Fine Books & Manuscripts, Including Americana

Salinger, J.D. The Graham Family archive, 1951-1989 4 letters (1 ALS and 3 TLS), all signed (“Jerry”), addressed to Mrs. Esther Graham or to Mr. J. Graham, with original mailing envelopes, 1953-1989; a signed and inscribed first edition of The Catcher in the Rye, 1951; a partial The Catcher in the Rye dust jacket, signed by the illustrator E. Michael Mitchell on the same date as the aforementioned first edition, 1951; a rare portrait photograph of Salinger, signed by the photographer Antony di Gesu and presented by Bett Graham to her niece, Pamela, 1952; all items either given or sent to members of the Graham family, documenting their longstanding and, until now, little known friendship with Salinger. In 1949, Salinger met a Canadian couple, Beth (“Bett”) Graham and Michael Mitchell, in Westport, CT, where he was living while finishing his groundbreaking novel, The Catcher in the Rye. The Mitchells had a house nearby and, though it is unclear how exactly they were introduced, they soon became close friends. Salinger would write in their guest house and then read recently written passages from Catcher to the married couple. Michael, a successful magazine illustrator, was asked to design the book’s dust jacket. His striking image of a red carousel horse remains one of the most iconic dust jackets ever created. Even Salinger, notorious for despising his books’ cover art, loved the design. After moving to Cornish, NH, Salinger continued to correspond with the Mitchells, and he occasionally visited them in New York or London. In one of Salinger’s letters to Michael, now at the Morgan Library, he informed the couple that he has “never had two dearer friends,” and refers to their “tri-cornered” friendship (Cowan, Alison Leigh. “Unsealed Letters Offer Glimpse of Salinger. New York Times. February 11, 2010). Bett Graham and Michael Mitchell divorced sometime in the 1960s. From then on, Salinger stayed in touch with them both separately. It is abundantly clear from this archive that the author had a special appreciation for his friendship with the Graham family, especially for Bett and her mother Esther, who he affectionately refers to as “Mother Graham.” Through these unexpectedly warm and revealing letters, spanning nearly forty years, Salinger shows his humor, introspection, and humanity — aspects of his personality which he oftentimes kept hidden. The archive contains: 1) Autograph letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: November 15, 1953 One-page letter (196 x 156 mm), in black ink; old horizontal fold. With postmarked autograph envelope. A short but sympathetic letter where Salinger sends his condolences to Esther soon after the passing of her husband, William. Salinger calls him “the gentlest and best kind of human being.” 2) Typed letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: June 16, 1959 Two-page letter typewritten on one side of a single folded sheet (210 x 271 mm), signed in black ink; old folds, very faint toning along the top edge at center. With postmarked typed envelope. An affable, funny letter from Salinger to Esther Graham, where he discusses Bett and Michael’s recent move to London. He expresses his sadness at not seeing his friends more often, and his desire to go visit them so that they can “all go see the Queen together.” Salinger mentions his grueling work schedule and laments his lonely automat lunches. He goes on to thank Esther for the clipping she sent him and says that the thought of her brother reading his fiction in Glasgow cheers him up. Near the end of the letter, Salinger mentions his 4-year-old daughter, Peggy. He wishes that she could meet Esther and bemoans the fact that his daughter never gets to see Bett and Mike. 3) Typed letter signed “Jerry” to “Dear Mother Graham.” Windsor, VT: March 3, 1971 One-page letter (270 x 210 mm), typed, signed in black ink; old folds. With postmarked typed envelope. Salinger recounts his recent trip to London where he saw Bett, who is now divorced from Michael. He mentions some of their amusing adventures together, including “the police-station stuff and the mixup at Battersea Park,” and praises Bett’s new apartment, her tiny car, and her friends. He goes on to discuss Michael and how, a little while back, he didn’t see him due to a bout of hypoglycemia. Salinger explains that he has been feeling much better recently, “like the gifted sportsman and Oujia player you knew in Westport.” He then updates Esther on his children, who he feels are happy and doing well. 4) Typed letter signed “Jerry” to “Dear J.” Cornish, NH: November 19, 1989 One page letter (270 x 210 mm) to James Graham, typed, signed in black ink; old folds. With postmarked typed envelope. In this heartfelt, yet somber letter, Salinger responds to news of the death of his friend Bett Graham. He writes back to her brother, James, and begins by saying that his memory isn’t what it used to be, before recounting a series of detailed memories. First, he remembers exactly who James is, despite having never met him. He goes on to eulogize Bett, praising her kindness, intelligence, and wit. With his characteristic acerbity, Salinger expresses disdain for the word “compassion,” which he finds overly sentimental. However, he admits that, when referring to Bett, he can make an exception for the word. After a brief digression to discuss Mike, who had already phoned him with the news, he responds to a remark that he thought was disparaging to Bett — a reference to her supposedly turbulent life. He vigorously defends her against this characterization, recalling her selflessness, and imagining her at a kitchen sink washing other people’s dirty dishes — “gloomy thoughts,” he adds. Salinger ends the letter by thanking James for being there with Bett during her last days, and he sends his love to the rest of the Graham family. He signs the letter “Jerry,” before adding “(Salinger)” in typescript. 5) J.D. Salinger. The Catcher in The Rye. Boston: Little, Brown and Company, 1951 8vo (195 x 127 mm). First edition, third printing, inscribed “To Esther and Willie Graham, / with love, / Jerry” and dated September 5, 1951, in blue ink on the front free endpaper; old smudge to the word “Willie” in the inscription. Publisher’s cloth; lacking dust jacket, a few minor spots of rubbing and wear to the extremities, spine title a bit dulled, a slight lean, front hinge cracked. 6) A partial The Catcher in the Rye dust jacket, signed and inscribed by the illustrator E. Michael Mitchell, “To Mother / and Father Graham / with love” and dated September 5, 1951 on the rear flap in light blue ink, the jacket from a Book-of-the-Month Club edition; front cover missing, front flap detached, some creasing, staining, and fraying along edges. 7) Antony Di Gesu. Portrait Photograph of J.D. Salinger reading The Catcher in the Rye. November 20, 1952 Silver gelatin print (216 x 317 mm), double matted and framed. Signed and dated by Di Gesu in gold ink in lower left corner, additionally inscribed in pencil on the frame’s verso, “To: Pamela from Aunt Beth / a portrait of an old friend Nov. 1989.” A studio portrait photograph of Salinger reading from The Catcher in the Rye while smoking a cigarette. This is from one of only two known studio sessions that the author sat for. This print was presumably gifted by Salinger to Bett Graham, who then gave it to her niece shortly before her death in 1989. Anthony di Gesu, the photographer, is known for his celebrity portraits, including Norman Mailer, Truman Capote, Irving Berlin, Margaret Mead, and Jonas Salk. He wrote about Salinger’s visit in his unpublished memoir: “On the 20th of November, 1952, J.D. Salinger (author of Catcher in the Rye) came to the studio and said he wanted a portrait of himself for his mother and his fiancée. Since I didn’t [know] as much then as I do now, I set up the camera and light and sat him right down. His expression was so rigid and self-conscious [that] I was at my wits end. Nothing happened. I decided on something I had never done before with an adult. I excused myself, went up to my apartment and came down with ‘Catcher in the Rye.’ I brought him a table and ashtray, set down the book (why the hell didn’t I ask him to autograph it?) and suggested he do anything he pleased. Read to himself. Read aloud or just smoke. “If I’d thought he was going to be so damned famous, I’d have written down everything we talked about to get the expression we did. I took 48 5 x 7 negatives. Serious, thoughtful, smiling, laughing, howling with laughter. White shirt, white background. Black suit, black background. But I don’t remember a thing. “He was pleased with the results, but asked me not to show the portraits publicly. When I asked why, he said when people recognized him, they usually behaved peculiarly because they thought he would write about them. I promised I wouldn’t and I kept that promise for thirty years.” (Anthony di Gesu. From his unpublished memoir. https://sandiegohistory.org/collection/photographs/digesu2/) For a book inscribed by Salinger to Bett Graham, The Complete Novels of Jane Austen, see following lot.

