Books, Manuscripts and Music from Medieval to Modern

Franz Kafka Autograph letter signed ("Kafka"), to Albert Ehrenstein, CONFESSING TO A FRIEND AND FELLOW AUTHOR THAT HE CAN NO LONGER WRITE "...wenn sich Sorgen bis zu einer gewissen Schichte der inneren Existenz durchgebohrt haben, hört offenbar das Schreiben, das Klagen auf, mein Widerstand war auch night allzu stark..." [When worries have penetrated to a certain layer of inner existence, writing and complaining obviously cease, indeed my resistance was not too strong] 1 page, 8vo (230 x 145mm), in German, [?Merano, April-June 1920], small tears at head and foot of letter not affecting text [with:] airmail envelope addressed by Ehrenstein to Dolly Perutz, with the poet's return address; torn at right from removal of stamp This poignant letter was written to Albert Ehrenstein (1886-1950), an Austrian poet who first met Kafka in Berlin in 1913. Ehrenstein’s complimentary review of Kafka’s first collection of stories, Betrachtung, in Berliner Tageblatt, was one of the earliest published pieces of Kafka criticism, and the two men remained on friendly terms in the years that followed. By the time this letter was written, Ehrenstein was editing the expressionist literary journal Die Gefährten. He appears to have composed the letter after seeing new work by Kafka appear in print, possibly the short story collection Ein Landarzt (1919), which led him, presumably, to solicit a contribution to his magazine. This letter is Kafka’s response. Kafka’s melancholy reply comprehensively deflates Ehrenstein’s hopes: “seit 3 Jahren habe ich nichts geschrieben,was jetzt erschienen ist, sind alte Dinge, andere Arbeiten habe ich nicht, nicht einmal angefangene” [I haven't written anything for three years, what's published now are old things, I don't have any other work, not even started]. Although Kafka does not say so, his writer’s block had coincided with his tuberculosis diagnosis. The stories that had been published in Ein Landarzt were mostly written in 1917, and since then his main literary output had been aphorisms. He was physically weak and had spent extensive periods convalescing away from Prague; he firmly believed that that Ein Landarzt would be his last substantial literary work. This letter has been dated by Kafka’s editors to April-June 1920,when Kafka was undergoing treatment for his tuberculosis at a sanatorium in Merano in northern Italy. Despite the despair evident in his letter to Ehrenstein, it was at this time that Kafka began perhaps the most intense love affair of his life. He began corresponding with Milena Pollaková-Jesenská whilst in Merano about her translation of ‘Der Heizer’ [‘The Stoker’] into Czech, but their correspondence soon took on a powerful intensity. In June 1920 he returned to Prague from Merano via Vienna, where he spent four days in Milena’s company. Although his physical condition continued to worsen, Milena gave Kafka a new confidence in his writing: aside from the extraordinary letters that he wrote to Milena, it was under her influence and with her encouragement that he was to begin his final masterpieces including The Castle, and ‘A Hunger Artist’. This letter is more than the pained words of a great writer who believes he can find nothing more to say: the idea that writing is a struggle is figured deep in our conception of Kafka as an author, as it is for certain other of the Modernist masters (Samuel Beckett is another example).Writing, for Kafka, makes intense demands on the writer and requires deep reserves of inner strength; he is an author with a mistrust of easy words, who grapples with his deep insecurity and worry about the futility of his work. Kafka’s diaries include some of the most vivid and excruciating accounts of writer’s block that have ever been put to paper, and his lack of confidence in his own writing found its final and most famous expression in his request that Max Brod burn his manuscripts after his death. Letters by Kafka that refer to his writing are rare on the market. THIS IS AN IMPORTANT AND POIGNANT LETTER BY ONE OF THE GREATEST AND MOST INFLUENTIAL WRITERS OF THE TWENTIETH CENTURY. LITERATURE: Franz Kafka, Briefe: 1918-20, ed. Hans-Gerd Koch (2013), no. 1266 PROVENANCE: Albert Ehrenstein; gifted to Dolly Perutz, July 1948; by descent; Sotheby’s, New York, 13 December 2011, lot 70 ($74,500)

