A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film <a href="https://www.sothebys.com/en/search?query=The+Graduate&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">The Graduate</a>.<ul><li>Embassy Pictures.</li><li>Unfolded, paper backed.</li><li>Conservation framed with UV plexiglass.</li></ul>

The Graduate Movie Poster

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie poster</a> for the film <a href="https://www.sothebys.com/en/search?query=The%20Graduate&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Graduate</a>.<ul><li>VISTA.</li><li>Unfolded.</li><li>Linen backed.</li><li>Conservation framed with UV plexiglass.</li></ul> This poster was produced as a tie-in with VISTA, who are an anti-poverty program in the USA, created by Lyndon Johnson's Economic Opportunity Act of 1964, as the domestic version of the Peace Corps. In the film's opening party scene Mr. Maguire, a friend of the Robinsons says to Benjamin "I've got one word for you, Benjamin: plastics." On the bottom of the poster above the word 'VISTA' it says 'You can put off plastics for a year' This piece was designed for Vista. It was released in conjunction with the film's 1968 release.

Poster for the American drama The Graduate starring Dustin Hoffman.<ul><li>Embassy.</li><li>Rare size printed for drive-ins and special displays.</li><li>Heavy paper stock backed with linen.</li></ul>

Bibliotheca Brookeriana VIII

CAMPEGGI, TOMMASO. Opus Thomae Campegii Bononiensis, episcopi Feltrensis, de auctoritate, & potestate Romani pontificis, & alia opuscula quae indicantur in sequenti pagina. Venice: Paolo Manuzio, 1555

CAMPEGGI, TOMMASO. Opus Thomae Campegii Bononiensis, episcopi Feltrensis, de auctoritate, & potestate Romani pontificis, & alia opuscula quae indicantur in sequenti pagina. Venice: Paolo Manuzio, 1555 FIRST EDITION of Campeggi's treatise on papal authority, dedicated to the newly elected Paul IV. Campeggi was Bishop of Feltre from 1520 until 1559; in 1545, he was one of three bishops present at the opening of the Council of Trent. The earliest known owner, Claudio Dattilo, from Cosenza, a graduate of the theological college of the university of Siena (1599), belonged to the priestly congregation of S. Giorgio, Siena (offshoot of the Oratory of S. Filippo Neri), of which he was rector in 1623. He donated a manuscript “Libro d'Ore usato da S. Francesca Romana” to the newly founded Ambrosiana Library in 1623; many of his books are preserved in the Biblioteca diocesana, Siena. 8vo (157 x 100 mm). Roman type, 29 lines plus headline. collation: *12 A-Z8 a-e8: 236 leaves (final leaf blank). Woodcut Aldine device on title-page, woodcut initials. Binding: Contemporary limp vellum with fore-edge flaps (164 x 113 mm), manuscript title on spine, stubs from two pairs of ties, title lettered along foot of textblock. (Head of spine slightly torn, a few small chips along lower flap.) Provenance: "Claudii Dactyli", early inscription on inside lower cover — Fiammetta Soave, catalogue "Bibliotheca Aldina" (with small sticker on inside front cover), 1991, item 74. Acquisition: Purchased from Fiammetta Soave, Rome, 1991. References: UCLA 486; Edit16 8827; Renouard 164/1

View 1 of Lot 61: Campeggi, De auctoritate et potestate Romani Pontificis, Venice, Aldus, 1555, vellum

campeggi, de auctoritate et potestate romani pontificis, venice, aldus, 1555, vellum

Important Judaica

The earliest extant medical diploma granted to a Jewish student at the University of Padua.

The earliest extant medical diploma granted to a Jewish student at the University of Padua. The University of Padua was the first (and for a time the only) medical school to officially admit Jews, and roughly 400 Jewish students studied there between the sixteenth and eighteenth centuries. This document, dated 1623, is a Padua medical diploma awarded to the Jewish graduate Leon (Yehudah) Cantarini (c. 1594–1650). The recipient is referred to as “Rabbi Leon Cantarini” throughout the text, a formulation unknown on any other surviving diploma. This document is thus of exceptional historical importance: it is both the earliest extant diploma of a Jewish medical graduate of the University of Padua and the only one that identifies its recipient as a rabbi within the body of the text. The document preserves most elements of the Padua “Jewish format.” It opens with In Dei Aeterni Nomine Amen (“In the Name of the Eternal God, Amen”), instead of the usual invocation of Christ, yet retains the Christian date formula Anno Christiano (“in the Christian year”). It also notes that the ceremony for this Jewish candidate was held in the university’s Aula Augustiori (“Grand Hall”), rather than in an ecclesiastical venue, as was customary. The text lists professors and coursework, including the study of Avicenna under Professor Francisco Bonardo. The two witnesses were prominent local rabbinic figures, R. Jacob Alpron and R. Leon (Yehudah) Saltaro da Fano; the latter had granted Cantarini rabbinic ordination five years earlier. Cantarini’s graduation fell in October 1623 (noted elsewhere as October 31), and the diploma explicitly certifies the customary dual degree, Philosophia et Medicina (“Philosophy and Medicine”). Among the prominent faculty who supported Cantarini’s candidacy for graduation was the philosopher Cesare Cremonini. According to the Padua Jewish communal archives (April 19, 1624), Cremonini, together with Cantarini, negotiated a privilege protecting the Jewish dead from being used in university dissections. The diploma also bears a contemporary addendum on the inside back cover dated August 1630; it records presentation to the Venetian Officio di Sanità (“Venice Office of Public Health”) and marks Cantarini admesso (“admitted”), officially authorizing him to practice medicine in the city during the Venetian plague. During the plague that struck Padua the following year, he wrote a medical letter to his brother, the fellow Padua-trained physician Caliman, on July 18, 1631, outlining preventive measures; tragically, Caliman died twelve days later, on July 30, 1631. Cantarini later petitioned the Venetian authorities and was granted an exemption (May 15, 1643) from the law requiring Jews to wear a red or yellow hat, thus allowing him to don the black cappello (“hat”) associated with medical graduates. Cantarini maintained a large medical practice serving Jews and Christians alike, and he prepared summaries and commentaries on Hippocrates, Galen, and Avicenna. He also authored several religious works, including halakhic responsa, biblical commentaries, and philosophical/theological treatises. He thus functioned within his community as both a physician and a rabbi, embodying the dual cultural ideals among Italian Jewry. He died in 1650 and was buried in the old Jewish cemetery of Padua. Sotheby’s would like to thank Rabbi Dr. Edward Reichman for his scholarship and assistance in cataloguing this diploma. Physical Description Small booklet bound in contemporary tooled red leather (233 x 169 mm); calligraphic Latin on ten double-sided pages (10 leaves; 20 pages), written in a spacious ceremonial hand with occasional gold-leaf lettering and generous margins; no added illustrations (as is typical for Jewish diplomas avoiding Christian imagery). The text opens “In Dei Aeterni Nomine Amen” and retains “Anno Christiano”; venue Aula Augustiori is named in the text. Contemporary annotation on the inside back cover records presentation to the Officio di Sanità (Venice) and the notation “admesso,” August 1630. Binding: contemporary Italian red leather, boards decoratively gilt à la fanfare, gilt-tooled spine; four small holes in the boards at top, bottom, and along fore edge, possibly once serving to secure wax seals Literature Marco Osimo, Narrazione della Strage Compiuta nel 1547 Contro gli Ebrei d'Asolo e Cenni Biografici della Famiglia Koen-Cantarini (Casale-Monferrato, 1875).

