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FRENCH CINEMA: Selection of signed 8 x 10 photographs and slightly smaller, some vintage, by various French film actors and actresses including Denise Grey (in costume as Madame Boudard in a scene from the film La Bonne Soupe, 1964), Jean-Pierre Darras (in costume as Le prefet in a scene from the film Jamais avant le marriage, 1982), Roger Treville (in costume as Hubert de Tiffauges in a scene from the film Brilliant Waltz, 1949), Jean-Marc Tennberg (in costume as Dede le fada from the film Rue des Saussaies, 1951), Madeleine Robinson (in costume as Marie from the film Savage Triangle, 1951), Yves Robert (in a head and shoulders pose in costume as Chaussin from the film Bebert et l'Omnibus, 1963), Gerard Philipe (in costume as Fanfan le Tulipe in a scene from the comedy adventure film Fanfan le Tulipe, 1952; rare although with a poor example of his signature), and Richard Anconina (in a head and shoulders pose in a scene from one of his films). All are signed in fountain pen inks, most to clear areas of the images, and the majority are inscribed. G (1), generally VG to EX, 8 Provenance: The present photographs originate 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.

EUROPEAN CINEMA: Selection of vintage signed 10 x 8 photographs and slightly smaller by various European film stars, mainly Italian, comprising Vittorio De Sica (in costume as Carlo Reani in a scene alongside other actors from the comedy film The Last Five Minutes, also signed by Rossano Brazzi, with a hurried signature, and Sophie Desmarets), Andrea Checchi (in costume as Colonel Sermonti from the war drama film Attack and Retreat, 1964), Peter van Eyck (in costume as Hafner in a scene from the war drama film The Impostor, 1944), Fabio Testi (in costume as Diaz in a scene from the political thriller film Nada, 1974), Eleonora Rossi-Drago (in costume as Elena Landa in a scene from the film The Slave, 1953), Walter Chiari (in a head and shoulders pose in costume as Angelo Pincilli from the comedy film Monte Carlo or Bust!, 1969), Raf Vallone (in costume as Thanos from the film Phaedra, 1962) and Melina Mercouri (in costume as Donna Lucrezia in a scene from the film The Law, 1959). All are signed in bold blue or black fountain pen inks, most to clear areas of the images, and the majority are inscribed. Generally VG, 8 Provenance: The present photographs originate 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.

EUROPEAN CINEMA: A good selection of multiple signed 8 x 10 photographs and slightly smaller by various European film stars comprising Gabriele Tinti & Norma Bengell (in a scene from Les Celibataires a la recherche de l'erotisme, 1964), Francoise Spira & Jacques Berthier (in a scene from Who Are You, Mr. Sorge?, 1961), Tino Rossi & Simone Valere (in a scene from Two Loves, 1949), Emmanuelle Riva & Alain Resnais (depicting the actress in a scene from Hiroshima mon amour, 1959, and also signed by the director), Christine Pascal & Henri Guybet (in a scene from the comedy film Surprise Sock, 1978), Silvana Pampanini & Daniel Gelin (in a scene from The Cheerful Squadron, 1954), Bernard Noel & Francine Berge (in a scene from Roger Vadim's Circle of Love, 1964), Charles Moulin & Henri Virlogeux (in a scene from the crime-thriller film A Man Named Rocca, 1961), Paul Meurisse & Francoise Rosay (in a scene from the film Back Streets of Paris, 1946) and Adolphe Menjou & Eddie Fisher (in a scene from Bundle of Joy, 1956). All are signed in blue or black fountain pen inks, most to clear areas of the images, and the majority are inscribed. Generally VG, 10 Provenance: The present photographs originate 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

ELLINGTON DUKE: (1899-1974) American jazz composer and pianist. Vintage signed 9.5 x 7 photograph of Ellington standing in a full-length pose, with his orchestra and various on-lookers in the immediate background, as they all admire a dance routine performed by Buck Washington in a scene from the American musical film Cabin in the Sky (1943). Signed by Ellington in black fountain pen ink with his name alone to a clear area at the base of the image. About EX 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.

BELAFONTE HARRY: (1927-     ) American singer & actor. Vintage signed and inscribed 8 x 10 photograph of Belafonte standing in a bare-chested three-quarter length pose, as David Boyeur, alongside actress Dorothy Dandridge, in costume as Margot Seaton, in a scene from the film Island in the Sun (1957). Signed by Belafonte in bold, dark blue fountain pen ink to a clear area of the image. 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.

