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Preisdatenbank abonnierenFONDA HENRY: (1905-1982) American actor, Academy Award winner. Signed 8 x 10 photograph, the vintage 20th Century Fox publicity portrait depicting the young actor in a head and shoulders pose. Signed by Fonda in black ink with his name alone to the base of the image. A few very light, minimal surface and corner creases, VG
STANISLAVSKI KONSTANTIN: (1863-1938) Russian Theatre Director. Stanislavski was widely recognized as an outstanding actor, and the multiple productions that he directed garnered him a reputation as one of the leading theatre directors of his generation. His principal fame and influence, rests on his system of actor training, preparation, and rehearsal technique. A rare signed and inscribed postcard photograph, `K. Stanislavski´, in Cyrillic, dated in his hand in 1913. The image shows Stanislavski in a head and shoulders pose. Signed and inscribed to Mme. O.I. Sokolova in bold black fountain pen ink. Stamped to the verso. One horizontal light crease and a very small corner crease to the upper left corner. Two small stains not affecting the text or signature. About G
CEZANNE PAUL: (1839-1906) French Post-Impressionist painter. A.L.S., P Cezanne, two pages, 8vo, Le Tholonet, 8th September 1897, to [Emile] Solari, in French. Cezanne states that he has just received l'Avenir Artistique et littéraire which Solari had been kind enough to send to him, and continues to remark 'Votre père viendra manger du canard avec moi, dimanche prochain. Il sera aux olives, (Le canard bien entendu.) - Que ne pouvez-vous être des notres' (Translation: 'Your father is coming to eat duck with me next Sunday. It will be with olives, (the duck of course.) - Why can't you be one of us'), concluding by asking Solari to keep him in his good memory for the future. A couple of very light, minor creases and a few extremely minor stains, only very slightly affecting part of the text and signature, about VGEmile Solari (1873-1961) French novelist and poet, son of Philippe Solari (1840-1906) French sculptor, a contemporary and close friend of Paul Cezanne and Emile Zola.
BURCKEL JOSEF: (1895-1944) German politician, an early member of the Nazi Party and influential figure in the rise of the National Socialist movement. Burckel served as Reich Commissioner of Austria 1938-40. T.L.S., Burckel, one page, 4to, Vienna, 21st March 1938, to Hans Lammers, in German. The letter is marked Telegramm at the head and Burckel informs Lammers that he has sent an application to the Reich and Prussian Labour Ministers, continuing ‘I ask that the matter also be brought to the attention of the Fuhrer. I certainly believe that the Fuhrer will approve of the benefits of German social legislation benefiting workers in Austria as quickly as possible, as far as the Austrian economy can tolerate it’. With some light creasing, two staple holes to the upper left corner, four file holes to the left edge and a small tear to the right edge, none of which affect the text or signature. G Hans Lammers (1879-1962) German jurist and Nazi Party politician who served as Chief of the Reich Chancellery under Adolf Hitler 1933-37, 1937-45.
FORD GLENN: (1916-2006) Canadian actor. Vintage signed sepia 8 x 10 photograph of Ford in a head and shoulders pose. Signed in bold blue fountain pen ink to a light area of the background. One very light, minimal vertical surface crease to the centre of the image and a couple of corner creases to the borders, G
CARPEAUX JEAN BAPTISTE: (1827-1875) French sculptor and painter. A.L.S., J Bte Carpeaux, two pages, 8vo, Rue Michel-Ange (Auteuil, Paris), 13th August 1869, to a gentleman, in French. Carpeaux writes ‘J'ai conserve un si bon souvenir des rapports que j'ai eu avec vous, et chez Mr. Duret, et pendant que je fesais le buste de Mlle. Poire (?), pour hesiter a venir vous demander de me faire le plaisir, de m'indiquer le moyen d'obtenir une loge, pour une des premieres representations de la nouvelle feerie. Je sais combien elle a de succes et la difficulte qu'on aura.......Je compte donc sur vous et je vous adresse d'avance tous mes remerciements’ (Translation: ‘I have preserved such good memories of the relations I had with you, and at Mr. Duret’s, and while I was doing the bust of Mlle. Poire (?), to hesitate to come and ask you to do me the favour, to tell me how to obtain a box, for one of the first performances of the new fairy tale. I know how successful it is and the difficulty we will have…….I am therefore counting on you and I send you all my thanks in advance’). Some light overall age wear and a minor trace of former mounting to the upper left edge of the recto. About VG Francisque Joseph Duret (1804-1865) French sculptor, a professor at l’Ecole des Beaux-Arts where his students included Carpeaux.
LOUIS XVI: (1754-1793) King of France 1774-92, the last King of France before the fall of the monarchy during the French Revolution. Executed by guillotine on the Place de la Revolution at the age of 38. A good D.S., Louis (a fine, large example), as King, one page, large folio (25.5 x 34 cm), Versailles, 13th November 1787, in French. The boldly penned manuscript document confirms the financial state of la Généralité de Soissons as being 'Cent quatre vingt seize mil trois cent quatre vingt cinq livres un sol six deniers' (Translation: 'One hundred and ninety-six thousand, three hundred and eighty five livres, one sol, six deniers'). The document is decreed by the Royal Council of Finances and bears five countersignatures including those of Henri Lefevre d'Ormesson (1751-1808) French politician who briefly served as Finance Minister, and later as Mayor of Paris; Claude Guillaume Lambert (1726-1794) French jurist who served as Comptroller General of Finance, executed by guillotine; Pierre-Charles Laurent de Villedeuil (1742-1828) Controller-General of Finances under King Louis XVI; and two others. Lightly tipped at the left edge to a folio page removed from an album. Some very light, minimal age wear, VGLa Généralité de Soissons was an administrative district composed mainly of countries from the province of Picardy united to the government of Ile-de-France at that time and created in 1595.
ANDRADE EDWARD: (1887-1971) English physicist, known for the work he made with Ernest Rutherford that first determined the wavelength of a type of gamma radiation. Manuscript document, unsigned, one page, 4to, n.p., n.d. (May 1953). Andrade’s statement is made in response to a researcher’s questionnaire entitled World Inquiry – Homage to Einstein, with their manuscript questions at the head of the page, ‘1. What do you think of Einstein, or what do you owe to him? 2. Among the more illustrious scientists in all ages, to whom do you compare him, and what place, in your opinion, does his hold in the future?’. Andrade writes, in part, ‘Einstein is undoubtedly one of the great figures in the history of science, having solved by the profoundly original conceptions of his theory of relativity one of the great enigmas of physics. The consequences of his theory have been wide and profound, especially in the field of atomic physics……It is often forgotten that, even if he had never put forward the theory of relativity, Einstein’s work in other departments of physics…..would still place him high among the leaders of physical science. I would therefore compare him with Maxwell, whose work on electromagnetic theory may be compared with that of Einstein on relativity both in originality and influence, but whose other work, notably on the dynamical theory of gases, would have sufficed to make him famous. There are, in fact, many analogies between the work of Einstein and Maxwell and both are assured of immortality as long as science is studied’. With a fountain pen ink signature (‘with compliments, E. N. da C. Andrade’) of Andrade on an oblong 8vo sheet neatly laid down to the upper half of the verso of the document. Also bearing the ink annotations and address of the researcher, Henri Corbiere. A couple of minor, light smudges to a few words of text and some minimal age wear, otherwise VG Albert Einstein (1879-1955) German-born theoretical physicist, Nobel Prize winner for Physics, 1921. James Clerk Maxwell (1831-1879) Scottish physicist responsible for the classical theory of electromagnetic radiation.