View 1 of Lot 72: Medical Diploma for Rabbi-Physician Leon Cantarini (Yehudah ha-Kohen Katz), Granted by the University of Padua,  Padua, October 1623.

medical diploma for rabbi-physician leon cantarini (yehudah ha-kohen katz), granted by the university of padua, padua, october 1623.

Fine Books & Manuscripts, Including Americana

Merrill, William Emery, Captain Map of 1st. Distrt. Campbell Co. Georgia, South of the Cherokee Boundy. Line. Compiled… from the notes of a captured Rebel Engineer & State-map… Official Issue. Autographed and Printed in the Field. Chattanooga, May 23d, 1864 Lithographed field map printed on cloth (455 x 520 to the neatline). Manuscript annotations in ink on recto and verso, old folds from use in the field, creasing, dampstaining in the lower left corner, a few small instances of spotting or staining. Matted and framed. Presentation copy, inscribed: “Compliments of O.[rlando] M.[etcalfe] Poe Capt. Engr. Chf. Engr. Mily. Div. Miss.” A rare Civil War map printed and used in the field during General Sherman’s Spring-Summer 1864 Atlanta Campaign by Captain Orlando Metcalfe Poe (1832-1895). As the Military Division of the Mississippi’s chief engineer, Captain Poe would have used field maps such as this every day—his responsibilities included surveying, reconnaissance, demolition and various construction projects. Poe was a cartographer himself, responsible for a number of Civil War maps that were printed during and after the war. A graduate of West Point, Captain Poe fought at Second Bull Run and Fredericksburg, before being sent to the defense of Knoxville, where he was instrumental in constructing the city’s defenses. Just days after this map was printed, he served with Sherman at the battles of New Hope Church and Dallas, a few miles to the north of the area shown on this map. After Sherman captured Atlanta, Poe was charged with the burning and demolition of the city. During Sherman’s March to the Sea, Poe’s road and pontoon building units kept the army moving. When the war ended, he was breveted to brigadier general, and after the war went on to design and construct many of the early, “Poe style” lighthouses on The Great Lakes, as well as the Soo locks connecting Lake Superior and Huron. The map shows part of Campbell County, Georgia, about 12 miles west of Atlanta, at a scale of 2 inches to a mile. The part of map showing the area north of the Chattahoochee River is based off notes taken from a captured Rebel engineer. It includes detailed topography, as well as roads, ferries, churches, settlements, a distillery, certain property owners’ names, and more. The part of the map showing the area to the south of the river is based on state maps and is far less detailed. Maps such as these were printed on cloth so that they would be durable, foldable, portable, even washable. This map was printed in Chattanooga by W. F. Merrill, Chief Topographical Engineer of the Army of the Cumberland. Merrill’s innovations in military mapmaking played a key role in the Union Army’s war effort, providing the Generals with accurate and up-to-date information. In Chattanooga, he had his own complete establishment for map production—a printing press, lithographic presses, and draftsmen. Equally importantly, Merrill's assistant Sgt. N. Finnegan developed an extraordinary body of intelligence, drawing on spies, prisoners, refugees, peddlers, itinerant preachers and scouts, what Merrill called "his motley crew." All this information was digested by Merrill day by day, until he was notified that the campaign would begin within the week. At this point, they would print the maps and distribute them to field commanders down to the brigade level. In five months, Merrill and his men had produced a group of remarkably accurate maps of country that mostly lay behind enemy lines.

View 1 of Lot 1037: Merrill, William Emery | Presentation copy of this Civil War field map, printed and used during the Atlanta Campaign by General Sherman’s chief engineer, E. M. Poe

merrill, william emery | presentation copy of this civil war field map, printed and used during the atlanta campaign by general sherman’s chief engineer, e. m. poe

