A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie title card</a> for the film <a href="https://www.sothebys.com/en/search?query=It+Happened+One+Night&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">It Happened One Night</a>.<ul><li>Columbia Pictures.</li><li>Conservation framed with UV plexiglass.</li></ul> The image used on this title card is the best artwork from the US campaign, and is also one of the most desirable title cards from the 1930s.

It Happened One Night Movie Title Card

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">movie title card</a> for the film <a href="https://www.sothebys.com/en/search?query=A+Midsummer+Night%27s+Dream&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">A Midsummer Night's Dream</a>.<ul><li>Warner Bros.</li><li>Conservation framed with UV plexiglass.</li></ul> A rare title card for this 1930s fantasy romance.

A Midsummer Night's Dream Movie Title Card

An early sketch for the title card for this <a href="https://www.sothebys.com/en/search?query=Looney+Tunes&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Looney Tunes</a> Pepe Le Pew cartoon.<ul><li>Warner Bros.</li><li>The drawing is done in graphite.</li><li>This work is presented matted.</li></ul>

Looney Tunes Pepe Le Pew Title Card Drawing

A deluxe title card from the classic musical film Singin' In The Rain, starring Gene Kelly, Donald O'Connor and Debbie Reynolds.<ul><li>Metro-Goldwyn-Mayer.</li><li>Conservation framed with UV plexiglass.</li></ul>

Singin' in the Rain Movie Title Card

Movie title card for&nbsp;Holiday,&nbsp;starring Katharine Hepburn and Cary Grant, 1938.<ul><li>Columbia Pictures.</li><li>Framed with obeche wood, card mount and UV plexiglass.</li></ul>

Holiday Movie Title Card

LOUIS VUITTON for UNICEF Auction Items

Slipcase: COLORPLAN Sapphire 135 gr paper mounted on black cardboard with debossed title and hot foil stamping

Slipcase: COLORPLAN Sapphire 135 gr paper mounted on black cardboard with debossed title and hot foil stamping Book: 260 pages with lenticular cover detail and selective tinted UV varnish Printing: LED quadricolor offset + Pantone on Symbol Tatami 150 gr paper Binding:Perfect bound with sewn sections and Pantone blue head and tail bands Signed: Ava Duvernay Dimensions: Slipcase: 242 x 346 x 37 mm Book closed: 237 x 340 mm Book open: 474 x 340 mm Presented in original Louis Vuitton slipcase

View 1 of Lot 6: Louis Vuitton “REBONDS” Book | Signed by Ava Duvernay

louis vuitton “rebonds” book | signed by ava duvernay

Slipcase: COLORPLAN Sapphire 135 gr paper mounted on black cardboard with debossed title and hot foil stamping Book: 260 pages with lenticular cover detail and selective tinted UV varnish Printing: LED quadricolor offset + Pantone on Symbol Tatami 150 gr paper Binding:Perfect bound with sewn sections and Pantone blue head and tail bands Signed: Léa Seydoux Dimensions: Slipcase: 242 x 346 x 37 mm Book closed: 237 x 340 mm Book open: 474 x 340 mm Presented in original Louis Vuitton slipcase

View 1 of Lot 2: Louis Vuitton “REBONDS” Book | Signed by Léa Seydoux

louis vuitton “rebonds” book | signed by léa seydoux

Slipcase: COLORPLAN Sapphire 135 gr paper mounted on black cardboard with debossed title and hot foil stamping Book: 260 pages with lenticular cover detail and selective tinted UV varnish Printing: LED quadricolor offset + Pantone on Symbol Tatami 150 gr paper Binding:Perfect bound with sewn sections and Pantone blue head and tail bands Signed: Zlatan Dimensions: Slipcase: 242 x 346 x 37 mm Book closed: 237 x 340 mm Book open: 474 x 340 mm Presented in original Louis Vuitton slipcase

View 1 of Lot 4: Louis Vuitton “REBONDS” Book | Signed by Zlatan

louis vuitton “rebonds” book | signed by zlatan

Slipcase: COLORPLAN Sapphire 135 gr paper mounted on black cardboard with debossed title and hot foil stamping Book: 260 pages with lenticular cover detail and selective tinted UV varnish Printing: LED quadricolor offset + Pantone on Symbol Tatami 150 gr paper Binding:Perfect bound with sewn sections and Pantone blue head and tail bands Signed: Chloë Grace Moretz Dimensions: Slipcase: 242 x 346 x 37 mm Book closed: 237 x 340 mm Book open: 474 x 340 mm Presented in original Louis Vuitton slipcase

