<p>A photographic portrait of F. Scott Fitzgerald.</p><ul><li>Carl Van Vechten (American).</li><li>Stamped in blind "Photograph by Carl Van Vechten", lower right of image.</li><li>This work is presented framed.</li></ul>

Photograph Portrait of F. Scott Fitzgerald

Noble & Private Collections Including Jewels from the Collection of Stanley J. Seeger & Christopher Cone

the upper side with the initials S. S. painted in red, the interior with two buckled straps and labels reading LOUIS VUITTON 848767 AVe MARCEAU 70bis PARIS and BOUGHT FROM CROUCH & FITZGERALD NEW YORK

the upper side with the initials S. S. painted in red, the interior with two buckled straps and labels reading LOUIS VUITTON 848767 AVe MARCEAU 70bis PARIS and BOUGHT FROM CROUCH & FITZGERALD NEW YORK 18cm high, 76cm wide, 49.5cm deep; 7 ⅛ in., 29 ⅞ in., 19 ½ in.

View 1 of Lot 254: A vintage Louis Vuitton canvas and leather suitcase, numbered 848767, 20th century

a vintage louis vuitton canvas and leather suitcase, numbered 848767, 20th century

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

Omar Khayyam, [Edward Fitzgerald, translator]

Omar Khayyam, [Edward Fitzgerald, translator] Rubaiyat of... the astronomer-poet of Persia. Rendered into English Verse. London: Bernard Quaritch, 1872. Third edition, small 4to (250 x 157 mm), presentation inscription in margin of title [washed], IN AN ELABORATELY JEWELLED BINDING BY SANGORSKI & SUTCLIFFE, upper cover with a peacock in green, cyan and brown morocco gilt encrusted with pieces of mother-of-pearl surrounded by a gilt pointille and floral design, below a Persian palace in morocco and mother-of-pearl, flanked by two morocco birds, outer fillets enclosing a border of round and oblong gilt compartments containing mother-of-pearl, opals, turquoise clusters with pearl centres, and pearl clusters with garnet centres, lower cover with a snake surrounded by a gilt pointille and floral design underneath an arch of foliage and grapes surrounding the moon and stars on green morocco, outer fillets similarly enclosing border of round and oblong gilt compartments containing mother-of-pearl, first and last quatrains of the Rubaiyat lettered in gilt on upper and lower covers respectively, blue morocco doublures with gilt and red floral designs, a line of the Rubaiyat lettered in gilt in each centre, blue satin free endpapers, spine in six compartments, second lettered in gilt, the rest with matching designs, housed in black gilt-ruled quarter morocco clamshell case, 2cm closed marginal tear to p. vi, rear free endpaper detached, spine slightly sunned, extremities very slightly rubbed FITZGERALD'S FAMOUS TRANSLATION OF THE RUBAIYAT, IN AN ELABORATELY JEWELLED PEACOCK BINDING BY THE ROLLS ROYCE OF TWENTIETH-CENTURY BOOKBINDERS. The first jewelled 'peacock' binding by Sangorski & Sutcliffe, also a copy of the Rubaiyat of Omar Khayyam, was exhibited in 1905 at the International Book Production Exhibition in Frankfurt. Chosen due to Francis Sangorski's penchant for oriental design, the Rubaiyat as a text lent itself to design motifs such as peacocks, grapevines and snakes. The first 'peacock' was decorated with twenty-one opals, and over the course of the next seven years, such jewelled designs increased dramatically in both complexity and richness. As their business took off and their fame spread, Sangorski & Sutcliffe's mastery became coveted by bookdealers and collectors across the Atlantic. Their first North American commission was also a 'peacock' binding: without specifying a time-frame, design, nor a price, prominent antiquarian bookdealer Charles Sessler gave Sangorski a copy of Hafiz of Shiraz, simply asking him to "do his best". This commission took eighteen months, and Sessler paid £600: an extraordinary sum at the time. Most significantly, the peacock formed the centrepiece of Sangorski's magnum opus, referred to as the Great Omar. Commissioned by Sotheran's, the binding required six designs, two and a half years' worth of labour, and 1,051 precious and semi-precious stones. Featuring three peacocks on the front cover, the Great Omar was the largest project ever taken up by the bindery, and was sold in these rooms on the 29th March, 1912. The book, however, suffered a sorry fate: shipped to its buyer in New York on the RMS Titanic, Sangorski's masterwork was lost to the Atlantic, never to be seen again. Over twenty years later, George Sutcliffe's nephew, Stanley Bray, recreated the Great Omar: this time, it was bombed in the Blitz in 1941. The present volume, boasting a fine example of the bindery's ornately jewelled peacocks, is not listed in M. Wieder Elkind's census of jewelled Sangorski & Sutcliffe bindings (see The Book Collector, Autumn 1975, pp. 401–416), which lists three copies of the present edition in jewelled peacock bindings, all of which have different designs. However, for an identical binding (likely the present volume), see American Art Association, New York, 1 March 1927, lot 492 (illustrated). PROVENANCE: "J.S. [?]from J.S. May 1893": traces of washed ownership inscription to outer margin of title-page LITERATURE: Potter, Bibliography of the Rubaiyat 137; The Cinderella of the Arts, pp. 28, 32, 37, 64-7

View 1 of Lot 23: Binding—Sangorski & Sutcliffe—Omar Khayyam | Rubaiyat, London, 1872, third edition, in a magnificent jewelled Peacock binding

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