VALERIUS MAXIMUS. Valerius Maximus. Paris: Simon de Colines, 1543

VALERIUS MAXIMUS. Valerius Maximus. Paris: Simon de Colines, 1543 The first or second Colines pocket edition, bound by Jean Picard in a near-identical binding to a 1542 Paris imprint reproduced as Hobson & Culot, no.34 (each tooled in the same motto and sharing a number of the same tools, although the present volume lacks the addition of the contemporary initials "G.B."). The binding was previously attributed to Claude de Picques; see Nixon, Grolier Bindings, Claude de Picques tools no.4 (solid fleuron), no.12 (drooping trefoil), and no.7 (scrollwork). 16mo (117 x 68 mm). Italic type, 28 lines plus headline. Collation: a-z8 A-N8: 288 leaves. Title-page with woodcut architectural border, ruled in red throughout. (Closed tear extending across b2). Binding: Parisian "entrelac" binding by Jean Picard (117 x 69 mm), ca. 1543, brown calf, border of 2 gilt fillets enamelled black, in panel an elaborate interlacing strapwork design of a lozenge within 2 concentric rectangles with incurved corners and a centre of 3 interconnected circles arranged vertically, all enamelled black, double-leaved fleuron at corners, open portion enamelled black, gilt leafy tools in interstices of 2 interlaced rectangles, gilt star in upper and lower circles, in central circle title in silver on upper cover and "SPES|MEA|DEVS" on lower cover, spine with 4 full and 2 half bands, gilt leaf in compartments, edges gilt, in half morocco box by Brockman. (Expertly recornered and rebacked retaining original spine). Provenance: "Ascanius Farina | I.V.D.", ownership inscription to front free endpaper (the same inscription found in a copy of a 1552-53 Venetian imprint at the RA), graduated in jurisprudence from the university of Mondovì in 1681 and mayor of Cuneo during the siege in 1691 — probably Rev. William Danby of Swinton Park, North Riding of Yorkshire, inscriptions dated "12 Sept. 1754" and "29 Nov. 1763" to front free endpaper, by descent to — William II Danby (1752-1833), writer and Gothick enthusiast, bookplate and ownership inscription — Falmouth Borough Council, typed inventory slip to rear pastedown, sale, Sotheby's, London, 3 April 1950, lot 85, bought by Maggs Bros., London, for £4, on behalf of — John Roland Abbey (1894-1969), acquisition number to endleaf "J.A. 4795|3:4:1950", his sale, Sotheby's, London, 19-21 June 1967, lot 2207 (part lot), bought for £60 — Kenneth John Hewett (1919-1994), booklabel to rear pastedown — Patrick King Rare Books, Catalogue 17 (Stony Stratford [1999]), item 52. Acquisition: Purchased in 1999 from Patrick King, Stony Stratford. References: BP16 111458; USTC 206802; Renouard, Bibliographie des éditions de Simon de Colines (Paris 1894), p.387 Reproduced in Anthony Hobson, French and Italian collectors and their bindings illustrated from examples in the library of J.R. Abbey (Oxford 1953), no. 13

View 1 of Lot 312: Valerius Maximus, Paris, 1543, Parisian entrelac binding by Jean Picard