View 1 of Lot 199: Franz Kafka | Autograph letter signed, to Albert Ehrenstein, on his writer's block, [1920]

franz kafka | autograph letter signed, to albert ehrenstein, on his writer's block, [1920]

Important Prints & Multiples Day Sale

ANDY WARHOL 1928 - 1987 FRANZ KAFKA (F. & S. II.226) Screenprint in colors, 1980, signed in pencil and numbered 67/200 (total edition includes 30 artist's proofs), from Ten Portraits of Jews of the Twentieth Century, on Lenox Museum Board, with the blindstamp of the printer, Rupert Jasen Smith, co-published by Ronald Feldman Fine Arts, New York, and Jonathan A Editions, Tel Aviv, and with their inkstamp on the verso, framed sheet: 1018 by 815 mm 40 by 32 in

andy warhol | franz kafka (f. & s. ii.226)

Prints & Multiples

Andy Warhol 1928 - 1987 Franz Kafka, from Ten Portraits of Jews of the Twentieth Century (Feldman & Schellmann II.226) signed in pencil and numbered 149/200 screenprint in colors on Lenox Museum Board sheet: 40 by 32 in. 1015 by 811 mm. Executed in 1980; this impression is number 149 from the edition of 200 plus 30 artist's proofs, with the blindstamp of the printer, Rupert Jasen Smith, co-published by Ronald Feldman Fine Arts, Inc. and Jonathan A Editions.

View 1 of Lot 176: Franz Kafka, from Ten Portraits of Jews of the Twentieth Century (Feldman & Schellmann II.226)

franz kafka, from ten portraits of jews of the twentieth century (feldman & schellmann ii.226)

Livres & Manuscrits, dont une collection de lettres de Kafka à Gauguin

Kafka, Franz Lettre autographe signée à Max Brod. [Jungborn], 10 juillet 1912. 4 pages grand in-8 (226 x 145 mm), sur un bifeuillet, en-tête Rudolf Just's Kuranstalt Jungborn (I. Harz). Signée "Franz". Enveloppe au même en-tête, à l'adresse de Brod, à Prague. Longue et belle lettre évoquant la prochaine publication du premier recueil de nouvelles de Kafka, Betrachtung [Contemplation], et la difficile rédaction d’Amérique, qui restera inachevé et ne sera publié qu’à titre posthume. Après un voyage à Weimar en compagnie de Max Brod, Kafka séjourne dans la clinique et maison de convalescence fondée par le naturopathe Rudolf Just. Il s’adresse à son cher ami, devenu confident, lecteur critique et soutien moral. Kafka parle d’un sentiment d’impuissance et de tristesse devant la difficulté d'écrire ce roman immense, conçu pour embraser le ciel, et s'avouant embarrassé dès la première phrase. "Aber ich bin unfähig genug und traurig. Das musss nicht endgiltig sein, das weiß ich. Jedenfalls reicht es zum Schreiben noch lange nicht. Der Roman ist so gross, wie über den ganzen Himmel hin entworfen (auch so farblos und unbestimmt wie heute) und ich verfitze mich beim ersten Satz, den ich schreiben will". Il remercie chaleureusement Max Brod pour sa lettre et le poème qu’elle contient [Lugano-See qui sera publié le 7 mars 1913]. Il se promet de le lire à la lumière de la bougie, lorsqu’il se réveillera la nuit. Ce poème – pour lequel il suggère quelques améliorations – est pour lui comme un cadeau et une union rêvée entre eux. Il évoque ensuite des questions éditoriales, demandant des nouvelles du "Jahrbuch" (l’annuaire de poésie, Arkadia, publié par Brod), du brave et intelligent Ernst Rowohlt (qui va prochainement publier Betrachtung, de l’éditeur Axel Juncker et du livre de Max Brod, Anschauung und Begriff [Intuition et Concept sera édité à Leipzig en 1913.]. Après avoir décrit les difficultés auxquelles il se heurte dans son écriture, il reconnaît que son séjour à Jungborn se passe bien, dans une maison agréable d’où il entend parfois le bruit de passants qu’il compare au galop d’un buffle. 1912 est une année jalon dans la vie de Kafka. Bien que toujours employé comme agent d’assurance, il consacre une grande partie de son temps à l’écriture. Soutenu par Max Brod, un interlocuteur essentiel qui l’encourage, malgré tous ses doutes, il devient un écrivain publié, avec le recueil Contemplation. Non seulement, Kafka travaille sur Amérique, mais c’est également à cette époque que Le Verdict et La Métamorphose s’ébauchent. C’est quelques semaines après ce séjour à Jungborn qu'aura lieu, chez Max Brod, la rencontre de Kafka et de Felice Bauer.