View 1 of Lot 1065: Salinger, J.D. | The Graham Family archive, including autographed letters, an inscribed Catcher, a rare studio photograph of the author, and more

salinger, j.d. | the graham family archive, including autographed letters, an inscribed catcher, a rare studio photograph of the author, and more

An oversize silver gelatin studio publicity <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> of <a href="https://www.sothebys.com/en/search?query=Brigitte%20Bardot&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Brigitte Bardot</a> from the film <a href="https://www.sothebys.com/en/search?query=Les%20Novices&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Novices</a>.<ul><li>Gianni Bozzacchi (Italian, b.1943).</li><li>Conservation framed with UV plexiglass.</li></ul> There is a perspex window on the back of the frame showing photographer's stamp and information together with a news agency stamp.&nbsp;

Brigitte Bardot Les Novices Movie Studio Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">movie studio photograph</a> for the film <a href="https://www.sothebys.com/en/search?query=The+Great+Escape&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">The Great Escape</a>.<ul><li>Original studio photograph.</li><li>There is a perspex window on the back of the frame showing an NBC TV caption.</li><li>Conservation framed with UV plexiglass.</li></ul>

The Great Escape Movie Studio Photograph

A key book <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">studio photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=Suspicion&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Suspicion</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul> This is a key book still. Many studios spent extra money to have their best photographs either backed with linen or printed on a heavier paper, both of which enhanced their durability. They had an extra 1 inch at the left or top with punch holes, owing to being stored in a binder file. The extra area with the punch holes has been trimmed, which often happens with these key book stills.

Suspicion Movie Key Book Studio Photograph

A silver gelatin publicity <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a> of <a href="https://www.sothebys.com/en/search?query=Catherine%20Deneuve&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Catherine Deneuve</a> in the film <a href="https://www.sothebys.com/en/search?query=Repulsion&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Repulsion</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul>

Catherine Deneuve Repulsion Movie Studio Photograph

A French movie studio <a href="https://www.sothebys.com/en/search?query=movie%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=La%20Bete%20Humaine&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">La Bete Humaine</a>.<ul><li>Oversize silver gelatin studio photograph.</li><li>Conservation framed with UV plexiglass.</li></ul>

French La Bete Humaine Movie Studio Photograph

A movie studio promotional <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=Cartouche&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Cartouche</a>.<ul><li>Oversize silver gelatin studio promotional photograph.</li><li>Conservation framed with UV plexiglass.</li></ul>

Cartouche Movie Studio Promotional Photograph

A <a href="https://www.sothebys.com/en/search?query=studio%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">studio photograph</a> of <a href="https://www.sothebys.com/en/search?query=James%20Dean&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">James Dean</a> from the <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie</a> Giant.<ul><li>Sid Avery (American, 1918-2002).</li><li>Silver gelatin studio photograph.</li><li>Conservation framed with UV plexiglass.</li></ul>

James Dean Studio Photograph from the Movie Giant

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie</a> studio <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=My%20Fair%20Lady&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">My Fair Lady</a>.<ul><li>Cecil Beaton (British, 1904-1980).</li><li>Deluxe double weight studio photograph.</li><li>This work is presented framed.</li></ul>

My Fair Lady Movie Studio Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">promotional studio photograph</a> from the movie <a href="https://www.sothebys.com/en/search?query=Sabrina&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Sabrina</a>.<ul><li>Paramount Pictures.</li><li>Conservation framed with UV plexiglass.</li></ul>

Sabrina Movie Production Studio Photograph

An oversize silver gelatin <a href="https://www.sothebys.com/en/search?query=studio%20publicity%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">studio publicity photograph</a> from the <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">film</a> <a href="https://www.sothebys.com/en/search?query=Les%20Demoiselles%20de%20Rochefort&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Demoiselles de Rochefort</a> (Young Girls of Rochefort).<ul><li>Conservation framed with UV plexiglass.</li></ul> There is a perspex window on the back of the frame showing various news agency stamps and basic film information.