valerius maximus, paris, 1543, parisian entrelac binding by jean picard

Lee, Robert E. Autograph letter signed ("R E Lee"), 1 1/4 pages (203 x 129 mm) on a sheet of paper, Richmond, 13 June 1865, to General Edward O. Ord, with autograph envelope addressed "Genl Ord | Comm[andin]g &c" and docketed "fr Gen Lee," accompanied by several related later documents (described below). Robert E. Lee's long road to amnesty and restored citizenship. While the two figures most intimately associated with the Confederate surrender at Appomattox Courthouse are Robert E. Lee and Ulysses S. Grant, Grant's compatriot Edward O. Ord played an instrumental role in ending the Civil War. On 9 April, he led the Army of the James on a forced march to relieve General Phil Sheridan, and his arrival determined Lee that his Army of Northern Virginia could no longer successfully resist the North's offensive. No less a warrior than William Tecumseh Sherman stated that Ord's "skillful, hard march the night before was one of the chief causes of Lee's surrender." Ord—encouraged by Confederate General James Longstreet, whom he had met during an exchange of prisoners— had in fact been working for a month to initiate peace talks between Lee and Grant. Ord had the honor of receiving Lee's letter of 9 April asking for "a suspension of hostilities pending the discussion of the terms of surrender," which he eloquently docketed, "the within read—acted upon … men at rest … firing stopped" (sold, Sotheby's, 26 October 1988, lot 102). The assassination of President Lincoln threw the peace and reconstruction process into confusion. Lincoln's successor, Vice President Andrew Johnson, shared his lenient view of the defeated South, but he did not possess either the political capital or skill that Lincoln had, and many of his efforts were thwarted by hardliners bent on punishing the former Confederate states. Lee himself was indicted on charges of treason in federal court in Virginia. Both Ord and Lee were strong proponents of full regional reconciliation once the South had laid down her arms, and Ord sent the former Confederate commander a copy of President Johnson's Amnesty Proclamation of 29 May 1865. Johnson's executive order granted "to all persons who have, directly or indirectly, participated in the existing rebellion, except as hereinafter excepted, amnesty and pardon, with restoration of all rights of property, except as to slaves, and except in cases where legal proceedings, under the laws of the United States providing for the confiscation of property of persons engaged in rebellion, have been instituted." In Lee's case, three of the fourteen stated exceptions stood in the way of his amnesty and pardon: "3d, all who shall have been military or naval officers of said pretended Confederate government above the rank of colonel in the army or lieutenant in the navy; … 5th, all who resigned or tendered resignations of their commissions in the army or navy of the United States to evade duty in resisting the rebellion; … 8th, all military and naval officers in the rebel service, who were educated by the government in the Military Academy at West Point or the United States Naval Academy." However, Johnson's Proclamation provided that special application could be made by any person belonging to the excepted classes. With this understanding, Lee began his efforts to obtain post-war amnesty with the present letter to E. O. Ord: "I am much obliged to you for a copy of the proclamation. I have thought it best to proceed as I would have done had I not heard of the action of the Court at Norfolk, & therefore have enclosed to Genl Grant an application for amnesty which I have requested may be acted on, provided it is not the intention of the Govt: to prosecute me. I believe that is the mode of proceding pointed out, & I shall be much obliged to you if you will present it to Genl Grant. With thanks for your kindness & regrets for your disposition." Lee's letter to Grant (now in the National Archives) was of a much more formal nature: "Upon reading the President's proclamation of the 29th ult., I came to Richmond to ascertain what was proper or required of me to do, when I learned that, with others, I was to be indicted for treason by the grand jury at Norfolk. I had supposed that the officers and men of the Army of Northern Virginia were, by the terms of their surrender, protected by the United States Government from molestation so long as they conformed to its conditions. I am ready to meet any charges that may be preferred against me, and do not wish to avoid trial; but, if I am correct as to the protection granted by my parole, and am not to be prosecuted, I desire to comply with the provision of the President's proclamation, and, therefore, inclose the required application, which I request, in that event, may be acted on." The enclosure to President Johnson (also in the National Archives) was written in a similar voice: "Being excluded from the provisions of amnesty and pardon contained in the proclamation of the 29th ult., I hereby apply for the benefits, and full restoration of all rights and privileges, extended to those included in its terms." Lee then cites the categories of his exclusion: "I graduated at the Military Academy at West Point in June, 1829; resigned from the U. S. Army, April, 1861; was a General in the Confederate Army, and included in the surrender of the Army of N. Va., April 9, 1865." Lee's letter to Ord is here accompanied by a typed transcript of the above letter to Johnson, attested and signed by his oldest son, George Washington Custis Lee. The transcription also includes an explanatory paragraph by G. W. C. Lee: "When Gen. Lee requested me to make a copy of this letter to Presdt. Johnson, he remarked: It was but right for him to set an example of making formal submission to the Civil Authorities; and that he thought, by so doing, he might possibly be in a better position to be of use to the Confederates, who were not protected by Military paroles—especially Mr. Davis." This attestation is enclosed in an autograph envelope endorsed by Fitzhugh Lee: "Copies of letter from Gen Lee to … President Johnson dated June 13, 1865 taken from his letter book in reference to his being restored to the rights of an American citizen." Lee did set an exemplary model of reconciliation for both the North and the South in the five remaining years of his life. This is perhaps best demonstrated in a letter he wrote to the wartime governor of Virginia, John Letcher, who, despite having served in the House of Representatives from 1851 through 1859, was interred for several months at the end of the war in the Old Capitol prison in the District of Columbia. One 28 August 1865, Lee encouraged Letcher to be receptive to President Andrew Johnson’s conciliatory manner of speaking about the South and to embrace reconciliation: “I wish that spirit could become more general. It would go far to promote confidence, & to calm feelings which have too long existed. The questions which for years were in dispute between the State & Genl. Governments, & which unhappily were not decided by the dictates of reason, but referred to the decision of war, having been decided against us; it is the part of wisdom to acquiesce in the result, & of candour to recognize the fact. The interests of the State are therefore the same as those of the U. States. Its prosperity will rise or fall with the welfare of the Country. The duty of its citizens then, appear to me too plain to admit of doubt. All should unite in honest efforts to obliterate the grievous effects of war, & to restore the blessings of peace. They should remain if possible in the Country; promote harmony & good feeling; qualify themselves to vote; & elect to the State & Genl. Legislatures, wise & patriotic men, who will devote their ability to the interests of the Country & the healing of all dissensions. I have invariably recommended this course, since the cessation of hostilities, & have endeavoured to practice it myself.” (sold, Sotheby’s, 15 December 1998, lot 202) Despite this attitude, for the rest of his life, Robert E. Lee was a man without a country. Grant endorsed Lee's application for pardon and amnesty and forwarded it to President Johnson. And, on 2 October 1865 (the same day he assumed the presidency of Washington College), Lee submitted a notarized copy of an Amnesty Oath pledging to "henceforth faithfully support, protect and defend the Constitution of the United States, and the Union of States thereunder." But the federal government never acted on his application. While there has been some speculation that either Johnson or Secretary of State William Seward may have purposely ignored Lee's amnesty request, it seems more likely that the papers were lost due to a clerical error. Lee's original Amnesty Oath was rediscovered by a researcher in the National Archives in 1970, and this provided the impetus for the question of Lee's pardon to be resurrected. Finally, on 5 August 1975, President Gerald R. Ford signed at Arlington House, Lee's former home, a joint resolution of the United States Congress "To restore posthumously full rights of citizenship to General R. E. Lee." An official copy of the Resolution—signed by President Ford, Speaker of the House Carl Albert, and Vice President (and President of the Senate) Nelson A. Rockefeller—is here included with Lee's letter to Ord: "Whereas this entire Nation has long recognized the outstanding virtues of courage, patriotism, and selfless devotion to duty of General R. E. Lee, and has recognized the contribution of General Lee in healing the wounds of the War Between the States, and "Whereas, in order to further the goal of reunion of this country, General Lee, on June 13, 1865, applied to the President for amnesty and pardon and restoration of his rights as a citizen, and … "Whereas, on October 12, 1870, General Lee died, still denied the right to hold any office and other rights of citizenship, and "Whereas a recent discovery has revealed that General Lee did in fact on October 2, 1865, swear allegiance to the Constitution of the United States and to the Union, and "Whereas it appears that General Lee thus fulfilled all of the legal as well as moral requirements incumbent upon him for restoration of his citizenship: Now, therefore, be it "Resolved by the Senate and the House of Representatives of the United States of America in Congress assembled, That, in accordance with section 3 of amendment 14 of the United States Constitution, the legal disabilities placed upon General Lee as a result of his service as General of the Army of Northern Virginia are removed, and that General R. E. Lee is posthumously restored to the full rights of citizenship, effective June 13, 1865"—that is, the date of the present letter. The final elements in this documentary archive of Robert E. Lee's quest for pardon and amnesty are a typed letter signed by President Ford, 7 August 1975, and an accompanying pen, sent to Missouri congressman James W. Symington: "It was with great pleasure that I signed, on August 5, Senate Joint Resolution 23 restoring posthumously the long overdue full rights of citizenship to General Robert E. Lee. This legislation corrects a 110-year oversight of American history. You, as a Member of Congress, took the necessary action to remove the legal obstacles to citizenship. As a memento of this historic event, in which every citizen can take pride, I am pleased to send you this ceremonial pen."