ZOLA EMILE: (1840-1902) French novelist. A good A.L.S., Emile Zola, two pages (written to the first and third sides of the bifolium), 8vo, Paris, 14th March 1890, to a colleague, in French. Zola commences his letter with gratitude, ‘Je suis, bien heureux, mon cher confrere, de pouvoir vous remercier pleinement et sans restrictions car votre article sur "La Bete Humaine" m'a fait le plus grand plaisir’ (Translation: ‘I am very happy, my dear colleague, to be able to thank you fully and without restrictions because your article on “La Bete Humaine” gave me the greatest pleasure’) and continues ‘Vous y insistez particulierement sur une partie que j'aime moi aussi bien qu'elle disparaisse un peu, comme affacee, dans la violence de l'ensemble; et j'ai ete tres touche de la voir ainsi mise en lumiere par vous’ (Translation: ‘You place particular emphasis on a part that I also like, although it disappears a little, as if subdued, in the violence of the whole; and I was very touched to see it thus brought to light by you’). Some very light, extremely minimal age wear, VGZola’s novel La Bete Humaine (1890) was the seventeenth in his Les Rougon-Macquart series and is a tense psychological thriller based on the railway between Paris and Le Havre in the 19th century. The story has been adapted for the cinema on several occasions including a 1938 movie of the same title directed by Jean Renoir.
WAGNER RICHARD: (1813-1883) German Composer. A good A.L.S., Richard Wagner, one page, 8vo, Biebrich am Rhein, 26th July 1862, to his editor Hermann Muller, Director of the Meser edition company in Dresden, in German. Wagner asks his correspondent to book a copy for him of the `Fliegende Hollander´ (“The Flying Dutchman”) for the direction of the Stadttheatre of Leipzig, and to send it, against reimbursement, as soon as the conductor, Rudolf Wirsing will request it. Two very small tears to the bottom edge with a light corner crease, and left edge very slightly trimmed, otherwise G to VG Fliegende Hollander (“The Flying Dutchman”) is an opera with libretto and music by Richard Wagner (1843)
HITCHCOCK ALFRED: (1899-1980) English film director. A good vintage signed and inscribed 8 x 10 photograph of the director in a head and shoulders pose, dating from around the time of the release of his spy thriller film North by Northwest (1959). Signed by Hitchcock in blue fountain pen ink to a largely light area at the head of the image. Some very light, minor wrinkling to the upper edge and a small, minor surface crease to the lower edge, otherwise VG Provenance: The present photograph originates from the collection of Pierre Goulliard, a French gentleman who, for over 50 years, dedicated himself to obtaining in person autographs of British, American and European movie stars, always obtaining the signatures in fountain pen ink.
MANET EDOUARD: (1832-1883) French modernist painter. A good A.N.S., Ed. Manet, to the recto of his personal printed large oblong 12mo Visiting Card, with his printed name to the centre and address at 77 Rue d’Amsterdam at the base, n.p. (Paris?), 26th December 1879, in French. Manet writes, in full, ‘Bon pour un portrait au pastel’ (Translation: ‘Good for a pastel portrait’). Some very light, minor staining and age wear, otherwise VG
WELLINGTON DUKE OF: (1769-1852) Anglo-Irish Field Marshal, the Victor of Waterloo, 1815. British Prime Minister 1828-30, 1834. A.L.S., Wellington, two pages, 8vo, London, 14th November 1826, to the Duchess of Riva (?), in French. Wellington writes, in full, ‘J'ai l'honneur de vous envoyer la suite de l'ouvrage de Button (?) que je desire que vous puissiez agreer; et j'espere que les livres sont relies de la meme maniere que ceux que je vous aviez envoye il y a quelque temps. J'espere que vous vous portez bien ainsi que Mons Le Duc de Rivas (?). Je vous prie de lui presenter mes compliments et de me croire toujours Madame la Duchesse votre tres fidele serviteur’ (Translation: ‘I have the honour to send you the continuation of Button’s (?) work which I would like you to accept; and I hope the books are bound in the same way as those I sent you some time ago. I hope you are doing well, also Monsieur Le Duc de Rivas (?). Please present my compliments to him and always consider me, Madame Duchess, your very faithful servant’). With blank integral leaf. Together with an unrelated autograph envelope signed by Wellington, addressed in his hand to the Earl of Jersey and signed (‘W’) with his initial to the lower left corner. With a red wax seal to the verso. A couple of very light, minor stains and a few creases, generally VG, 2Wellington’s correspondent may have been María de la Encarnación de Cueto y Ortega (1806-1885) Duchess of Rivas, wife of Angel de Saavedra (1791-1865) 3rd Duke of Rivas. The Duke, a Spanish poet, dramatist and politician, had served as Prime Minister of Spain for one day in July 1854 and was also the Spanish ambassador to Paris and Naples.
BERGMAN INGRID: (1915-1982) Swedish actress, Academy Award winner. A good signed 8 x 10 photograph, the image depicting Bergman standing in a three-quarter length pose, in armour, in costume as the Frech religious icon and war heroine Jeanne d’Arc from the hagiographic epic film Joan of Arc (1948). Signed by Bergman in black ink with her name alone to a light area at the centre of the image. It was for her performance in this role that Bergman received a Best Actress Oscar nomination. With a French newspaper clipping announcing the death of Bergman lightly affixed to the verso. VG
JOYCE WILLIAM: (1900-1946) American-born fascist and Nazi propaganda broadcaster to the United Kingdom during World War II, known as ‘Lord Haw-Haw’. Executed for treason. An extremely rare D.S., W B Joyce, two pages (separate leaves), 4to, n.p. (South Kensington, London), 23rd August 1938. The typed document is a report issued to a male student who had received private tuition from Joyce and his friend John MacNab, the business partners providing their assessments of the student’s progress under various subjects comprising English (‘The composition is excellent and should earn high marks. There is also an ability to write good critical answers on the prescribed texts, though in this work the style does not reach the high level attained in the essays…..There is little ground for apprehension on the score of this subject, which is generally thought one of the most difficult’), French (‘The vocabulary might be stronger; but it is somewhat above the average. Occasionally there are lapses in grammar which closer attention to the work in hand would have avoided’), Arithmetic & Algebra (‘Capability is shown, as well as acquaintance with the common rules. The work is generally accurate…….There are some indications that the boy was out of practice; but his intelligent cooperation daily reduces the danger of an unsatisfactory performance in the examination’), Magnetism & Electricity (‘Here can be seen the need for intensive study. This subject is not so strong as we had expected to find it…..In a few short weeks, it is impossible to cover the whole ground in a series of lectures; and it is desirable that the boy should spend what time he can afford in reading the subject matter’), General (‘The boy is easy to teach, zealous in his work, and highly intelligent. His homework is very gratifying’), Latin (‘In composition, after a little more revision, he should also fare well; at present the work has been very fair, but with a few lapses which are unlikely to recur. I have no apprehension of a failure’) and Geometry (‘He was certainly rusty on some of the elementary work….but he has picked it all up very rapidly….Unless he should lose his head in the examination, which seems unlikely enough, there is no reason why this subject should not be a strong rather than a weak one, and a failure would be most surprising’). Signed by Joyce at the foot of the first page and signed by Macnab at the conclusion of the text on the second page. Some very light, extremely minimal age wear, VG John Macnab (d.1977) was one of Joyce’s closest friends (the latter often calling the former ‘Master’) and the two men met through the British Union of Fascists when they attached themselves to Oswald Mosley. Together they established a private tutoring business offering ‘expert private tuition for university entrance and professional preliminary examinations’ as well as providing English lessons to ‘foreigners of suitable character’ interested in ‘acquiring a knowledge of our speech and customs’. However, not everyone was welcomed, and Joyce refused to teach Black or Asian students, and nor were Jews admitted. On the morning of his execution at Wandsworth prison, Joyce, after having taken holy communion, wrote two letters; one to his wife and the other to Macnab.
STERNBERG JOSEF VON: (1894-1969) Austrian-born American film director, best known for his collaboration with Marlene Dietrich during the 1930s. T.L.S., Josef von Sternberg (the signature a touch light in places), one page, 4to, n.p. (Los Angeles, California), 21st November 1966, to David Mallery. Sternberg states that it was kind of his correspondent to have sent a copy of their very fine book although continues ‘I wonder why you failed to mention my book. Fun in a Chinese Laundry. It was published by Macmillan last year and was intended to give the student an exhaustive survey of film direction. If you have not read my work, please do so’. Accompanied by the original envelope. VGDavid Mallery – Professor of cinematography at Chestnut Hill College in Philadelphia and a founding member of the American Film Institute.