Les Demoiselles de Rochefort  / Young Girls of Rochefort Movie Studio Photograph 

A candid&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a>&nbsp;from the production of the film&nbsp;<a href="https://www.sothebys.com/en/search?query=Fahrenheit%20451&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Fahrenheit 451</a>.<ul><li>Douglas Kirkland (Canadian-American, 1934-2022).</li><li>Silver gelatin candid photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> This photograph was taken on set and shows François Truffaut directing Oskar Werner.

French Fahrenheit 451 Movie Studio Promotional Photograph

&nbsp;Transparencies of the <a href="https://www.sothebys.com/en/search?query=Rolling+Stones&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Rolling Stones</a> playing music at Picadilly Studios in 1963.<ul><li>Sold as a set of 8.</li><li>A collection of color transparencies of the Rolling Stones taken at Picadilly Studios, London in 1963.</li><li>The negatives are being sold with full copyright.&nbsp;</li></ul>

The Rolling Stones 1963 Picadilly Studios Transparent Photograph Negatives

An oversized <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">studio portrait photograph</a> of <a href="https://www.sothebys.com/en/search?query=Marlene+Dietrich&amp;pfilters.dateRange=pasthttps://www.sothebys.com/en/search?query=Marlene+Dietrich&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Marlene Dietrich</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul>

Marlene Dietrich Movie Studio Portrait Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie</a> key book studio <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">production still</a> of <a href="https://www.sothebys.com/en/search?query=Elvis&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Elvis</a> from the film <a href="https://www.sothebys.com/en/search?query=Paradise%20Hawaiian%20Style&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Paradise Hawaiian Style</a>. <ul><li>Paper, backed on linen.</li><li>Conservation framed with UV plexiglass.</li></ul> This is a key book still. Many studios spent extra money to have their best photographs either backed with linen or printed on a heavier paper, both of which enhanced their durability. They had an extra inch at the left or top, with punch holes, because of how they were stored. Key book stills are rarer as only a few key books were manufactured per film. The inch-extra margin with the punch holes has been trimmed, which is normal for this type of photograph. There is a perspex window on the back of the frame showing film information.

Paradise Hawaiian Style Movie Key Book Studio Photographic Production Still of Elvis Presley