View 1 of Lot 1027: Lee, Robert E. | Lee's letter, 13 June 1865, to General Edward O. Ord, beginning his long road to amnesty and restored citizenship

lee, robert e. | lee's letter, 13 june 1865, to general edward o. ord, beginning his long road to amnesty and restored citizenship

Bodmer, Karl Péhriska-Rúhpa. Moennitarri Warrior in the Costume of the Dog Danse. [Tab. 23]. [Leipzig: Schmidt and Guenther, 1922] Hand-colored aquatint engraving by René Rollet after Bodmer (plate size: 525 x 368 mm; sheet size: 648 x 498 mm); faintly toned, with one or two small marginal stains. Framed; not examined out of frame. Bodmer’s most iconic image, and perhaps the greatest image to emerge from the picturing of the American West. This highly-charged portrait of Péhriska-Rúhpa ("Two Ravens"), Bodmer’s greatest masterpiece, encapsulates the vanished culture of the indigenous tribes of the Plains. The striking portrait depicts the warrior and chief of the Hidatsa tribe dancing in his regalia as a leader of the Dog Society in his village. The Dog Society—recorded in detail by Prince Maximilian during his expedition with Bodmer—was an essential tenet of Mandan and Hidatsa culture. The fourth in a series of seven successive societies, through which "the foolish dogs" at about ten to fifteen years of age graduated until joining the society of the black-tailed deer for men over fifty, the Dog Society prescribed its own rules, rituals, dances, and regalia for members. The present portrait, painted in March 1834 as Bodmer neared the end of his stay, captures the significance of the society to the culture of the Plains tribes. The present portrait is from the scarce Leipzig edition, printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition (Hunt). REFERENCES David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18; Cf. Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1

View 1 of Lot 1009: Bodmer, Karl | His most iconic image, and perhaps the greatest image to emerge from the picturing of the American West

bodmer, karl | his most iconic image, and perhaps the greatest image to emerge from the picturing of the american west

JUSTINIAN I. Digestorum seu pandectarum iuris civilis volume primum undecim libros priores complectens. Paris: Robert Estienne, 10 November 1527

JUSTINIAN I. Digestorum seu pandectarum iuris civilis volume primum undecim libros priores complectens. Paris: Robert Estienne, 10 November 1527 The first of five parts of Justinian’s law code, printed by Robert Estienne, in a contemporary Roman binding with a longitudinal spine title. 8vo (170 x 110 mm). Roman type, 33 lines plus headline. Collation: *8 a4 b6 c-z8 aa-ss8: 330 leaves (a4 and ss8 blank). Woodcut Estienne device on title-page. (Occasional light damp-staining or foxing.) Binding: Contemporary Roman red morocco gilt (177 x 120 mm), small central five-petalled flower stamp within a small eight-pointed frame, outer double frame of gilt and blind fillets, gilt corner fleurons, title lettered longitudinally along spine, later faint lettering at foot of spine “STE[phanus?] 15[--]”, gilt edges, stubs from four pairs of ties. (Binding slightly rubbed and stained, ends of spine and joints repaired.) Provenance: Ascanio Farina, of Cuneo, inscription on title-page, graduated in jurisprudence from the university of Mondovì in 1681 and mayor of Cuneo during the siege in 1691 — Wilmot, earl of Lisburne (1728-1800), armorial bookplate — Sotheby’s, 7-9 July 1952, lot 135, to — Alan G. Thomas (1911-1992), booklabel, sale, Sotheby’s, 21 June 1993, lot 124. Acquisition: Purchased at the preceding sale. References: BP16 105357; USTC 145842

View 1 of Lot 176: Justinian I, Digestorum, Paris, 1527, contemporary Roman red morocco gilt

justinian i, digestorum, paris, 1527, contemporary roman red morocco gilt

Robert Motherwell, Helen Frankenthaler, Clement Greenberg, Richard Diebenkorn, and others

Robert Motherwell, Helen Frankenthaler, Clement Greenberg, Richard Diebenkorn, and others Archive of letters from Abstract Expressionist artists and critics responding to a graduate student’s questions about Henri Matisse’s influence, 1981-1982 Comprising: Helen Frankenthaler. Typed letter signed ("HF"). 1 page, New York, NY, 28 October 1981 — Clement Greenberg. Typed letter signed ("Clement Greenberg"). 1/2 page, Norwich, NY, 30 October 1981 — Charles Pollock. Autograph letter signed ("CP"). 1 1/2 pages, Paris, France, 4 November 1981, with the original envelope — Alex Katz. Autograph letter signed ("Alex Katz"). 1 page, n.p., 6 November 1981 — James Brooks. Autograph letter signed ("James Brooks"). 1 page on ruled notebook paper, East Hampton, New York, 7 November 1981, with the original envelope — Richard Diebenkorn. Autograph letter signed ("Richard Diebenkorn"). 2 pages on ruled notebook paper, Santa Monica, California, 8 November 1981, with the original envelope — Dore Ashton. Autograph letter signed ("Dore Ashton"), 1 page on the blank margins of the recipient's original letter solicitation, [Cooper Union, New York, NY, 10 November 1981] — Grace Hartigan. Autograph letter signed ("Grace Hartigan"). 1 page, Baltimore, Maryland, 1 January 1982, with the original envelope — Clement Greenberg. Typed letter signed ("Clement Greenberg"). 1/2 page, Norwich, NY, 14 January 1982 — Ray Parker. Autograph letter signed ("Ray Parker"). 4 pages, n.p., 2 February 1982 — Charles Pollock. Autograph letter signed ("CP"). 2 pages, Paris, France, 3 February 1982, with the original envelope — Robert Motherwell. Typed letter signed ("RM"). 2 pages, Greenwich, CT, 4 February 1982, with the original envelope. Overall 8 autograph and 4 typed letters, 17 1/2 pages; minor wear from handling. Helen Frankenthaler, Alex Katz, Clement Greenberg, Richard Diebenkorn, Robert Motherwell, and more on the influence of Henri Matisse. A fascinating archive of letters written in response to a series of questions from a graduate student who was researching the influence of Henri Matisse on Abstract Expressionism. The student describes his research as being, “primarily concerned with the dissemination or infiltration of Matisse’s paintings and ideas on paintings into the American art world from the late 1920’s onwards.” He also specifically asks about books and exhibitions that they read or visited. The questions elicited a wide array of responses, sometimes curt, as with Clement Greenberg's initial response ("You've asked the impossible of me—not only the equivalent of an article, but a researched article.") but oftentimes more generous and verbose. For example, despite his initial refusal, a second letter from Greenberg offered a recommendation for his own small book on Matisse published by Abrams in 1952, and a nod to Matisse’s painting, “Bathers by a River that hung in the Valentine Gallery on & off for several years in the late 30s & early 40s.” In Robert Motherwell’s detailed and wide-ranging response, he describes feeling a “shock of recognition” or “(to put it naively) love and identification at first sight” when he first saw a Matisse painting. It was around 1933, when he was an 18-year-old student at Stanford visiting the Stein collection in Palo Alto (coincidentally, Diebenkorn, who attended Stanford a decade later, also recalls encountering Matisse’s work for the first time during a visit to the Stein collection). He then lists certain books from his library on the painter, including Albert Barnes’ monograph, his full run of Verve, and “a small paperback printed in Moscow, attacking Matisse as a bourgeois.” Motherwell goes on to discuss aspects of his childhood (including his mother’s love of French furniture), how Matisse and Cezanne caused him to confuse Francophilia with a love of modernism, and the success of his 1977 Paris retrospective (“maybe they [the young French painters] felt a ‘shock of recognition’ in reverse”). He also references his impending 1982 show at Knoedler & Company, saying "I am about to exhibit in several weeks, my most recent paintings which are still partly indebted to Matisse, though this will probably not be noticed because they are mainly in black and white." This letter has been cited in critical writing on Motherwell’s art and is reproduced in The Collected Writings of Robert Motherwell (Oxford University Press, 1992). Frankenthaler and Diebenkorn both responded in list form, enumerating either publications or exhibitions, and some specific artworks, they feel may have influenced their work. Diebenkorn offers further analysis: "The works of 1914 to 1918 have been the focus of my engagement with Matisse although I can't think of any moment of his career that I would put in 2nd place." Frankenthaler cites “Clement Greenberg’s beautiful tiny paperback booklet on Matisse written in the early 50’s,” as well as “a rare book… extremely precious, with black and white lithograph-illustrations… of course it was stolen.” Other artists are more evasive, perhaps elucidating more about the tensions at play in the relationship between art historians and their subject than about Matisse. Alex Katz writes: "...as for influence, it is not a matter of fact it is a matter of opinion and your opinion of Matisse's influence upon my work may be as valuable as mine." Grace Hartigan's letter is even more blunt: "It seems to me that art historians and graduate students are lazy. They want the artists to explain the in-explicable. If you want to see the influence of Matisse on the "Abstract Expressionists" — LOOK! Don't expect artists to give their secrets."