SCHWEITZER ALBERT: (1875-1965) Alsatian theologian, musician, philosopher & physician, Nobel Peace Prize winner 1952. A highly unusual signed ink handprint of Albert Schweitzer’s right hand on a sheet of the pale blue printed stationery of chirologist Maia Noel, signed (‘Albert Schweitzer’) by Schweitzer and dated 22nd May 1965 in his hand. The signature and date have faded considerably, although the handprint remains bold with many of the lines of the palm, fingers and thumb clearly visible. Laid down to card and with some light overall wrinkling, GMaia Noel (or Adda Nary) had chirology practices in Paris and Saint-Tropez where the character and the future of a person was studied through the morpho-psychological examination of their handprint.
GERMAINE OF FOIX: (c.1488-1536) French noblewoman, who, by her marriage to King Ferdinand II of Aragon, was Queen of Aragon, Majorca, Naples, Sardinia, Sicily, and Valencia and Princess of Catalonia (1506-16) and Queen of Navarre (1512-16). A rare L.S., la Reyna, one page, folio, Valladolid, 31st August 1514. The letter gives instructions to Pedro Celdran, secretary to the first council, to release to Joan de la Carra certain documents covering an eight month period, during which they have been absent from the court, in part, ‘Nos vos mandamos que deys y libreis a Joan de la Carra, n[uest]ro Valestero (sic) de Maça, los albaranes de su quintano (?) ordinario desde el primero día del mes de enero más cerca passado (sic) del año pre[sen]te de mil quinie[n]tos y quatorze, fasta[e]l postrero de agosto del dicho año; que son ocho meses, no embargante que haya estado absente de la Corte todo el t[iem]po de los dichos ocho meses. Faciéndole cuenta complidame[n]te como si en todos ellos hoviesse estado presente, e no fagais lo contrario que assí (sic) proçede de n[uest]ra voluntad….’. Countersigned by the secretary Aninyo. Some light age wear to the edges and with one small hole to the centre, VG
KAZAN ELIA: (1909-2003) American film and theatre director. Signed and inscribed 10 x 8 photograph of Kazan standing outdoors in a three-quarter length pose, with a cigar in one hand, as he engages in conversation with actor Stathis Giallelis on the set of the drama film America America (1963). Signed by Kazan in dark fountain pen ink to a light area at the head of the image. The movie won an Oscar for Best Art Direction and was nominated for three others: Best Picture, Best Director and Best Original Screenplay. VG Provenance: The present photograph originates from the collection of Pierre Goulliard, a French gentleman who, for over 50 years, dedicated himself to obtaining in person autographs of British, American and European movie stars, always obtaining the signatures in fountain pen ink.
TAGORE RABINDRANATH: (1861-1941) Indian Poet, Nobel Prize winner for Literature, 1913. Signed oblong 1.5 x 4 card piece (3 cm x 10 cm), in Hindi and light purple colour, [circa 1925]. Affixed at the base of a 6 x 8 portrait photograph of Tagore, to an overall 8 x 10 page. Small traces of a former mounting to the sides. About G
TAYLOR ELIZABETH: (1932-2011) British actress, Academy Award winner. A good vintage signed and inscribed 8 x 10 photograph of Taylor, the original Metro-Goldwyn-Mayer publicity portrait depicting the actress seated in a classic three-quarter length pose, in costume from her Best Actress Oscar nominated performance as Margaret 'Maggie the Cat' Pollitt, seated on a bed in a scene from the drama film Cat on a Hot Tin Roof (1958). Signed by Taylor in blue fountain pen ink, with a slightly hurried signature, to a largely light area of the image. Some slight corner and surface creasing to the white borders, otherwise VG
REYNOLDS JOSHUA: (1723-1792) English portrait painter. Manuscript D.S., J Reynolds, one page, slim oblong 8vo, n.p., 18th August 1786. Reynolds acknowledges receipt of a payment made by the executors of the Earl of Thanet for ‘the sum of two hundred and sixty one pounds ten shillings for pictures done for the late Earl of Tenet, in full of all demands’. With a blind embossed four penny revenue stamp and contemporary docket to the verso. Some light age wear and one very small, minor tear to the centre of the upper edge, otherwise about VG Sackville Tufton (1733-1786) 8th Earl of Thanet. English nobleman of whom Reynolds had painted a number of portraits in the 1760s and 1770s. Reynolds also created portraits of the Earl’s mistress, Nelly O’Brien (1762-64), his eldest children (in 1766-67), his wife (in 1770) and his younger son the Hon. John Tufton (in 1777).
ELIZABETH II & PRINCE PHILIP: ELIZABETH II: (1926-2022) Queen of the United Kingdom 1952-2022 & PRINCE PHILIP (1921-2021) Duke of Edinburgh, Consort of Queen Elizabeth II 1952-2021. A good vintage signed 8.5 x 11.5 photograph by both Queen Elizabeth II and Prince Philip individually, the official image depicting the Royal couple standing in full-length poses together, wearing ceremonial dress, at Buckingham Palace. Photograph by Anthony Buckley (uncredited). Signed (‘Elizabeth R’) by the Queen and signed (‘Philip’) by the Duke of Edinburgh, both in fountain pen inks to the lower photographer’s mount and dated 1961 in the Queen’s hand. Some very light, extremely minimal silvering to the edges of the image and one very light, minor stain to the lower edge of the photographer’s mount, otherwise VG The present photograph was taken by portrait photographer Anthony Buckley (1912-1993) in October 1960 prior to a Royal tour of Pakistan and India.
MIRO JOAN: (1893-1983) Spanish painter. An excellent, lengthy and early A.L.S., Miro, three pages, 4to, Barcelona, 7th April 1934, to [Christian] Zervos, in French. Miro states that he has received his correspondent's letter, article and photograph, explaining that he did not answer sooner 'parce que j'ai du me rendrer a Montrois pour verifier d'apres le dessins.....les dates exactes, et vous donner de la facon la plus exacte possible, les renseignments que vous m'aviez demande a Paris' (Translation: 'because I had to go to Montrois to check according to the drawings….the exact dates, and to give you in the most exact way possible, the information that you had asked me for in Paris') and continuing to write concerning Zervos's article, and offering some advice, 'Votre article est tres, tres bien, vous avez tres bien compris mes inquietudes, il est en meme temps ecrit avec un grand courage. Je l'ai lu maintes fois attentivement et en suis tres emu. Vous en remercie de tout Coeur. Il faudrait toutefois rectifer, quelques dates, il m'etait tres difficile de les preciser lors de notre entretien chez vous. J'estime que ces donnees doivent etre tres exacter, d'autant plus qu'elles seront repandues a l'etranger, ou l'on se servira de ce numero de "Cahiers d'Art" lorsque l'on voudra ecrire quelque chose d'important sur moi. a) J'ai commence l'etude de la peinture a l'age de 14 ans, mon premier professeur a ete Urgell, et plus tard Pasco. b) Je cesse de peindre de 1910 a 1912 - a partir de cette date je m'adonne entierement a la peinture et frequente a Barcelone certaines academies etc. et passe mes vacances a Montrois, je frequente les academies jusqu'a 1914, et desormais je travaillerai seul. c) arrive a Paris pour le premiere fois en mars 1919, et c'est a partir de cette date que je travaille tantot a Barcelone tantot a Montrois, tantot a Paris. d) qouique la plupart de reproductions n'auront pas de titre, il ne faudrait cependant pas negliger d'en mettre a celles que vous citez dans votre article et aux plus representatives pour mieux le comprendre. e) ces tableaux ont ete faits l'hiver et le printemps 1933. f) Je trouve aussi que c'est mieux que vous supprimiez ce passage. Comme vous voyez toutes les rectifications sont tres necessaires et tres importantes, je vous demande de faire l'impossible pour y etre a temps' (Translation: 'Your article is very, very good, you have understood my concerns very well, it is at the same time written with great courage. I have read it carefully many times and am very moved by it. Thank you wholeheartedly. However, it would be necessary to rectify a few dates, it was very difficult for me to specify them during our interview with you. I consider that this information must be very exact, especially since they will be spread abroad, where people will use this number of “Cahiers d'Art” when they want to write something important about me. a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stop painting from 1910 to 1912 - from this date I devote myself entirely to painting and attend certain academies etc. in Barcelona and spend my holidays in Montrois. I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919, and