View 1 of Lot 8: Louis Vuitton “REBONDS” Book | Signed by Chloë Grace Moretz

louis vuitton “rebonds” book | signed by chloë grace moretz

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

A.C. Green (active early 20th century) "Types of the British Navy" Oblong folio album (266 x 359 mm), title-page in watercolour on card mount bordered by 4 circular watercolour vignettes of ships, c.154 watercolour illustrations of Royal Navy ships, each initialed ("A.C.G."/ "A.G.") or signed ("A.C. Green") on lower-right-hand corner, many captioned on lower-left-hand corner, many additionally captioned in ink or pencil with technical details of the ship, date of construction, etc., pasted onto on c.52 card mounts, navy three-quarter morocco over blue cloth boards, gilt edges, housed in a modern navy blue cloth slipcase, extremities slightly rubbed

View 1 of Lot 89: Maritime—A.C. Green | "Types of the British Navy", an album of c.154 marine watercolours, early 20th century

maritime—a.c. green | "types of the british navy", an album of c.154 marine watercolours, early 20th century

Fine Books and Manuscripts, Including Americana. Part 2

[Lisbon] Constitiuciones do Arcebispado de Lixboa. [Colophon:] Lisbon: Germão Galbardes Frances, 1537 Folio (240 x 180 mm). Title with woodcut arms of Cardinal-Infante Dom Alfonso, initials of varying sizes, gothic type; small repairs to contemporary signatures, title page and following 8 leaves cropped (✠2–✠9) affecting title and outer margins, H4 incorrectly signed as G4, slight foxing throughout, light pencil pagination in the upper right corner of the leaves. Late twentieth-century red morocco with gilt triple-ruled borders, spine in six compartments with raised bands, inner dentelles gilt, edges gilt. First edition of this example of early Portuguese printing. ﻿Under the direction of the Archbishop, Cardinal-Infante Afonso, the Constituiçoens do Arcebispado de Lixboa were established at a synod in 1536. Key components of the Constituiçoens were the establishment of the use of the Roman Rite and the institution of registries of baptisms, a decree later echoed in the Council of Trent. French printer and successor to Valemtim Fernandes, Germão Galhardo installed a printing press in the Monastery of Santa Cruz in 1530–31, where the first six books printed at Coimbra were printed under his direction. REFERENCES Anselmo 613; King Manuel 35; Lisbon, Biblioteca Nacional, Catálogo dos impressos de tipografia portuguesa do século XVI, 418; Barbosa Machado IV, 1; Innocêncio II, 104.; Pinto de Mattos, pp. 177-9: British Museum, Pre-1601 Portuguese STC, p. 11.; Sir Gubian 227; Nepomuceno 534; Palha 328, 332; not in Adams, which lists only one earlier Lisbon imprint, and nothing by this printer; not in Lisbon, Academia das Ciências, Livros quinhentistas portugueses

View 1 of Lot 319: [Lisbon] | First edition of this example of early Portuguese printing

[lisbon] | first edition of this example of early portuguese printing

Man Ray Alphabet pour Adultes. Paris: Editions Pierre Belfond, 1970 Folio (375 x 280 mm). Original rayograph signed "Man Ray" and numbered 46/150, mounted on wood veneer and card stock, signed "Man Ray" in pencil to limitation leaf, 38 lithographs including cover and title page; wood veneer slightly lifting, light offsetting to leaves opposite lithographs, a few spots to cover and an area of discoloration. Original wrappers, loose as issued. Publisher's original orange cloth box, author's facsimile signature to spine. First edition of the signed French edition, numbered 46 of 150, with an original rayograph and lithographs. Rather than simply translating and republishing the existing drawings from the first English edition of Alphabet for Adults (1948), Man Ray crafted an entirely new set of illustrations and words for this edition printed on large vélin d'Arches. Some examples range from clear corresponding depictions of the word, whilst others lean heavily into the artist's Surrealist wheelhouse: "rire" (to laugh) with lithographic illustration of a bell, "votre" (your) depicting a letter with jumbled handwriting. Diverging from child-like connotations and remembrances of alphabet books and primers, Alphabet pour adultes in title and in imagery evokes a mature and abstract relationship with our everyday language.