View 1 of Lot 1070: (Abstract Expressionism) | An archive of letters by notable abstract expressionists on Henri Matisse’s influence   

(abstract expressionism) | an archive of letters by notable abstract expressionists on henri matisse’s influence

JANDUN, JEAN DE. Perspicacissimi speculatoris ac summi paripathetici Iohannis de Ianduno Questiones in duodecim libros metaphysice ad intentionem Aristotelis et magni commentatoris Auerrois subtilissime disputate. Solertis artium doctoris Marciantonij Zimara annotationes locorum in quibus Iohannes in his questionibus a via commentatoris Auerrois aperte deuiauit. Eiusdem questio de indiuidatione nature ad mentem commentatoris et Aristotelis subtiliter examinata. Venice: Boneto Locatello for Heirs of Ottaviano I Scoto, 8 March 1505. Bound with:

JANDUN, JEAN DE. Perspicacissimi speculatoris ac summi paripathetici Iohannis de Ianduno Questiones in duodecim libros metaphysice ad intentionem Aristotelis et magni commentatoris Auerrois subtilissime disputate. Solertis artium doctoris Marciantonij Zimara annotationes locorum in quibus Iohannes in his questionibus a via commentatoris Auerrois aperte deuiauit. Eiusdem questio de indiuidatione nature ad mentem commentatoris et Aristotelis subtiliter examinata. Venice: Boneto Locatello for Heirs of Ottaviano I Scoto, 8 March 1505. Bound with: JANDUN, JEAN DE. Questiones Joannis Jandoni de celo et mundo. Jacobus Philippus de Pellibus nigris Troianus artium et medicine doctor, moralemque philosophiam Patauij ordinarie legens. Ad librum nuper a Nicoleto Vernia Theatino emendatum. Venice: Heirs of Ottaviano I Scoto, 24 September 1519. Bound with: ANTONIO ANDRÉS. Questiones Antonij Andree super XII libros metaphysice nouissime diligenti examine recognite: ac nouis additionibus textuum alijsque quampluribus postillis in margine decorate. Venice: Heirs of Ottaviano I Scoto, 12 April 1523 A volume containing three medieval commentaries on Aristotle’s metaphysics and cosmology, one edited by Marcantonio Zimara, professor of natural philosophy at Padua (1501–1509); another by Jacopo Filippo Pellenegra, a student at Padua of Nicoletto Vernia, then briefly professor there of medicine and natural sciences (1500–1501); and the third by Lucas de Subereto of Pisa—the trio contained in one of the most important and finest bindings of the Pillone library. The first owner of this copy may have been Odorico Pillone (1503–1594), the eldest son of Antonio Pillone (1464–1533), recorded as a student in Padua in 1527 (graduated in civil law, 25 June 1527). Three other schoolbooks bound in the same, anonymous shop belonged to Odorico: two by the jurist Bartolomeo Soccini, printed at Venice in 1523–1524 (nos. 5–6 in the List below), and one by Agostino Nifo, printed at Naples in 1511. No expense was lavished on their bindings: two are half-bound (wooden boards with a leather backstrip), with the Pillone family arms artlessly painted on their upper covers; all four have waste-sheets from other publications used as endleaves and pastedowns. Hobson supposed that the shop was situated in Padua, specialized in selling medical books and works of Aristotelian philosophy, and catered to impecunious students; the workshop has now been given the name The Alexander's Head Shop (A. Hobson, Decorated Bookbindings in Renaissance Italy, edited by Edward Potten and Mirjam Foot, forthcoming 2025). The Nifo and the present volume were bound in full-leather, their covers divided by quadruple blind fillets that cross over each other, forming equal squares (32 and 24 respectively). Each compartment of the Nifo is filled by a large fleur-de-lys. A medallion head of Alexander the Great was used on the Janduno, giving the appearance of a tray in a coin cabinet. The same medallion was used, sparingly, on the two half-leather bindings covering Soccini’s works (4 impressions on each cover), and on four bindings commissioned by other customers. These are a 1487 medical miscellany, a folio, in full leather, with the stamp filling a grid of 24 squares, as on the Janduno; a recueil of works by Ovid, printed 1508–1516, in full leather (2 impressions on each cover); the 1490 Lactantius, in full leather (2 impressions on each cover); and a 1523 Valerius Maximus (4 impressions on each cover). The circular stamp depicts a helmeted warrior facing right, lettered around * D * ALSO * (an abbreviation, perhaps, of “Divino Alessandro”), and encircled by a wreath. Hobson could identify no direct prototype—neither a coin, nor a medal—and surmised that the image might be derived from a (lost) cameo of Minerva belonging to Lorenzo de’ Medici, which the Greek scholar Janus Lascaris had adapted (transforming the goddess into a conqueror by adding a helmet and legend ἈΛΈΞΑΝΔΡΟΣ) and used on presentation copies of the 1494 Planudean Anthology (Humanists and Bookbinders, pp. 100–103, 125, and Census 12a). About 1580, Odorico commissioned a local artist, Cesare Vecellio (1521–1601), then engaged in painting a series of portraits of Pillone family members, to decorate some 170 books accumulated in the family library at Villa Castelardo di Trichiana, near Belluno. Many (if not all) the books in his library were shelved with their backs to the wall and fore-edges exposed. In the past, some fore-edges had been lettered with the titles of the volumes, and Vecellio was obliged to work his decoration around this lettering; if no lettering was present, he wrote the author’s name (often abbreviated) horizontally across the lower fore-edge, or vertically from the top to the bottom of the fore-edge. Vecellio usually contented himself with a single, boldly colored figure, such as the author, in the act of writing, or composed a scene suggestive of the contents. He apparently worked with specific instructions provided by Odorico, some of which have survived as notes on the inside upper cover. Twenty-one volumes, bound entirely in vellum, received designs in pen and ink on their covers. Bindings Displaying the * D * ALSO * Stamp (1) Articella, [Articella seu Opus artis medicinae] (Venice: Battista Torti, 20 August 1487). Verona, Biblioteca civica, Inc. 203. De Marinis, op. cit., no. 2529 & Pl. 424; Kyriss, op. cit., p.43 no.3. (2) Jean de Jandun, Questiones