DARIN BOBBY: (1936-1973) American singer, songwriter & actor. A good vintage signed and inscribed 10 x 8 photograph of Darin in a head and shoulders profile pose in costume as John 'Ghost' Wakefield opposite actress Stella Stevens, in costume as Jess Polanski, in a scene from the film Too Late Blues (1961). Signed by Darin in bold blue fountain pen ink to a clear area of the background. Scarce. About EX 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.

BERNHARDT SARAH: (1844-1923) French stage Actress. The most prominent actress of her time. A fine A.L.S., with her full name, `Sarah Bernhardt´, two pages, to an attractive grey border letter, small 8vo, n.p., n.d., in French. The document bears to the heading her attractive embossed monogram with her initials and the motto ''Quand Meme''. Bernhardt, in her usual difficult writing recommends a person to her correspondent, `..la personne qui vous remettra ce mot sollicite son admission. Elle réclame votre protection et j´appuis sa demande car c´est ma cuisiniere, laquelle était a mon service deouis dix ans…´ (“…the person who will give you this note is asking for her admission. She asks for your protection and I support her request because she was my cooker, who was in my service for ten years…”) G to VG

SIMON CARLY: (1945-     ) American singer & songwriter whose hits include You're So Vain and Nobody Does It Better, the latter being from the James Bond film The Spy Who Loved Me (1977). Signed and inscribed 8 x 10 photograph of Simon seated in a relaxed three-quarter length pose. Signed in black ink across a light area of the background. Together with Judy Collins (1939-     ) American singer & songwriter. Signed 8 x 10 photograph of Collins in a head and shoulders pose. Signed in black ink with her name alone to a clear area of the image. VG, 2

COBAIN KURT & NIRVANA: American Rock Band. Rare signed CD for In Utero (1993) Nirvana´s third and final studio album. Individually signed by two members of the band Kurt Cobain (1967-1994) American Singer and Songwriter, signing `Hell-o Im Kurdt Today!´, and Krist Novoselic (1965- ) `Krist´, American Bassist and Activist. Also signed by the touring musician Melora Creager. Each of them has signed in bold black ink to the CD sleeve front cover clear background. Inscribed by Cobain to `Illya´. The present autograph was signed only few weeks before Cobain committed suicide. Autographs were obtained in person in Toulon, France, at the artists´ lodge, on 12th February 1994, during Nirvana´s 1994 European Tour. This autograph being the second and last held by the collector who obtained them. CD not included. Accompanied by the collector´s letter of provenance together with several contemporary photographs showing the musicians signing the present CD. VG                                                                                                                            Despite releasing only three full-length studio albums in their seven-year career, Nirvana have come to be regarded as one of the most influential and important rock bands of the modern era and have sold over 75 million records worldwide. In Utero (1993) was the third and last album of Nirvana, and was released only six months before Cobain´s suicide. The album is certified five-times platinum and sold over 15 million copies.  Cobain is remembered as one of the most iconic rock musicians following his tragic death by suicide at the early age of 27

