and on spine, spine lettered in gilt, green and purple morocco inlaid turn-ins, pink watered silk endleaves, spine faded, joints splitting

les climats. paris: société du livre contemporain, 1924

English Literature, History, Children's Books & Illustrations

Property from the Collections of Lily & Edmond J. Safra

of rectangular form, the sides of stepped molded profile, the front and sides with rectangular break-front tablets and enclosing a cedar-lined drawer, the front mounted with  a bust of Minerva flanked by anthemia, the sides with entwined serpent handles, the conforming top with a pen trough flanked by canted wells, the back with three wells with ivory labels inscribed ANSWERED, INVITATION CARDS, and UNANSWERED, divided by a smaller pen trough and two lift-out bronze candle –nozzles on white marble bases, the center with two pairs of cut-glass ink wells with bronze covers with foliate finials and centered by a carved ivory bust of Voltaire supported on a faceted plinth.

a regency bronze and ivory-mounted rosewood ambassadorial inkstandcirca 1815

Prints & Multiples

Reproduction on playing card mounted to dinner invitation (the complete folded sheet), 1965, signed in ink, titled, from the edition of circa 100, this invitation personalized in ink to Mr. Monroe Wheeler, together with the original envelope addressed to Mr. Wheeler (invitation and envelope)

l.h.o.o.q. shaved (schwarz 615)

Old Master, Modern and Contemporary Prints Including Andy Warhol & the Pop Generation

Screenprint in colours, conceived in 1967 and printed in 1981, signed in felt tip pen, from the edition of unknown size, for Andy Warhol a Print Retrospective, published by Castelli Graphics, New York, on card folded to form an invitation, in good condition, a crease to lower right tip, wear to the fold, paper discoloration to the inside, stuck down at the outer top and bottom corners inside

marilyn (invitation)

Screenprint in colours, conceived in 1967 and printed in 1981, signed in felt tip pen, from the edition of unknown size, for Andy Warhol a Print Retrospective, published by Castelli Graphics, New York, on card folded to form an invitation, a vertical crease extending length of sheet at left edge of image in the hair, minor handling marks verso (unexamined out of frame)

the letters expressing his thanks for his description of the Association of XI, observing humorously that its one mistake is that it is too good, telling him that he requires some examples of Gothic or early Renaissance type for an alphabet he is drawing at the moment, asking whether might have a look through his treasures, reflecting on art and poetry, mentioning a picture he has sold for him, discussing business of the Prussian Academy of Arts, advising him how to vote, canvassing support apparently for his election to the Academy, requesting his presence and inviting him to a meeting, referring to his studio, asking that Cassirer be allowed to view his house, and enclosing tickets [not included here] for a performance by Yvette Guilbert; the sketch-drawing of Paul Meyerheim showing the artist in profile, executed in pencil and contained on the recto of a leaf of printed regulations for the Grosse Berliner Kunstausstellungen, the leaf annotated at the foot of the recto by August Grisebach ("Handzeichnung von Max Liebermann...Paul Meyerheim...8. Dec. 98. von meinem Vater von der Sitzung mitgebracht. August Grisebach"), Berlin, [8 December 1898?]

the letters expressing his thanks for his description of the Association of XI, observing humorously that its one mistake is that it is too good, telling him that he requires some examples of Gothic or early Renaissance type for an alphabet he is drawing at the moment, asking whether might have a look through his treasures, reflecting on art and poetry, mentioning a picture he has sold for him, discussing business of the Prussian Academy of Arts, advising him how to vote, canvassing support apparently for his election to the Academy, requesting his presence and inviting him to a meeting, referring to his studio, asking that Cassirer be allowed to view his house, and enclosing tickets [not included here] for a performance by Yvette Guilbert; the sketch-drawing of Paul Meyerheim showing the artist in profile, executed in pencil and contained on the recto of a leaf of printed regulations for the Grosse Berliner Kunstausstellungen, the leaf annotated at the foot of the recto by August Grisebach ("Handzeichnung von Max Liebermann...Paul Meyerheim...8. Dec. 98. von meinem Vater von der Sitzung mitgebracht. August Grisebach"), Berlin, [8 December 1898?] ...ich beeile mich, Ihnen meinen besten Dank für Ihre Beschreibung der XI im Magazin auszudrucken. Dieselbe hat nur einen Fehler daß sie zu gut ist... the letters 13 pages, 8vo and oblong 8vo, one on the reverse of a printed telegram, one on a printed visiting card, with an envelope postmarked Berlin-Wannsee, 31 July 1927, and an invitation in an unidentified hand on a card illustrated with an image of the Liebermann-Villa, Grosse Seestrasse 24, Berlin, 1892-1911, where indicated, creasing to leaf containing the sketch-drawing; together with a printed card acknowledging condolences on the death of Liebermann in February 1935

collection of twelve autograph letters signed ("max liebermann"), the majority to hans grisebach, together with a sketch-drawing by liebermann of the artist paul meyerheim

Results for "exhibition invitation card"