(Salinger, J.D.) — Jane Austen The Complete Novels of Jane Austen. New York: The Modern Library, [1940] 8vo (195 x 130 mm). Second Modern Library edition. Signed and inscribed by Salinger in ink on the front free endpaper, “To Bett / hoping that these Austen novels will mean something important to you. / With affection, / Jerry Salinger;” the contents with occasional light toning and soiling, a small loss to the lower corner of the title page, the front free endpaper and half title are separated from the text block but still attached to the upper board. Publisher’s green cloth boards, with Modern Library logo; wear to boards, the spine missing, the front hinge cracked, the upper board holding to the linen cloth “cords,” a well-read copy. Housed in a custom clamshell case. A presentation copy of The Complete Novels of Jane Austen, one of J.D. Salinger’s favorite reads, gifted to his longtime friend Bett Graham. Though the inscription is undated, he may have given it to Bett soon after her separation from Michael Mitchell to provide some much-needed entertainment, consolation, or inspiration from one of Austen’s strong-willed heroines. Salinger was a voracious reader throughout his life – he had a rotating bookcase next to his bed where he kept his favorite books within arm’s reach morning and night (the bookcase and its contents were exhibited at the New York Public Library in 2019). One of his favorite authors was undoubtedly Jane Austen. It is interesting to note that, though their lives were separated by over a century, Austen and Salinger both wrote coming of age novels whose protagonists search for a way to live authentically in conventional adult society, a society that they perceive as inherently hypocritical. Both authors regularly use satire to criticize this hypocrisy or, as Holden would call it, “phoniness.” In addition to this connection, Salinger mentions Jane Austen at least three times in his short stories – first in “Uncle Wiggily in Connecticut” (The New Yorker, March 20, 1948, and then twice in “Hapworth 16, 1924,” (The New Yorker, June 19, 1965). In “Uncle Wiggily,” his unhappily married protagonist, Eloise, is asked by an old friend why she married her husband. Eloise replies, "He told me he loved Jane Austen. He told me her books meant a great deal to him. That's exactly what he said. I found out after we were married that he hadn't even read one of her books." Hapworth, takes the form of a long letter sent from summer camp by seven-year-old, Seymour Glass, to his parents. At one point, the precocious child describes Miss Overman, an old-fashioned librarian,– “In her heart of hearts, she would zestfully live out her remaining years as a charming, intimate neighbor of Elizabeth and Jane Bennett, continually being approached by those equally delicious heroines of Pride and Predjudice for sensible and worldly advice.” Later on, while listing books that he would like Ms. Overman to send him, along with Cervantes, Tolstoy, Dickens, and De Balzac, is a plea for, “Jane Austen, in entirety or in any shape or form, discounting Pride and Prejudice, which is already in possession. I will not disturb this incomparable girl’s genius with dubious remarks; I have already hurt [the librarian] Miss Overman’s feelings inexcusably by refusing to discuss this girl, but I lack even the slight decency to regret it very much. Quite in a pinch, I would be willing to meet someone at Rosings, but I cannot enter into a discussion of a womanly genius this humourous, magnificent, and personal to me; I have made some feeble, human attempts, but nothing at all meritorious.” While inscribed copies of Salinger’s own books come up with some regularity, this is the first time that another author’s novel with an inscription by Salinger has been offered at auction. It provides a revealing glimpse into Salinger’s personal relationships and literary tastes, calling attention to certain oftentimes overlooked aspect in his biography – his friendships with women and his longstanding appreciation of Jane Austen. For an archive of letters, a rare studio photograph, and more, all given to Bett and members of her family, see previous lot. RFERENCES Sanford, Jaclyn M. "The Bildungsroman and the Theme of Authenticity in Jane Austen’s Emma and J.D. Salinger’s The Catcher in the Rye." Master's thesis, Harvard University, 2019

View 1 of Lot 1066: (Salinger, J.D.) — Jane Austen | Inscribed copy of Austen’s Complete Novels, given to his close friend Bett Graham

(salinger, j.d.) — jane austen | inscribed copy of austen’s complete novels, given to his close friend bett graham