it was from this date that I worked sometimes in Barcelona, sometimes in Montrois, sometimes in Paris. d) although most of the reproductions will not have a title, you should not neglect to put one to those you quote in your article and to the most representative ones to better understand it. e) these paintings were made in the winter and spring of 1933. f) I also think it is better that you delete this passage. As you see all the corrections are very necessary and very important, I ask you to do the impossible to there in time'). Miro also asks his correspondent if they have decided to go ahead with an exhibition, and to let him know the exact date of the opening as soon as they know it, and further enquiring if invitations will be sent, in which case Miro will provide some addresses, additionally writing 'J'ai reflechi a ce que votre femme me demande d'apporter de nouveaux tableaux. Il me semble que cette nouvelle serie faudrait la montrer ensemble, ce serait une erreur que d'en exposer quelques specimens au prealable. Ce qui serait peut-etre tres bien, ce que, du moment ou "Cahiers d'Art" est consacre a toute mon oeuvre, vous exposiez aussi, dans une piece a part quelques toiles anciennes. En etant fait simultanement a l'apparition de "Cahiers d'Art" cela n'aura nullement l'air d'une retrospective, qu'il faut a tout prix eviter.......ca restera tres intime et n'aura pas l'air pretentieux d'une exposition rue de la Boetie. Et suivrait en meme temps la trajectoire qui se termine en 1933' (Translation: 'I thought about your wife asking me to bring new paintings. It seems to me that this new series should be shown together, it would be a mistake to exhibit a few specimens beforehand. What would perhaps be very good, since “Cahiers d'Art” is devoted to all my work, you also exhibit, in a separate room, a few old paintings. By being done simultaneously with the appearance of “Cahiers d'Art” it will in no way seem like a retrospective, which must be avoided at all costs….it will remain very intimate and will not have the pretentious air of an exhibition on rue de la Boetie. And at the same time it would follow the trajectory which ends in 1933'). Miro concludes by asking if Zervos has seen Pierre Matisse, explaining 'Je lui ai ecrit deux lettres en reponse a la sienne ou'il me faisait part de l'accord avec [Henri] Matisse et il ne m'a point repondu. Je lui demandais s'il m'autorisait a ecrire a Matisse pour lui demander de s'entendre avec lui pour les mensualites de maniere a ce que ce fut Pierre qui ces versat en toute sa totalite. Je crois que du moment ou Pierre est, pour ainsi dire, le marchand officiel, pourrait trouver des moyens pour regler les mensualites…..' (Translation: 'I wrote him two letters in response to his where he informed me of the agreement with [Henri] Matisse and he did not answer me. I asked him if he would authorise me to write to Matisse to ask him to come to an agreement with him for the monthly payments so that it was Pierre who would pay them in full. I believe that since Pierre is, so to speak, the official merchant, he could find ways to settle the monthly payments….'). A letter of fine content. Some very light, extremely minor age wear, VGChristian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'art and also ran an art gallery.Pierre Matisse (1900-1989) French-American art dealer, the youngest child of Henri Matisse. The Pierre Matisse Gallery was opened in New York in 1931 and represented many European artists including Miro, Marc Chagall, Alberto Giacometti and Jean Dubuffet amongst others.
ROSTAND EDMOND: (1868-1918) French poet and dramatist, remembered for the play Cyrano de Bergerac (1897). The personal printed oblong 12mo Visiting Card of Rostand, unsigned, featuring his printed name, as a member of l’Academie Francaise, to the centre, and bearing two lines of text in his hand, in French, ‘avec ses meilleurs remerciements pour cette amiable depeche’ (Translation: ‘with his best thanks for this friendly despatch’). Some light overall damp staining, G
OASIS: A colour printed small oblong 8vo concert ticket for a performance by the English rock band at Finsbury Park, London, on 6th July 2002, individually signed by all five band members comprising Noel Gallagher, Liam Gallagher, Andy Bell, Gem Archer and Alan White. Signed by each in bold black inks, a few with their first names only. Some very light, extremely minor surface creasing, VG
KENNEDY JOHN F.: (1917-1963) American President 1961-63. Assassinated. A good vintage signed and inscribed 8 x 10 photograph of Kennedy seated in a half-length pose and holding a pair of spectacles in his hands. Photograph by Life magazine and bearing their copyright stamp to the verso. Signed by Kennedy in black fountain pen ink to a light area at the head of the image, ‘To Watson Talbert, with every good wish, John Kennedy, USS-Mass’. An appealing signed image of JFK. Some very light, minor age wear and a few minimal surface and corner creases, otherwise VGThe engaging photograph of Kennedy was captured by Henry G. ‘Hank’ Walker (1921-1996) who took a number of iconic political photographs during the 1950s and 1960s and contributed over a dozen cover images for Life magazine in this period. Walker was assigned to Washington as a White House photographer in 1951 and later covered JFK’s 1960 Presidential campaign. The present image dates from early in Kennedy’s first term as a senator for Massachusetts and was also the portrait chosen for the dust jacket to his Pulitzer Prize winning book Profiles in Courage (1956).
NATIONAL VELVET: A good, rare vintage multiple signed and inscribed sepia 10 x 8 photograph by the Academy Award recipients Mickey Rooney (Michael ‘Mi’ Taylor), Elizabeth Taylor (Velvet Brown), Donald Crisp (Herbert Brown) and Anne Revere (Araminty Brown) individually, the image depicting the actors seated around a dining table together at the Brown’s home in Sussex in a scene from the film National Velvet (1944). Signed by each in fountain pen inks to the image. It was for her performance in this film that Anne Revere won her Best Supporting Actress Oscar. Some light overall surface and corner creasing, G
BERTHIER LOUIS-ALEXANDRE: (1753-1815) Marshal of France, Prince of Neuchatel. Chief of Staff under Napoleon. An interesting L.S., Alexandre, unusual form, one page, 4to, Dresden, 19th July 1813, to his aide-de-camp General Count of Monthion, in French. Berthier informs his aide-de-camp about the military columns formations on their way to Dresden, French forces getting ready for the imminent Battle of Dresden, stating `Light cavalry, 132 m[en] - 136 h[orses]... Infantry 269.. Guard carriages 141.. which departed from Erfurt on 17th July and is expected to reach Dresden on 23rd..´ further referring to a second military column expected the day after. The letter bears a watermark “1806, F HF”. Berthier signs as Prince, Major General. Left edge very slightly trimmed, otherwise VG Francois-Gédéon Bailly de Monthion (1776-1850) French Count and General of the Grande Armée. Bailly de Monthion served for long under Berthier and fought at Wagram, Borodino, Berezina and Waterloo where he was wounded. The Battle of Dresden took place on 26th-27th August 1813, a month after the present letter was written.
PUCCINI GIACOMO: (1858-1924) Italian composer. Vintage signed postcard photograph of Puccini standing in a full-length pose wearing a hat and overcoat and holding a pair of gloves in his hands. Signed (‘Giacomo Puccini’) in fountain pen ink with his name alone, his surname with very slightly poorer contrast against the background. Some very light, minor age wear, about VG
HEPBURN AUDREY: (1929-1993) Belgian-born British actress, Academy Award winner. An excellent signed and inscribed 7 x 9.5 photograph, the engaging image depicting Hepburn in a head and shoulders pose in costume as Eliza Doolittle from the American musical comedy drama film My Fair Lady (1964). Signed by Hepburn in bold black ink to a light area at the foot of the image, ‘Pour Alain, Merci, Audrey Hepburn’. A couple of very slight, extremely minor corner creases, otherwise about EX
HUGO VICTOR: (1802-1885) French novelist, poet and dramatist. Autograph envelope panel signed (‘Victor Hugo’), addressed in his hand to Monsieur Jacotet ‘au bureau de l’Evenement’. Some light creasing and minor staining to the edges, G L’Evenement was a French daily evening newspaper founded by Victor Hugo in 1848 in order to support the candidacy of Louis-Napoleon Bonaparte for the presidency of the Republic. The newspaper ran until 1851 and contributors included Alexandre Dumas (pere and fils) as well as Paul Meurice, Gerard de Nerval and Alphonse Karr.