View 1 of Lot 73: Lettre autographe signée à Max Brod. 10 juillet 1912. Superbe lettre évoquant la publication de son premier recueil de nouvelles et son séjour dans la station thermale du Jungborn, en Saxe-Anhalt.

lettre autographe signée à max brod. 10 juillet 1912. superbe lettre évoquant la publication de son premier recueil de nouvelles et son séjour dans la station thermale du jungborn, en saxe-anhalt.

Lithograph printed in colours, 1986, signed and numbered 3/100 in pencil on wove with margins, in apparently good condition (unexamined out of frame)

Lithograph printed in colours, 1986, signed and numbered 3/100 in pencil on wove with margins, in apparently good condition (unexamined out of frame) together with 7 prints by various artists under which an offset print by Jeff Koons, signed by Cicciolina, all framed (8)

franz kafka

Verwandlung. Leipzig: Kurt Wolff Verlag, 1915

kafka, franz.

The Library of an English Bibliophile Part VII

8vo, FIRST ENGLISH EDITION, original light blue cloth, yellow DUST-JACKET, spine and edges of covers slightly discoloured, spine of dust-jacket browned and chipped at head, slightly browning and chipping elsewhere

the trial (translated by willa and edwin muir). london: victor gollancz ltd., 1937

8vo, FIRST ENGLISH EDITION, original blue cloth, DUST-JACKET, spine of binding somewhat faded and with faint outline of lettering from dust-jacket, dust-jacket spine somewhat browned, chipped at head and with 2.5cm. (1 inch) loss at foot, slight fraying or very short tears elsewhere, joints splitting

the castle (translated by willa and edwin muir). london: martin secker, 1930

8vo, FIRST ENGLISH EDITION, original blue cloth-backed grey boards, printed label on upper cover, GLASSINE WRAPPER (clear apart from price), wrapper with loss (most significantly at base) 

the metamorphosis, translated by a.l. lloyd. london: the parton press, 1937

Continental Books, Manuscripts and Science

8vo (207 x 127mm.), publisher's advertisements at the end, original blue boards, cloth box, spine slightly worn

die verwandlung. leipzig: kurt wolff, 1915

Music and Continental Books and Manuscripts

8vo (228 x 154mm.), copy number 173 of a limited edition of 800, contemporary black buckram, paper label on spine, without original wrappers, lacking a preliminary leaf, library stamps on title-page and first page of text, label worn

betrachtung. leipzig: ernst rowohlt verlag, 1913 (1912)

Contemporary Art Day Auction

ten portraits of jews of the 20th century: franz kafka

Fred Feinsilber collection, A collector&#39;s journey, 1460-1960, books, manuscripts, prints, photos

16 p. in-4°. Version définitive du texte de Kafka momentanément écarté du Mythe de Sisyphe (1942) par la censure. Il fut publié au numéro n°7 de la revue L’Arbalète  en 1943. Quelques petits défauts au papier.

l' espoir et l'absurde dans l'oeuvre de franz kafka manuscrit dactylographié complet et signé, s.d.

A Select Collection of a Bookdealer- dilettante: Christophe d&#39;Astier

édition originale de la traduction française. In-8 (219 x 143 mm), broché.

édition originale de la traduction française. In-8 (219 x 143 mm), broché. tirage : exemplaire du service de presse.

le procès. paris, n.r.f., 1933.

édition originale de la traduction française. In-8 (186 x 112 mm), non rogné.

édition originale de la traduction française. In-8 (186 x 112 mm), non rogné. tirage : un des 43 exemplaires de tête sur vélin pur-fil. reliure signée d'alix. Demi-maroquin brun à coins, filet doré aux mors, dos lisse, lettres dorées, tête dorée, couverture conservée, dos légèrement passé, étui bordé.

journal intime. paris, editions bernard grasset, 1945.