in duodecim libros metaphysice ad intentionem Aristotelis et magni commentatoris Auerrois subtilissime disputate (Venice: Boneto Locatello for Heirs of Ottaviano I Scoto, 1505), bound with: Jean de Jandun, Questiones Joannis Jandoni de celo et mundo (Venice: Heirs of Ottaviano I Scoto, 1519), bound with: Antonio Andrés, Questiones Antonij Andree super XII libros metaphysice nouissime diligenti examine recognite (Venice: Heirs of Ottaviano I Scoto, 1523). Odorico Pillone (1503–1594). The volume offered here. (3) Lucius Caecilius Firmianus Lactantius, [Opera] (Venice: Theodorus de Ragazonibus, 21 April 1490. Wolf Dietrich Raitenau, Archbishop of Salzburg (1592) — Franciscan convent, Salzburg — Ernst Kyriss (1962) — Stuttgart, Württembergische Landesbibliothek, Inc. fol. 9815. Kyriss p.42 no. 1 & Pl. 6. (4) Publius Ovidius Naso, Publii Ouidii Nasonis Libri de Ponto cum luculentissimis commentariis reuerendissimi domini Bartholomei Merulae ([Parma]: Ottaviano Saladi, 1508), bound with: Publius Ovidius Naso, P. Ouidii Nasonis Libri de tristibus cum luculentissimis commentariis reuerendissimi domini Bartholomei Merulae (Venice: Giovanni Tacuino, 25 June 1511), bound with: Publius Ovidius Naso, P. Ovidii Nasonis Libri De Arte Amandi 7 De Remedio Amoris (Venice: iovanni Tacuino, 4 January 1516). Salzburg, Universitätsbibliothek, F II 482. (5) Bartolomeo Soccini, Bartholomei Socini Commentaria labore maximo emendata, et plurima hic nuper sunt addita (Venice: Battista Torti, 4 March 1524). Odorico Pillone (1503–1594, family arms painted on upper cover) — Labitte, Paris — Paris, Bibliothèque nationale de France, Rés F-729 (1). Bulletin mensuel des publications etrangeres recues par le Department de Imprimes de la Bibliotheque Nationale, December 1881, no. 4061. (6) Bartolomeo Soccini, Repertorium (Venice: Battista Torti, 1523). Odorico Pillone (1503–1594; family arms painted on upper cover) — Anton W.M. Mensing (1866-1936); Sotheby & Co., Catalogue of the very valuable and important library formed by the late Mr. Ant. W.M. Mensing of Amsterdam, London, 15-17 December 1936, lot 537 — Francis Edwards, London - bought in sale (£10) — John Roland Abbey (1894-1969); Sotheby & Co., Catalogue of the celebrated library the property of Major J.R. Abbey, Part III, London, 19-21 June 1967, lot 2088 — Georges Heilbrun, Paris - bought in sale (£540) — Paris, Bibliothèque nationale de France, Rés-F-729 (2). Acquired in 1981; Revue de la Bibliothèque nationale, 1982, no. 5, p. 44. (7) Valerius Maximus, Valerius Maximus nouiter recognitus cum commentario historico videlicet ac literato Oliuerii Arzignanensis (Venice: Guglielmo da Fontaneto, 6 February 1523) — Budapest, Magyar Tudományos Akadémia, Ant. 707. Hobson, op. cit., p.125; Marianne Rozsondai, “Reneszánsz plakett- és kámeás kötések” in Történelem-kép: szemelvények múlt és művészet kapcsolatából Magyarországon (Budapest 2000), pp.253-254 no. III-27 (illustrated), 263 [this binding features a repeated clamshell tool not observed elsewhere]. 3 works in one volume, folio (310 x 214 mm). (I) Roman type, 64 lines plus headline in double columns. collation: A–M8 N10 O–R8 S–Z6 AA6: 180 leaves, foliated (1) 2–180. White-on-black woodcut initials, woodcut printer's device on AA6r. (II) Roman type, 64 lines plus headline in double columns. collation: aa–ee6: 30 leaves. Woodcut criblé initials, woodcut printer's device on ee6r. (III) Roman type, 64 lines plus headline in double columns. collation: a–i6 k4: 58 leaves. Woodcut criblé initials, woodcut printer's device on k4r. (First title-page a little stained and very slightly frayed at top margin, very tiny marginal wormholes in final two leaves.) Binding: Paduan brown goatskin over printed waste pasteboard (322 x 225 mm), ca. 1525, covers divided by quadruple blind fillets in a grid pattern, in each compartment a circular stamp of a helmeted Alexander the Great, lettered * D * ALSO *, in each square, very fine calligraphic vellum title-label in antiqua capitals on the upper cover, remains of 4 pairs of green silk ties. Endpapers: At front, a waste sheet from a copy of the third text in this volume (bifolium a3–a4); at back, waste sheets from Ottaviano Scoto’s 1519 edition of Thomas Aquinas, Metaphysica Aris. duplicis translationis cum expositione (b✠, bb10). Fore-edge: Painted by Cesare Vecellio with a portrait of a teacher, likely Janduno, standing, with pen, at a lectern, lettered at top: IO. IAN. The top and bottom edges painted in a marbled pattern. (Extremities worn with some minor losses, chips, and scratches, a few wormholes, but completely unrestored.) Provenance: Odorico Pillone, by descent to — Giorgio Pillone (1539–1611) — Paolo Maresio Bazolle (fl. 1874) — Sir Thomas Brooke, 1st Bt (1830–1908; engraved armorial exlibris) — Humphrey Brooke (1914–1988; consigned to Alan Keen Ltd., London, The Venetian Library Collected at the Close of the XVI Century by Doctor Odorico Pillone and the Sides and Edges Painted by Cesare Vecellio [1947], item 17) — Pierre Berès, Paris (commemorative exlibris [no. 70]; Bibliothèque Pillone [catalogue, hors série, 1957], item 70) — Jaime Ortiz-Patiño (1930–2013; Sotheby's, New York, 21 April 1998, lot 140), purchased by — unidentified owner ($134,400) — Jonathan H. Kagan. Acquisition: Purchased from Stéphane Clavreuil Rare Books, London, 2017. References: (I) Edit16 32837; USTC 762264; Adams J-61; (II) Edit16 51663; USTC 836892; (III) Edit16 1721; USTC 809286; for the binding, see Ellis, A Catalogue of the Manuscripts and Printed Books Collected by Thomas Brooke and preserved at Armitage Bridge House, near Huddersfield (London, 1891), II, p. 667, no. 17; A. Hobson, “The Pillone Library,” in The Book Collector 7 (1958), pp. 29–37 (p. 33 & Pl. 3); De Marinis, La Legatura artistica in Italia nei secoli XV e XVI (Florence, 1960), no. 2530 & Pl. 423; Kyriss, “Italienische Einbände der Spätgotik im Ausland,” in Studi di bibliografia e di storia in onore dal Tammaro De Marinis (Verona, 1964), pp. 35–44 (p. 43, no. 4); A. Hobson, Humanists and Bookbinders:The Origins and Diffusion of the Humanistic Bookbinding 1459–1559 (Cambridge, 1989), p. 125 & Fig. 100; Cunnally, Kagan & Scher, Numismatics in the Age of Grolier (New York, 2001), pp. 11–12