DUTHE ROSALIE: (1748-1830) French courtesan who acquired the dubious honour of becoming the first officially recorded ‘dumb blonde’. A.L.S., Duthe, one page, 8vo, n.p. (London), 15th October (1791), to [Jean-Frederic] Perregaux (‘Mon cher Tuteur’), in French. Duthe states that she is sending Perregaux a letter (no longer present) for Mr. D’Orleans, and asking that he delivers it personally and remarking ‘il ne faut pas recevoir mes rentes avant que d'avoir sa reponse’ (Translation: ‘you must not receive my pension before having his answer’), further explaining that she is planning a little trip to Paris during October, and concluding ‘Je voudrais que vous ma fissiez le plaisir de partager la pension de Mr. Comont entre sa femme et lui car elle me mande qu'il ne lui donne rien’ (Translation: ‘I would like you to give me the pleasure of sharing Mr. Comont’s pension because she tells me that he gives her nothing’). With integral address leaf in Duthe’s hand and bearing a contemporary docket. A letter of good association. Some very light, minimal age wear, VGJean-Frederic Perregaux (1744-1808) Swiss banker and friend of Rosalie Duthe. Perregaux commissioned French painter Henri-Pierre Danloux (Duthe’s favourite) to paint Mademoiselle Rosalie Duthe (1792) and the banker is said to have contemplated the image on his deathbed.
BEWITCHED: Agnes Moorehead (1900-1974) American actress, remembered for her role as Endora, Samantha’s mother, in the American fantasy sitcom television series Bewitched (1964-72). Signed and inscribed 8 x 10 photograph of Moorehead seated in an elegant three-quarter length pose. Signed in black ink to a clear area of the background; Maurice Evans (1901-1989) English actor, remembered for his role as Maurice, Samantha’s father, in Bewitched. Signed and inscribed 8 x 10 photograph of Evans in a head and shoulders pose. Signed in black ink to a light area of the background. VG, 2
CAVENDISH GEORGIANA: (1757-1806) Duchess of Devonshire. English Aristocrat, a famed beauty and leader of fashionable style who was notorious for her marital arrangements, catastrophic love affairs and love of gambling. A.L.S., G. Devonshire, two pages, small 8vo, n.p., n.d. ('Wednesday night'), to a gentleman, in French. The Duchess announces 'The Memoir of Lady Duncannon is larger than she thought, so she prays you, Sir, to count the amount of the attached bill (no longer present) to pay Miss Bertin tomorrow' and continues 'Could I bother you again, asking you a permission to visit the house of Miss Desvieux on Friday morning, with Lady Chester, Milord and Milady Henry Fitzgerald. I am only available on Saturday, but since my sister leaves on Saturday, she would be charmed if you initiated Miss Bertin early tomorrow to inform her of the amount that it leaves for her. I also pray you to send me the expenditure of Miss Desvieux and to tell me the time when we have to go there'. With blank integral leaf. Some very light, extremely minor age wear, VGHenrietta Ponsonby (1761-1821) Countess of Bessborough. Lady Duncannon. Mother of Lady Caroline Lamb and sister of Georgiana Cavendish.
CARTER LYNDA: (1951- ) American actress. Signed colour 8 x 10 photograph of Carter standing outdoors in a half-length pose in costume as the superhero Wonder Woman (Diana Prince) in a scene from the American television series Wonder Woman. Signed by Carter in bold black ink to a light area of the image. VG
HARRIS PHIL: (1904-1995) American actor and comedian who, as a voice actor, played Baloo in The Jungle Book (1967) and Prince John in Robin Hood (1973), both animated films produced by Walt Disney. Vintage signed and inscribed sepia 8 x 10 photograph of Harris standing in a three-quarter length pose before an NBC microphone. Signed by Harris in dark fountain pen ink to a clear area of the image. A few very light, minor corner creases, VG
PIUS X: (1835-1914) Pope of the Catholic Church 1903-14. A large vintage signed and inscribed 12 x 16 photograph depicting Pius X seated in a half-length pose wearing his white zucchetto, mozetta and cassock, and with a crucifix around his neck. Photograph by Giuseppe Felici of Rome and bearing his imprint to the mount. Signed (‘Pius PP X’) by the Pope in dark fountain pen ink beneath a four line apostolic blessing in another hand, in Italian, given on the occasion of the 60th wedding anniversary of Clemente and Erminia Strazza. Framed in the original frame with various gilt metal decorations and insignia of the Pope, featuring crossed keys and a triple crown, to the head. 14 x 20.5 overall. Some light overall mottling to the image and minor discoloration to the photographer’s mount, only very slightly affecting the signature and text. G
CHATEAUBRIAND FRANCOIS-RENE DE: (1768-1848) French writer, politician, diplomat and historian. A.L.S., Chateaubriand, two pages, 8vo, n.p. (illegible), 15th September 1826, to Monsieur Vaseullier, in French. Chateaubriand forwards a letter (no longer present) to his correspondent which he has just written to Monsieur de Chabrol and asks Vaseullier for their assistance in the little affair, which is for the benefit of the city. With blank integral leaf. Some very light, extremely minimal age wear, VG
DIDEROT DENIS: (1713-1784) French philosopher, art critic and writer, a significant figure during the Age of Enlightenment. An extremely rare and important autograph manuscript, unsigned, seven pages, 8vo, n.p., n.d (c.1771), in French. The manuscript, written in Diderot’s small, neat hand, is entitled Satyre contre le luxe a la mainiere de Perse (‘Satire against luxury in the Persian style’) and takes the form of a dialogue between two characters, the first a sceptic of the times, not far removed from Jean-Jacques Rousseau, radical in his rejection of luxury and what it represents, and the second character one who judges that all is not so bad in the world as it is. ‘Vous jetez sur les diverses societes de l'espece humaine un regard si chargin, que je ne connais plus guere qu'un moyen de vous contenter: c'est de ramener l'age d'or’ begins the second, and with spartan austerity, the former rejects all sweetness of life, ‘Vous vous trompez. Une vie consumee a soupirer aux pieds d'une bergere n'est point de tout mon fait. Je veux que l'homme travaille. Je veux qu'il souffre. Sous en etat de nature qui irait au-devant de tous ses voeux, ou la branche se courberait pour approcher le fruit de sa main, il serait faineant; et n'en deplaise aux poetes, qui dit faineant dit mechant’ , and Rousseau’s name is naturally introduced, ‘Depouillez-vous donc; suivez le conseil de Jean-Jacques, et faites-vous sauvage’ before the interlocutor sweeps aside the Voltairean irony and gives the subject a political twist, ‘Ce serait bien le mieux. La, du moins, il n'ya a d'inegalite que celle qu'il a plu a la nature de mettre entre ses enfants; et les forets ne retentissent pas de cette variete de plaintes, que des maux sans nombre arrachent a l'homme dans ce bienheureux etat de la societe’ the other attempts moderation and advocates a form of resignation to the order of things as it is, ‘Mon ami, aimons notre paitre; aimons nos contemporains; soumettons-nous a un ordre de choses qui pourrait par hasard etre meilleur ou plus mauvais; jouissons des avantages de notre condition. Si nous y voyons des defauts, et il y en a sans doute, attendons-en le remede de l'experience et de la sagesse de nos maitres; et restons ici’ and then the other launces into a violent diatribe against corrupting money, ‘Rester ici, moi! moi! y reste celui qui peut voir avec patience un peuple qui se pretend civilise, et le plus civilise de la terre, mettre a l'encan l'exercise des fonctions civiles; mon coeur se gonfle, et un jour de ma vie, non, un jour de ma vie, je ne le passe pas sans charger d'imprecations celui qui rendit les charges venales. Car c'est de la, oui. c'est de la et de la situation des grands exacteurs que sont decoules tous nos maux. Au moment ou l'on put arriver a tout avec de l'or, on voulut avoir de l'or; et le merite, qui ne conduisait a rien, ne fut rien. Il n'y eut plus aucune emulation honnete. L'educatin resta sans aucune base solide’ , further describing the deleterious effects of the race for wealth, the desire to possess more and more that leads humanity to its ruin, ‘L'elephant se gonfla pour accroitre sa taille, la boeuf imita l'elephant; la grenouille eut la meme manie, qui remonta d'elle a l'elephant; et, dans ce mouvement reciproque, les trois animaux perirent: triste, mais image reelle d'une nation abandonnee a un luxe, symbole de la richesse des uns, et masque de la misere generale du reste’ , as well as the corruption of the morals, the contempt for study, the disappearance of all decency being the consequences, ‘On rampa, on s'avilit, on se prostitua dans toutes les conditions. Il n'y eut plus de distinction entre les moyens d'acquerir. Honnetes, malhonnetes, tous furent bons’ , the other then advances the argument that this