Thomson, John Illustrations of China and its People. A series of two hundred photographs, with letterpress descriptions of the places and people represented. London: Sampson Low, Marston Low, and Searle, 1874 4 volumes, folio (472 x 348 mm). Letterpress titles and descriptions to each volume, 222 photographs on 96 plates, produced by the Autotype Mechanical Printing Process of Spencer, Sawyer, Bird and Co., London, with guards; some intermittent pale spotting, mainly to prelims, one leaf in vol. II with upper corner irregularly trimmed by binder. Publisher’s maroon morocco-grain cloth, covers with large pictorial designs and lettered in gilt, beveled edges, edges gilt; skillful repairs to spines and corners, some uneven toning to vol. 1, upper outer corners lightly bumped. "My design in the accompanying work is to present a series of pictures of China and its people, such as shall convey an accurate impression of the country I traversed as well as the arts, usages, and manners which prevail in different provinces of the Empire. With this intention I made the camera the constant companion of my wanderings, and to it I am indebted for the faithful representation of the scenes I visited and the types of races I came into contact" (Introduction). First edition of volumes II-IV, second edition of volume I, of this important photographic record of China, made by the pioneering Scottish photographer John Thomson, one of the first photographers to travel to the Far East. Thomson documented the people, landscapes, art, and artifacts of the Chinese culture. He established a studio in the Commercial Bank building in Hong Kong in 1868, and spent the next four years traveling extensively into many regions, some remote and unpopulated. "His images display a genuine interest in Chinese customs and seem influenced by traditional Chinese painting, as exemplified by his treatment of the landscape in 'Wu-Shan Gorge, Szechuan' (pl. no. 138)" (Rosenblum 125). While earlier portrait photographs had made it to the West, Thomson's series offered the first actual views of street life. While some, like 'Itinerant Tradesman, Kiu Kiang Kiangsi' (pl. 192) may have been staged, "its sharpness and detail were meant to convince 19th-century viewers of the reality of a scene happened upon by accident" (ibid. 172). Ultimately, Rosenblum describes it as "perhaps the most completely realized result of a kind of curiosity about the way people live... the work attempted to make an arcane and exotic way of life understandable and acceptable to the British public by showing industrious and well-disposed natives interspersed with unusual architectural and natural monuments. In doing so, Thomson helped create a style and format for documentation that carried over to projects concerned with social inequities" (ibid. 346). Thomson traveled from the southern trading ports of Hong Kong and Guangzhou (Canton) to the cities of Beijing and Shanghai, to the Great Wall in the north, and deep into central China. From 1870 to 1871 he visited the province of Fujian, venturing up the Min River by boat with the American Protestant missionary Rev. Justus Doolittle, and then visited Amoy and Shantou. His travels were often perilous, and many of the people he visited had never seen a Westerner, nor a bulky wooden view camera, before. His subject matter ranged widely, from beggars on the street to Mandarins, Princes and government officials; from remote monasteries to Imperial Palaces. Nearly 700 of his photographs were acquired by the collector Henry Wellcome, and are now preserved in his venerable collection in London: glass-plate negatives coated with collodion. In the words of Françoise Heilbrun, Thomson possessed "an ethnographic and journalistic turn of mind, impeccable technique, original vision, and an admirable sense of composition" ("Around the World: Explorers, Travelers, and Tourists" 164). One of the most extensive photobooks of China in the nineteenth century. REFERENCES "Around the World: Explorers, Travelers, and Tourists," in A New History of Photography, ed. Michel Frizot; Rosenblum, A World History of Photography (3d ed.); Western Travellers in China 91

View 1 of Lot 1075: (China) — John Thomson | One of the most extensive photobooks of China in the nineteenth century

(china) — john thomson | one of the most extensive photobooks of china in the nineteenth century

Swinging on a Star: The Collection of Bing & Kathryn Crosby

Joseph Lilley’s bound film score for Mr. Music with various production notes in his role as musical director. Together with 6 pages of typed production notes from recording sessions occurring October 1949 through March 1950, as well as photograph of Bing Crosby in recording booth.

Joseph Lilley’s bound film score for Mr. Music with various production notes in his role as musical director. Together with 6 pages of typed production notes from recording sessions occurring October 1949 through March 1950, as well as photograph of Bing Crosby in recording booth. Also includes Lilley’s Paramount Studios manuscript paper with extensive notes written in black, red and blue pencil and green and pink ballpoint. This manuscript paper was used by Lilley to write notes to himself regarding the musical production process, including about tempo, altering a number’s runtime, stage directions, reminders to carry out miscellaneous tasks including connecting with other members of the production team, paying musicians working on the film, and writing additional music for the production.

View 1 of Lot 158: Joseph J. Lilley | Musical arrangements for Mr. Music

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