View 1 of Lot 448: Man Ray | Alphabet pour Adultes

man ray | alphabet pour adultes

Joyce, James Finnegans Wake. London: Faber & Faber / New York: Viking Press, 1939 8vo (250 x 150 mm). Partially unopened. Signed "James Joyce" in blue ink on the limitation page, half-title; leaves lightly toned, occasional stray spots. Publisher's cloth-covered boards, spine with gilt bands, spine label gilt-lettered, top edges gilt; boards with few minor stains and spots. In publishers card slipcase. First edition, limited issue of Joyce's unparalleled modernist experiment—number 126 of 425 copies. ﻿Joyce began writing this unparalleled modernist experiment in 1922, the same year that Ulysses was published. The title was taken from an Irish-American ballad (a party piece in the Joyce household) about the drunken bricklayer Tom Finnegan, who falls to his death from a ladder but returns to life when accidentally splashed with whisky at his wake. "Joyce insisted that each word, each sentence had several meanings and that the 'ideal lecteur' should devote his lifetime to it, like the Koran" (Connolly, The Modern Movement, 110). REFERENCES Slocum and Cahoon A49; Connolly, The Modern Movement, 110.

View 1 of Lot 414: Joyce, James | Finnegans Wake

joyce, james | finnegans wake

Maurice Ravel Boléro [miniature full score], INSCRIBED BY RAVEL TO THE COMPOSER RENÉ BERNIER (“à René Bernier / Maurice Ravel”), on the title-page 8vo, instrumental list, stamp of “Maison Fernand Lauweryns” to title, ownership inscriptions including to instrumental list (“René Bernier…1931…”), Paris, Durand, upper cover laid down on new card wrappers, relined and rebacked in cloth, chemise, slipcase, 1931?, browning, tiny tear to lower margin of three leaves A presentation copy of Ravel’s most famous composition, the hypnotically compelling Boléro for large orchestra (1928). The recipient of this score was the Belgian composer René Bernier (1905-1984), who was a member of the musical collective ‘Les Synthétistes’, formed by the disciples of Paul Gilson and influenced chiefly by the music of Ravel, Stravinsky, Hindemith and Honegger.

View 1 of Lot 118: Maurice Ravel | Miniature score of “Boléro”, inscribed by Ravel to René Bernier, 1931?

maurice ravel | miniature score of “boléro”, inscribed by ravel to rené bernier, 1931?

Rudolph Ackermann A history of the University of Cambridge. London: R. Ackermann, 1815 LARGE PAPER COPY, 2 volumes, 4to (337 x 274 mm), list of subscribers, arrangement of plates leaf, engraved portrait, 95 hand-coloured aquatint plates, including the 16 founders’ plates, paper watermarked 1812, contemporary calf gilt, marbled edges, marbled endpapers, lacking half titles, some offestting from plates facing leaves, title-page of first volume browned, extremities rubbed PROVENANCE: Reginald William Macfarlane-Grieve (1887–1934), presented to him by Gavin Malcolm Macfarlane-Grieve (1893–1974), in 1923, presentation inscription on card loosely inserted in each volume LITERATURE: Abbey, Scenery 79

View 1 of Lot 1: Rudolph Ackermann | A History of the University of Cambridge, 1815, 2 volumes, contemporary calf

rudolph ackermann | a history of the university of cambridge, 1815, 2 volumes, contemporary calf