luxury engenders the development of art and industry, ‘Mais ne vous rejouissez-vous pas de voir la debauche, la dissipation, le faste, ecrouler ces masses enormes d'or? C'est par ce ,oyen qu'on nous restitue goutte a goutte ce sang dont nous sommes epuises. Il nous revient par une foule de mains occupees. Ce luxe, contre lequel vous vous recriez, n'est-ce pas lui qui soutient le ciseau dans la main du statuaire, la palette au puce du peintre, la navette?’, but art is nothing if not compared by virtue, and again Rousseau’s austerity is expressed in its purest form, ‘Oui, beaucoup d'ouvrages, et beaucoup d'ouvrages mediocres. Si les moeurs sont corrompues, croyez-vous que le gout puisse reste pur? Non, non, cela ne se peut; et si vous le croyez, c'est que vous ignorez l'effet de la vertu sur les beaux-arts. Et que m'importent vos Praxitele et vos Phidas? Que m'importent vos Apelle? Que m'importent vos poemes divins? Que m'importent vos riches etoffes? Si vous etes mechants, si vous etes indigents, si vous etes corrompus’ and this race for wealth goes so far as to call into question the survival of mankind, ‘O luxe funeste, enfant de la richesse! Tu detruis tout, et le gout et les moeurs; tu arretes la pente la plus douce de la nature. Le riche craint de multiplier ses enfants. Le pauvre craint de multiplier les malheureux. Les villes se depeuplent. On laisse languir sa fille dans le celibat. Il faudrait sacrifier a sa dot un equipage, une table somptueuse’ . Shaken by such a tirade, the former again attempts conciliation, ‘Voila, sans doute, un luxe pernicieux, et contre lequel je vous permets a vous et a nos philosophes de se recrier. Mais n'en est-il pas un autre qui se concilierait avec les moeurs, la richesse, l'aisance, la splendeur et la force d'une nation?’ and the other pays lip service to it, and launches into an eulogy of agriculture, the basis of everything, via his goddess Ceres, and consequently into a social demand for the fate of peasants, ‘Ceres, les peintres, les poetes, les statuaires, les tapisseries, les porcelaines, et ces magots meme, gout ridicule, peuvent s'elever d'entre tes epis. Maitres des nations, tendez la main a Ceres; relevez ses autels. Ceres est la mere commune de tout. Maitres des nations, faites que vos campagnes soient fertiles; soulagez l'agriculteur du poids qui l'ecrase. Que celui qui vous nourrit puisse vivre; que celui qui donne du lait a vos enfants ait du pain; que celui qui vous vetit ne soit pas nu’ . At the conclusion of the text he sketches out a possible synthesis in which luxury and virtue could be reconciled, ‘Ce luxe sera le signe d'une opulence generale, et non le masque d'une misere commune. Maitres des nations, otez a l'or son caractere representatif de tout merite. Abolissez la venalite des charges. Que celui qui a de l'or puisse avoir des palais, des jardins, des tableaux, des statutes, des vins delicieux, de belles femmes; mais qu'il ne puisse pretendre sans merite a aucune fonction honorable dans l'Etat; et vous aurez des citoyens eclaires, des sujets vertueux’ . Diderot concludes on a pessimistic note, ‘Ou irai-je donc? Ou trouverai-je un etat de bonheir constant? Ici, un luxe qui masque la misere; la, un luxe qui, ne de l'abondance, ne produit qu'une felicite passagere. Ou faut-il que je naisse ou que je vive? Ou est la demeure qui me promette et a ma posterite un bonheur durable?’, and the first dismisses posterity, with resigned fatalism, as a preoccupation, Manuscripts of such important 18th century texts are of exceptional rarity and seldom appear on the market. Some light age wear and a couple of small, holes caused by dark singing to some pages, only very slightly affecting a few words of text. About VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.
TSUJI JUN: (1884-1944) Japanese author, poet, essayist and playwright. Autograph statement signed, Jun Tsuji, one page, oblong 8vo, n.p., 7th September 1928. The head of the page is titled Maxims of Life of the Authors of the Whole World in the hand of a researcher and beneath Tsuji has penned a five-line statement, ‘All maxims & ideals are good for nothing. I don’t know how to live but to be easy going. Life is one, and those who look at it are thousands-millions. Ancient three wise monkeys already shut their eyes, mouth, and ears’. Rare. Some very light, minimal age wear, VG
PERKINS ANTHONY: (1932-1992) American actor. Signed and inscribed 7 x 9 photograph of Perkins standing in a three-quarter length pose, in a state of shock and with his hand over his mouth, in costume from his most famous role as Norman Bates in a scene from the psychological horror film Psycho (1960) directed by Alfred Hitchcock. Signed by Perkins in bold black ink to a light area at the base of the image. About EX
MILAN I: (1854-1901) King of Serbia 1882-89. An excellent, lengthy A.L.S., Milan, five pages, 4to, Paris, 15th March 1893, to Adrien Hebrard (‘Monsieur le Senateur’), in French. The former King commences his letter stating ‘Differents journaux dans differents pays s'occupent frequemment de moi: la presse Serbe, des correspondances, telegrammes de Belgrade y contribuent puissamment: je n'en veux publiquement rechercher les causes: j'en connais bien souvent les origins et tendances, la source et la but. Tantot on me prete un langage favorable ou defavorable, plein de sympathie ou d'antipathie a l'egard de l'un ou l'autre des partis politiques’ (Translation: ‘Different newspapers in different countries frequently deal with me: the Serbian press, correspondence, telegrams from Belgrade contribute powerfully to it: I do not want to publicly investigate the causes: I very often know the origins and tendencies, the source and the goal. Sometimes I am given favourable or unfavourable language, full of sympathy or antipathy towards one or the other political party’) and continues ‘Je devrais passer, a cause des consequences de nature politique et personelle dont je suis l'objet, a toutes les calomnies et diffamations, qui les accompagnent parfois. Pour mettre fin a cet etat de choses, j'ai recours a la gracieuse publicite de votre journal, si universellement respecte et estime et viens demander l'hospitalite de ses colonnes pour m'expliquer publiquement’ explaining that Le Temps recently printed an interview ‘dans lequel mes paroles ont ete denaturees, mes pensees interpretees sans autorisation’ and further seeking to defend himself, ‘Quatre annees se sont ecoules depuis que j'ai abdique, confiant la Regence Royale a trois Regents.....C'est a cette Regence qu'incombe moralement et legalement la pleine et entiere responsabilite des affaires du pays. Je n'ai aucune influence, n'en brigue aucune, ni directe, ni indirecte, ni publique, ni occulte, ni actuellement, ni plus tard. En cedant le trone a mon fils bien aime, Sa Majeste le Roi Alexandre I, j’obeissais, a des raisons d'ordre politique et personnel: je servais ainsi ses interets, ceux de ma dynastie, de mon pays.......je crois et croirai toujours avoir bien agi’ whilst also clarifying the events leading up to his abdication, ‘J'avais de longue date prepare mon abdication. Mon principal collaborateur dans cette phase fut precisement l'homme qui occupe actuellement la premiere place dans la Regence, M Ristitsch. Je luis avais en Octobre 1888 fait la confidence de mes projets et part du role que je lui destinais. Avant d'abdiquer de ma propre initiative souveraine, sans avoir consulte qui que ce sort je rendis un dernier service a mon peuple, a mon fils. J'ai pose la base fondamentale du Reigne de la Majeste le Roi Alexandre I. Par cela j'ai close ma carriere politique. La constitution de 1869, elaboree durant ma minorite ne repondait point aux aspirations du pays. J'en avais fait durant vingt annees de regne la triste et instructive experience. Elle portait en elle le germe de nombreux conflits entre trone et le peuple. Elle fut la cause de bien des troubles, difficultes, insucies: je ne hesitais point cependant en abdiquant a revendiquer genereusement pour moi seul la responsabilite de son application et de ses consequences durant mon reigne’ (Translation: ‘I had been preparing for my abdication for a long time. My main collaborator in this phase was precisely the man who currently occupies the first place in the Regency, Mr. Ristitsch. In October 1888, I had confided in him about my projects and shared the role that I intended for him. Before abdicating on my own sovereign initiative, without consulting anyone, I did one last service to my people, to my son. I laid the fundamental basis of the reign of His Majesty King Alexander I. With this I ended my political career. The constitution of 1869, elaborated during my minority, did not correspond to the aspirations of the country. During twenty years of my reign, I had the sad and instructive experience of it. It carried within it the seed of many conflicts between the throne and the people. It was the cause of many troubles, difficulties, recklessness: I did not hesitate, however, in abdicating to claim generously for myself alone the responsibility for its application and its consequences during my reign’) and praising the new constitution, ‘Sincerement appliquee, scrupuleusement observee de toutes parts, definissant nettement les limites des droits et des devoirs des pouvoirs publics et des citoyens, elle doit garantir et concilier la liberte et l'ordre dans le pays’ as well as extolling the virtues of his son, ‘Sans sa puissante egide et celle de l'amour et du devouement de son peuple, le Roi Alexandre I a grandi, s'est devellgie et forme a gouverner le pays, tous deux animes de la conviction que c'est dans le respect absolu et l'application sans arriere-pensee de la constitution de 1888 qu'est la base la plus solide du progres et du devellopement de la patrie’ The former King concludes by remarking ‘Depuis quatre ans j'ai accepte sans protestation toutes les accusations qui m'ont ete lancees de divers cotes: j'ai subi sans murmure toutes les intrigues politiques et personelles formulees contre moi. Vis a vis de la lutte acharnee des partis politiques qu'en moi meme je desapprouve, de l'abus qui se fait de mon nom en l'y introduisant directement ou indirectement, il ne me convient pas de garder le silence. Je n'ai aucune arriere-pensee aucune ambition, sauf celle de voir mon fils heureux et eleve au dessus de tous les partis politiques: je ne suis ni le competiteur, ni le rival de qui que ce soit: je ne suis ni liberal, ni radical, ni progressiste. Je ne suis rien et me veux rien etre........Mon honneur me commande l'abstention, mes sentiments les plus intimes, les interets de mon fils, mon affection pour lui me l'ordonnent. Je n'ai aucune responsabilite, j'en decline de quelque nature que ce soit et n'en recherche aucune. J'ai une foi absolue en Sa Majeste le Roi Alexandre I et l'amour et le devouement du peuple Serbe a son egard......Voila ce que je tenais a dire publiquement’ (Translation: ‘For four years I have accepted without protest all the accusations hurled at me from various quarters: I have submitted without a murmur to all the political and personal intrigues formulated against me. Faced with the fierce struggle of political parties that in myself I disapprove of, the abuse that is made of my name by introducing it directly or indirectly, it does not suit me to remain silent. I have no ulterior motives, no ambition, except that of seeing my son happy and raised above all political parties: I am neither the competitor nor the rival of anyone: I am neither liberal, neither radical nor progressive. I am nothing and I want to be nothing……My honour commands me to abstain my most intimate feelings, the interests of my son, my affection for him, command me to do so. I have no responsibility, I decline any kind and do not seek any. I have absolute faith in His Majesty King Alexander I and the love and devotion of the Serbian people to him…..Here is what I wanted to say publicly’). With blank integral leaf. Accompanied by the original envelope hand addressed by the former King. A letter of exceptional content. Some very light, extremely minor age wear, VG Adrien Hebrard (1833-1914) French journalist and politician associated with the newspaper Le Temps. OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.
LEOPOLD I: (1790-1865) King of the Belgians 1831-65. An extraordinary A.L.S., with his initial L, three pages, 8vo, n.p., 11th August 1820, to Monsieur Favon ('Conseiller de Legation et Charge d'Affaire de la Cour de Saxe Coburg'), in French. The future King states that he has received his correspondent's letter, but before responding to its contents wishes to inform Favon of a related matter, 'je dois vous dire qui Madame Alexandre m'a ecrit du 3 d'aout. Elle me dit qui Mr. Charles Vaillant lui avait communique, que je comptais faire tous les sacrifices qu'elle desirait et que j'arrangerai tout &c. Je vous avais bien particulierement prie de ne pas me nommer dans toute cette affaire et je regrette beaucoup que Mr. Charles ait su quelque chose de cette transaction, et je vous prie lui demander comment il a pu avoir l'imprudence d'aller le conter a Mad. A. Les motifs qui m'ont engage, a me meler de cette affaire, etaient d'eviter un scandale et comme partie impartiale d'etre mediateur. Mais il serait assez extraordinaire de s'attendre que moi je paye pour les egarements de mon frere; il est bien visible que Mad. A. a change de ton dans l'idee qu'elle n'aurait qu'a demander pour etre paye. Je ne puis pas vous autoriser de lui donner cet argent avant de connaitre les vues de mon frere. Cependant vous pouvez lui donner 1000 francs sous condition qu'elle se conduise bien. Du reste ses menaces sont des balivernes, personne s'interessera beaucoup a l'histoire qu'elle compte publier, et si elle le fait vous lui direz en termes polis que cela fermerait a jamais la porte a tous les avantages qu'elle parait attendre et desirer. Je ne connais pas les lois francaises mais comme Mad. A. n'a pas ete mariee avec mon frere je desirerai savoir quelle reclamation elle peut legalement faire contre mon frere' (Translation: 'I must tell you that Madame Alaexandre wrote to me on the 3rd of August. She told me that Mr. Charles Vaillant had told her that I intended to make all the sacrifices she wanted and that I would arrange everything &c. I had particularly asked you not to name me in this whole affair and I very much regret that Mr. Charles knew anything of this transaction, and I beg you to ask him how he could have had the imprudence to go and tell Mad. A. The motives which induced me to interfere in this affair were to avoid a scandal and as an impartial party to be a mediator. But it would be quite extraordinary to expect me to pay for my brother's aberrations; it is clearly visible that Mad. A. changed her tone with the idea that she would only have to ask to be paid. I cannot authorise you to give her this money before knowing my brother's views. However, you can give her 1000 francs on the condition that she behaves well. Besides, her threats are nonsense, no one will take much interest in the story she intends to publish, and if she does, you will tell her in polite terms that it will forever close the door to all the advantages she seems to expect and desire. I don't know French laws, but as Mad. A. was not married to my brother, I would like to know what claim she can legally make against my brother'). Accompanied by a related envelope (although most likely not that which accompanied the present letter) addressed to Monsieur Flavon in Paris and bearing Leopold's red wax seal to the verso, with two postal cancellations dated November 1820, several months after the date of the letter. With a red ink annotation to the head of the first page of the letter, a minor neat split at the base of the central fold of the bifolium and with some light, minor staining. About VG, 2In the present letter Leopold refers to his elder brother, Ernest I (1784-1844) Duke of Saxe-Coburg and Gotha, father of Albert, Prince Consort, the husband of Queen Victoria.Pauline-Adelaide Alexandre Panam (1789-1840) 'Madame Alexandre'. Greek actress, the lover of Ernest I, Duke of Saxe-Coburg and Gotha.In October 1807 the reigning Duke Ernst and his younger brother, Prince Leopold, travelled to Paris to pay homage to Emperor Napoleon. It was whilst in Paris at this time that the Duke attended a ball and met the young fourteen year old beauty Pauline-Adelaide Alexandre Panam, also known as 'La Belle Greque', and thus began a love affair which would soon attain notoriety. Duke Ernst vigorously courted Madame Alexandre, as she would become to be known, offering her his protection, influence, and his fortune. In April 1808 the Duke returned to Coburg, and Madame Alexandre followed her lover, who had promised that his mother would receive her into her court circle. At the command of the Duke, Madame Alexandre travelled in male attire. Not long after their arrival in Coburg, Madame Alexandre realised that she had been fooled and to his grief the Duke was forced to tell her that his mother would not accept her into her circle because she was French. Nevertheless, she gave birth to Ernst's son in 1809, who was named after his father despite Alexandre being offered a pension if she refrained from identifying herself with the Duke. Madame Alexandre threatened to make details of the affair and pregnancy public, as evidenced in the present letter. Despite Prince Leopold's efforts as a mediator on behalf of his brother, in 1823 Madame Alexandre published her sensational memoir (in both French and English) under the title Memoirs of a Young Greek Lady; or, Madame Pauline Adelaide Alexandre Panam, versus His Most Serene Highness the reigning Prince of Saxe-Coburg. The memoir would later support further rumours and speculation about Duke Ernst's family when his legitimate youngest son, Albert, married Queen Victoria to become her consort.