View 1 of Lot 172: Jean de Jandun, Questiones, Venice, 1505-23, Paduan binding stamped with medallion of Alexander the Great and fore-edge painting by Cesare Vecellio for Pillone.

jean de jandun, questiones, venice, 1505-23, paduan binding stamped with medallion of alexander the great and fore-edge painting by cesare vecellio for pillone.

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

comprising: 2 glass scent bottles with gold topped stoppers 1 cut glass powder jar with gold cover, interior engraved Rita, July 18 1928, Albert 2 graduated circular boxes 2 clothes brushes, in sizes 1 hand mirror 1 hair brush 1 shoe horn 1 nail file 1 button hook 12 pieces, marked throughout 10 oz 10 dwt weighable 329.6 g length of hand mirror 12 in. 30.5 cm

View 1 of Lot 30: An American 14 Karat Gold Toilet Set, Black, Starr & Frost, New York, Dated 1928

an american 14 karat gold toilet set, black, starr & frost, new york, dated 1928

the smokey quartz body in the form of a common tower shell, the two-color gold mounts chased and engraved with laurel leaves, the lid set with collet-set rose-cut diamonds graduating in size, struck with spurious marks for Faberge in Cyrillic and workmaster's initials of Mikhail Perkin, 56 standard

the smokey quartz body in the form of a common tower shell, the two-color gold mounts chased and engraved with laurel leaves, the lid set with collet-set rose-cut diamonds graduating in size, struck with spurious marks for Faberge in Cyrillic and workmaster's initials of Mikhail Perkin, 56 standard length 3 3/8 in. 8.5 cm

View 1 of Lot 119: A Jewelled Two-Color Gold-Mounted Smoky Quartz ‘shell’ box, in the style of Fabergé, 20th Century

a jewelled two-color gold-mounted smoky quartz ‘shell’ box, in the style of fabergé, 20th century

High Jewelry

Comprising: a pair of pendant earrings designed a series of graduating heart-shaped motifs set with heart shaped diamonds, within a surround of brilliant-cut diamonds of pink tint, post and butterfly fittings; and the necklace en suite, length approximately 420mm; all mounted in 18 karat pink gold.

Comprising: a pair of pendant earrings designed a series of graduating heart-shaped motifs set with heart shaped diamonds, within a surround of brilliant-cut diamonds of pink tint, post and butterfly fittings; and the necklace en suite, length approximately 420mm; all mounted in 18 karat pink gold. Accompanied by nine GIA reports, stating that the heart shaped diamonds ranging from 2.48 to 1.01 carats are D Colour, Internally Flawless to VVS2 Clarity. Please note that the diamonds of pink tint have not been tested for natural colour origin.

View 1 of Lot 1396: COLOURED DIAMOND AND DIAMOND DEMI-PARURE | 彩色鑽石 配 鑽石 耳墜 及 項鏈套裝

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