PF1223

In-8 (265 x 175 mm) broché, couverture illustrée légèrement insolée, dos passé.

In-8 (265 x 175 mm) broché, couverture illustrée légèrement insolée, dos passé. Edition originale française ornée de 4 POINTES SÈCHES ORIGINALES hors texte de Wols. Tirage à 270 exemplaires. Exemplaire hors commerce identique aux 20 premiers sur Vidalon, annoté « exemplaire réservé à notre collaborateur Jacques Vignes », comportant LES POINTES SÈCHES originales tirées SUR JAPON SIGNÉES PAR WOLS et UNE SUITE À PART SUR JAPON ÉGALEMENT SIGNÉE par l'artiste. ENVOI autographe signé de Wols : « à Jacques Vigneavec mes sympathies.WolsMars 1949 ».

l'invité des morts. suivi de dans notre synagogue, l'epée, lampes neuves. textes traduits par marthe robert. pointes sèches de wols. paris, presses du livre français, 1948.

L12408

The Trial. Gollancz, 1937, proof copy, original wrappers, slightly skewed, wrappers soiled, loss and tears to head and foot of spine; The Trial. Gollancz, 1937, first edition, original blue cloth lettered in blue on spine, dust-jacket, some loss to spine and lower cover of dust-jacket, repairs to reverse of dust-jacket; both 8vo, ownership signatures

proof copy and first edition of the muir translation of the trial, comprising:

20th Century Art – A Different Perspective

four photographs:(i) grave of franz kafka(ii, iii) zámecká obora(iv) from the series 'a walk in the magic garden'

Books &amp; Manuscripts

(4 x 6 1/8 in.; 102 x 155mm), Prague, postmarked 5 March 1913; some rough esges at upper edge from opening, left edge and lower edge slit open to allow both sides of envelope to be displayed together.

autograph envelope signed ("hr. dr. f. kafka"), to felice bauer, berlin

Prints

Screenprint in colors, 1980, signed in pencil and numbered 112/200 (total edition includes 30 artist's proofs), on Lenox Museum Board, from the portfolio Ten Portraits of Jews of the Twentieth Century, co-published by Ronald Feldman Fine Arts, New York and Jonathan A Editions, Tel Aviv, the full sheet, printed to the edges, laid down, framed

franz kafka (f. & s. ii.226)

Music and Continental Books & Manuscripts

In der Strafkolonie. Leipzig: Kurt Wolff Verlag, 1919--Das Urteil. Leipzig: Kurt Wolff Verlag, 1916--Der Prozess. Berlin: Verlag Die Schmiede, 1925--Ein Hunger Künstler. Berlin: Verlag Die Schmiede, 1925--Ein Landarzt. Munich and Leipzig: Kurt Wolff Verlag, 1919--Betrachtung. Leipzig: Kurt Wolff Verlag, [1915]--Beim Bau der Chinesischen Mauer. Berlin: Gustav Kiepenheuer Verlag, 1931--Arkadia. Leipzig: Kurt Wolff Verlag, 1913--Der jüngste Tag. Neue Dichtungen 1-6. Leipzig: Kurt Wolff Verlag, 1913--Die neue Dichtung. Ein Almanach. Leipzig: Kurt Wolff Verlag, 1918

In der Strafkolonie. Leipzig: Kurt Wolff Verlag, 1919--Das Urteil. Leipzig: Kurt Wolff Verlag, 1916--Der Prozess. Berlin: Verlag Die Schmiede, 1925--Ein Hunger Künstler. Berlin: Verlag Die Schmiede, 1925--Ein Landarzt. Munich and Leipzig: Kurt Wolff Verlag, 1919--Betrachtung. Leipzig: Kurt Wolff Verlag, [1915]--Beim Bau der Chinesischen Mauer. Berlin: Gustav Kiepenheuer Verlag, 1931--Arkadia. Leipzig: Kurt Wolff Verlag, 1913--Der jüngste Tag. Neue Dichtungen 1-6. Leipzig: Kurt Wolff Verlag, 1913--Die neue Dichtung. Ein Almanach. Leipzig: Kurt Wolff Verlag, 1918 Together 10 volumes, 8vo, original bindings, some slight wear

a collection of novels, novellas and short stories comprising:

First edition of  "Metamorphosis", 8vo (210 x 128mm.), 3 leaves of publisher's advertisements at end, red endpapers, original dust-jacket illustrated by Ottomar Starke (dated 1916 as usual), dust-jacket slightly browned and frayed, disbound

die verwandlung. leipzig: kurt wolff verlag, 1915

N08811

Autograph letter signed ("Kafka"), 1 page (9 x 5 3/4 in.; 230 x 145 mm), in German, [Prague, ca. 1920?], to the poet Albert Ehrenstein; small tears at head and foot of letter not affecting text; airmail envelope addressed to Dolly Perutz in the hand of Albert Ehrenstein with the poet's return address; torn at right from removal of stamp

kafka, franz

L11406

first edition of "Metamorphosis", 8vo (210 x 128mm.), 3 leaves of publisher's advertisements at end, dust-jacket illustrated by Ottomar Starke (dated 1916 as usual), rebound in marbled boards preserving upper wrapper, binding worn, spine detached

die verwandlung. leipzig: kurt wolff verlag, [1915]

Property from the Hascoe Family Collection: Important Czech Art

head of franz kafka (hlava franze kafky)

Livres et Manuscrits

première édition de la traduction française. In-12 (190 x 120 mm). Broché, couverture imprimée, boîte en demi-maroquin noir des Ateliers Laurenchet.

première édition de la traduction française. In-12 (190 x 120 mm). Broché, couverture imprimée, boîte en demi-maroquin noir des Ateliers Laurenchet. envoi autographe signé du traducteur Alexandre Vialatte à Gabrielle Gras sur la page de garde : "avec le désir qu'elle me dédicace bientôt quelque chose..."

le procès. traduit de l'allemand par alexandre vialatte. préface de bernard groethuysen.paris, gallimard, collection "du monde entier", xi 1933.

édition originale tirée sur vélin crème. In-8 (211 x 128 mm) ; cartonnage de l'éditeur, dos en papier vélin et plats de papier bleu gris. Titre en noir sur le premier plat et au dos, tête bleue. Pliure au bas du premier plat, petite fente en bas du second mors, premier plat passé. Très frais à l'intérieur.

die verwandlung.leipzig, kurt wolff verlag, 1915.

Fine Books and Manuscripts

Die Verwandlung. Leipzig: Kurt Wolff Verlag, [1915]

Die Verwandlung. Leipzig: Kurt Wolff Verlag, [1915] 8vo (8 1/2 x 5 ¼ in.; 215 x 1304 mm). 3 leaves of publisher's advertisements at the end, original buff-colored pictorial dust-jacket illustrated by Ottomar Starke (dated 1916 as usual) over thick unprinted gray wrappers; jacket folds very lightly rubbed, front and rear panels a trifle faded, previous owner has inked author and title on spine, slightly cocked.

Israel Art

painting to franz kafka's "the castel", "where are we?" said k. in a low voice, more to himself than to barnabas

Bibliophile III

8vo (194 x 130mm.), first edition, publisher's green cloth, red and blue paper labels on spine and upper cover, top edges stained yellow, modern folding box, spine faded

der prozess. roman. berlin: die schmiede, 1925

Autograph letter signed ("Franz"), to his friend Max Brod, who is recovering from influenza

Autograph letter signed ("Franz"), to his friend Max Brod, who is recovering from influenza enquiring good-humouredly after his friend's health, stating that during his own illness he was like a 'guarantee of life' for him ("...Während meines Fiebers warst Du mir etwas wie die Bürgschaft des Lebens..."), explaining that, if necessary, he would be able to take care of him at his own home, and quite good care too, since he has some experience in being looked after, and wondering whether he is already back at the Jewish National Council; on the verso of the letter, Kafka provides the following correspondence address:  'Dr Kafka [/] Pension Stüdl [/] Schelesen [/] b[ei] Liboch' ...Leider spricht manches dagegen Dich hierher einzuladen, aber zur Not ginge es doch und ich würde Dich nicht schlecht pflegen, da ich doch Erfahrungen im Gepflegtwerden habe... 2 pages, 90 x 140mm., on a postcard, one sentence underlined in pink crayon, some later pencil annotations, postmarked Liboch, 17 December 1918

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