[Bible, Polyglot] Vetus testamentum multiplici lingua nunc primo impressum. Et imprimis Pentateuchus Hebraico Grego atque Chaldaico idiomate. Adiuncta unicuique sua latina interpretatione; Novum testamentum grece latine in academia complutensi noviter impressum; Vocabularium hebraicum atque chaldaicum veteris testamenti cum aliistra tractatibus prout infra in prefatione continentus. [Alcalá de Henares: Arnaldo Guillén de Brocar, 1514-1517] 6 vols. in 7 books, folio (365 x 263 mm). Collation: (vol. I: -A1 blank; vol. III: -a1,2 errata at end; vol. V: without a10, a-f6 g4 at end [Introductio qua brevissima ad grecas litteras and Interpretationes], here supplied from another copy and forming the contents of vol. VII; vol VI: -π2 and 3C4 blanks; vol. VII: a10 and 2a1 bound out of sequence, -g4 blank). Titles in red and black, woodcut arms of Cardinal Ximenes in woodcut border, woodcut initials in volume five, printer’s device; scattered foxing, some quires lightly browned, contemporary annotations to a few leaves, minor worming costing a few letters, marginal repairs. Seventeenth-century calf, spine with raised bands in seven compartments, tooled lettering pieces to second and third compartment, seventh volume differing slightly in design; boards of seventh volume reattached, some wear at extremities and joints. A full set of the Complutensian Polyglot, the first polyglot bible. Although printed between 1514 and 1517, its papal privilege is dated 1520, and it only appeared for sale in 1522—four years after the Aldine Septuagint and six years after Erasmus's Greek New Testament. While Erasmus's Greek New Testament was the first ever published, the Complutensian version was the first to be printed (Pelikan). The concept of a polyglot bible was modeled after Origen's Hexapla, which had six columns of text: one in Hebrew and the rest in various translations into Greek. The Old Testament layout in the Complutensian takes the Vulgate text as the central part of each page, surrounded by the Hebrew and Greek Septuagint. The Pentateuch is also given the Aramaic Targum Onkelos or translation (here entitled Chaldean) at the foot of the page. Both the Greek and the Aramaic versions are accompanied by literal Latin translations. For the Hebrew text, superscript letters were employed to refer to the relevant word or phrase in the Vulgate, partly so that the book could be used by those whose Hebrew was less than good. The arrangement of the New Testament is much simpler, with the Greek and Latin texts in parallel columns. Rather than the small and unattractive Greek font used in the Old Testament, it has a splendid large type with no ligatures. This was much admired by Robert Proctor, who in his monograph on the printing of Greek sang its praises, and whose own Otter type was modeled on it. This type was used in other Greek books printed by Brocar. One of the most important aspects of the book is the provision of linguistic apparatus, something which was also the case in the Plantin Polyglot, the Paris Polyglot, and, to a lesser extent, the London Polyglot, as well as in smaller undertakings. This apparatus, printed in 1515, comprises a Hebrew and Aramaic dictionary, the "Vocabularium" followed by a Latin Index, the "Interpretationes nominum" (a common feature of Bibles), two leaves on variant spellings of names, etc., and finally the brief "Introductiones artis grammatice hebraice." Similarly at the end of the New Testament is an "Interpretatio nominum" and a rudimentary Greek lexicon printed in three columns. The project was initiated in about 1502 by Cardinal Francisco Jiménez de Cisneros of Toledo, who founded in 1498–1500 a university at Alcalà dedicated to the three biblical languages of Hebrew, Greek, and Latin. The town, known in Latin as "Complutum," gave this Bible its name. Jiménez financed this epic undertaking from his own personal fortune and assembled a host of eminent biblical scholars under the editorial aegis of Diego López de Zúñiga. This included the Greek scholar Demetrios Ducas, Elio Antonio de Nebrija, who was tasked with correcting the Latin text, Fernando Nuñez de Guzman, Juan and Pedro de Vergara, and three converted Jews, Alfonso de Zamora, Alfonso de Alcalá, and Pablo Coronel. Six hundred paper copies and six on vellum were produced, of which over 150 are still attested in various libraries. The work was well received by the scholarly community and used for many later printings of the Bible, including the Plantin Polyglot of 1569–1572. REFERENCES Adams, B968; Darlow & Moule 1412, 4593; Norton, Printing in Spain 1501–1520, 27; Delaveau & Hillard 1–2 'Formatting the Word of God' 2.4; Palau 28930; Pelikan, The Reformation of the Bible/The Bible of the Reformation. With 'Catalog of the Exhibition' (1996), 20; PMM, 52; Proctor, The Printing of Greek in the Fifteenth Century (1900), p. 144, "the finest Greek fount ever cut" PROVENANCE Petri Ludovici Ruvilais (signatures on vols. I, II, III, IV, and VI) — Andrea Solex (inscription to title of vol. V) — British Museum (stamp at end of vol. VII) — Augustus Frederick, Duke of Sussex (bookplate to each volume) — Estelle Doheny (bookplate to each volume) — Christie’s, 14 December 2001, lot 155

View 1 of Lot 305: [Bible, Polyglot] | A full set of the Complutensian Polyglot, the first polyglot bible

Results for "title card"