LEWIS JERRY LEE: (1935-2022) American rock ‘n’ roll singer. D.S., Jerry Lee Lewis, one page, 4to, Memphis, Tennessee, 3rd May 1966. The partially printed document, completed in typescript, was issued by the American Federation of Musicians of the United States and Canada, and is a contract between Lewis and the Lake Shore Club of Lake Arthur, Louisiana, in which the musician agrees to perform two 45-minute shows on 19th August 1966 for a fee of $850. Signed by Lewis at the foot of the document and countersigned by E. J. Ayo on behalf of the Lake Shore Club. Two file holes to the upper edge, not affecting the text or signatures, and a couple of light, minor stains to the centre. G
SCHMITT HARRISON: (1935- ) American astronaut, Lunar Module Pilot of the Apollo XVII mission (1972) and the twelfth man to walk on the Moon. Signed 10 x 8 photograph, the NASA image depicting Schmitt standing in a full-length pose in his spacesuit on the Moon’s surface, alongside the Lunar Roving Vehicle, during the second extravehicular activity of the Apollo XVII mission at the desolate lunarscape of the Taurus-Littrow landing site. Signed by Schmitt in bold black ink to a light area of the image, also adding the mission name Apollo 17 in his hand beneath his signature. EX
BRATIANU ION I. C.: (1864-1927) Romanian Prime Minister 1909-10, 1914-18, 1918-19, 1922-26, 1927. D.S., Ion I C Bratianu, one page, folio, Bucharest, April 1916, in Romanian. The partially printed document, completed in manuscript, is issued by the Ministry of Defence of the Kingdom of Romania and concerns the promotion of Dumitru Sinescu to the rank of deputy reserve admissions officer. Some light age wear at the folds, otherwise VG
BIZET GEORGES: (1838-1875) French Composer. Rare Autograph Musical score by Bizet, four pages, large folio score page, n.p. , n.d., in French, and musical text in Italian. The score corresponds to Charles Gounod´s opera Faust. Bizet has penned 35 bars in two staves, with multiple corrections and words in Italian, being the scene two of the fourth act, almost complete, from `.. Quando a te lieta sorridea la vita... » to « ... io ti sarò fedele amico ognor´, which on the French libretto corresponds to (“Si le bonheur à sourire t'invite... I will remain your faithful friend..”) To the upper edge of the first score page, the editor Antoine de Choudens annotates `Pour remplacer la page 316 - Nouvelle romance de Siebel´, and to a small 8vo note, lightly affixed to the upper right corner Choudens states in French `Deux copies des parties d'orchestre et de la partition depuis l'andante en la jusqu'à fin.. mettre les paroles françaises a prendre dans Marguerite..´ With numerous small tears and chips to the edges and some light blue paper residue to the first page. G Charles Gounod (1818-1893) French Composer. Faust (is an opera in five acts by Charles Gounod. Premiered at the Theatre Lyrique of Paris in March 1859.After Bizet´s return from Rome to Paris, he found a found a supplement of income in work of arrangements, in particular of reductions for piano and songs, and even of copies. He worked especially for the music publisher Antoine de Choudens, who became his friend, and for Charles Gounod, of whom he was close.
OUT OF THE PAST: Signed 10 x 8 photograph by both Robert Mitchum (Jeff Bailey) and Jane Greer (Kathie Moffat) individually, the image depicting the actors in half-length poses leaning over a wire fence, with a large crowd of spectators in the background, in a scene from the American film noir Out of the Past (1947; Build My Gallows High). Signed by Mitchum in bold black ink and by Greer in bold blue ink, both with their names alone to light areas at the head of the image. Some very slight, minor surface and corner creasing, VG
BOCK FEDOR VON: (1880-1945) German Generalfeldmarschall of World War II, Knight’s Cross winner. Bock commanded Operation Typhoon, the ultimately failed attempt to capture Moscow in 1941. Vintage signed 4 x 6 postcard photograph, the image being a reproduction of an artist’s study of Bock in a head and shoulders pose wearing his uniform and Knight’s Cross. Published by Ernst Steiniger of Berlin. Signed (‘v. Bock’) by Bock in blue indelible pencil to a light area at the base of the image and above a smaller facsimile signature. Some light surface creasing and traces of former mounting to the verso, G
STEIN GERTRUDE: (1874-1946) American novelist, poet, playwright and art collector who hosted a famous salon in Paris. An excellent A.L.S., Gertrude, four pages, 8vo, Rue de Fleurus (Paris), n.d., to Rene Crevel (‘My dear dear Rene’) on Stein’s printed stationery featuring the quotation A rose is a rose is a rose taken from her poem Sacred Emily. Stein commences her letter writing ‘A wicked girl to not to marry Rene but perhaps Rene she will marry you yet, or do you not want to now’, continuing ‘It goes so quick these days being ready to marry again that she may be ready almost any day……perhaps you will be ready to marry again too dear old Rene’ and adding that they are sending a little consolation prize with all of their heart. Stein adds that Crevel will have heard by now from Bernard Fay ‘and perhaps you can do what he asks, but don’t do anything you ought not to do just to please me, what will please me most is to have an all well Rene’, and also reports ‘Otherwise there is a great deal of the same old news, the new friends grow old and the old friends sometimes grow new and sometimes not, but then perhaps Paris being both small and large is all fairly comfortable’. A letter of fine content and excellent association. A few minor creases and some light dust staining to the final side of the bifolium. About VG Rene Crevel (1900-1935) French writer associated with the Surrealist movement. In 1928, during a short stay in Berlin, Crevel had met and fallen in love with Dorothea ‘Mopsa’ Sternheim, daughter of the German playwright Carl Sternheim. Bernard Fay (1893-1978) French historian of Franco-American relations, a friend of Gertrude Stein and Alice B. Toklas.
TERESA MOTHER: (1910-1997) Albanian Roman Catholic Nun, Nobel Peace Prize winner, 1979. A signed printed oblong 12mo (6 x 3) image depicting Mother Teresa in a head and shoulders pose holding a small baby in her arms, with a typed Biblical quotation to the right margin, taken from Isaiah 49, in full, 'See! I will not forget you….I have carved you on the palm of My Hand…..I have called you by your name….You are mine….You are precious to Me….I love you'. Signed ('God bless you, M Teresa MC') by Mother Teresa in blue ink to a clear area at the base of the quotation. Some light traces of former mounting to the verso, otherwise VG
WILHELM II: (1859-1941) German Emperor and King of Prussia 1888-1918. A vintage colour postcard featuring an image of a painting by Willy Stower depicting the German Emperor’s yacht S.M.Y. Hohonzollern sailing out of Venice in 1905, signed (‘Wilhelm I.R.’) by the Kaiser to a clear area at the base of the image, further adding a greeting in German in his hand, wishing the recipient a blessed Christmas and Happy New Year 1906. Some light, minimal age wear, about VG Willy Stower (1864-1931) German artist and illustrator during the Imperial Period, remembered for his nautical paintings. Kaiser Wilhelm II was an enthusiastic supporter and patron of the artist and Stower accompanied the Emperor on several voyages from 1905-12.
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