`…leaders of the current committees, who do not even know the name of the pioneers of cinematography. Fat wine merchants, who have become cinema tenants..´MÉLIÈS GEORGES: (1861-1938) French Film Director, a pioneer of cinema and innovator in the use of special effects. Rare and lengthy interesting A.L.S., G. Melies, four pages, small writing, 4to, Orly, 4th January 1934, to Auguste-Jules Drioux, in French. A lengthy letter written by Melies during an illness convalescence at home, referring first to his health `Il y a 2 jours, environ, où cela semble aller un peu mieux, quoique je sois encore au lit et d´une très grande faiblesse, mais enfin j´ai pu manger un peu, et digérer, car depuis 6 semaines, rien ne passait! Il faut espérer qu´à force de purges , de lavements, de cataplasmes, de ventoses, sans compter tout le tremblement de cachets, potions, ampoules, etc…´ (“Since 2 days ago, approximately, things seem to be going a little better, although I am still in bed and very weak, but finally I was able to eat a little, and digest, because for 6 weeks, nothing passed through! It is to be hoped that by dint of purges, enemas, poultices, suction cups, not to mention all the trembling of tablets, potions, ampoules, etc..”) Melies further refers to his opinions and relationship with the Mutuelle du Cinema, an association which gets funds from the cinema itself, working for the cinema and its workers, and which should help its members when they get old if they need assistance or medical attention, and mentions also his personal difficult financial situation, and states in part `Vous me demandez de vous dire franchement et sans gêne si la société de la “Mutuelle” ou d´autres sont venus à notre aide dans ces circonstances. Quoi qu´il m´en coûte, je suis oblige de répondre: hélas, non! A un point que nous avons complètement épuisé nos bien maigres économies, et que depuis près de 3 semaines, j´ai du laisser tomber le médecin, n´ayant plus de quoi payer ses visites et les énormes factures de pharmacie qui suivaient invariablement les dites visites´ (“You ask me to tell you frankly and without embarrassment if the “Mutuelle” society or others have come to our aid in these circumstances. Whatever it will cost me, I am obliged to answer: alas, no! To the point that we have completely exhausted our very small savings, and for nearly 3 weeks now, I had to drop the doctor, having no money left to pay for his visits and the huge pharmacy bills that invariably followed the said visits”), further adding `Quant à l´oeuvre de la “Mutuelle”, qui est actuellement dans la plus grande “panade”, les presidents ont été prévenus de ma maladie par le directeur d´ici, mais, malgré qu´on ait pour Georges Mélies la plus grande consideration (en paroles et en écrits du moins) personne n´a daigné se déranger, on ne m´a même pas offert de m´envoyer un médecin, et encore bien moins de m´aider pécuniairement´ (“As for the work of the “Mutuelle”, which is currently in the greatest “mess”, the presidents were informed of my illness by the local director, but, despite the fact that we have for Georges Mélies the greatest consideration (in words and in writing at least) no one deigned to bother, I was not even offered to send me a doctor, and even less to help me financially”) Melies further explains that the Mutuelle cannot afford paying cleaners and cookers and that they have to take care of this too, and his wife who is doing all the work, is exhausted, very old and with no strength to even walk `Plus personne pour la cuisine et le ménage. Allez les vieux, collez-vous y de nouveau!... quand on est malade, et qu´on vous laisse froidement sans le sou, et sans soins, alors cela n´est plus rigolo du tout!..´ (“No one for cooking and cleaning. Come on old folks, stick to it again!... when you're sick, and you're coldly left penniless, and careless, then it's no longer fun at all!..”), and before concluding, sends his furious critics on the boarding directors and announces future protests he intends to lead, saying `il est bien difficile de se faire entendre des gros bonnets des comités actuels, qui ne connaissent, même pas de nom, les pionniers de la cinématographie. D´épais marchands de vin, devenus tenanciers de Cinéma…´ (“it is very difficult to be heard by the leaders of the current committees, who do not even know the name of the pioneers of cinematography. Fat wine merchants, who have become cinema tenants..”) A letter of very interesting content, explaining the difficult last years of Melies and his critics about the Cinéma Mutuelle and the future of the pioneers of the “Cinematographie”. Very small overall minor age wear with a very small area of paper loss and singeing to the upper left corner, not affecting the text or signature. G Auguste-Jules Drioux was editor of the magazine Passez Muscade, publishing a special edition in 1929 entitled Georges Melies. Melies often collaborated with the magazine, publishing his Croquis-magiques.

GOUNOD CHARLES: (1818-1893) French Composer. A very good A.M.Q., two pages, folio, blue score paper, n.p., n.d. Gounod has neatly penned over seventy-five bars for the second choir bass, and annotated beneath each stave the voice music text. To the heading, Gounod entitles the musical score `Choeur de Chasseurs´ (“Hunters´ Choir”). The choir voice text cleanly annotated by Gounod states in part `Au fond des bois touffus la chasse nous entraine, et de la nuit l´ombre épaissit…pres de ces doux plaisirs que le soir nous ramene, qui peut hélas! Guider nos pas…´ (“In the depths of the bushy woods the hunt drags us along, and the night darkens…near these sweet pleasures that the evening brings back to us, who can, alas! guide our steps..”), and concludes to the second page `…Il sonne, c´est l´heure du retour et de l´amour! Fin´ (“…It sounds, it is the time to return and the time of love! End”) Small overall minor age wear, with right and bottom edge slightly trimmed, otherwise G The present work was composed by Gounod in 1855, a choir for four voices “a cappella”, entitled `Où sommes-nous?´ (“Where are we?”)

SAINT-SAENS CAMILLE: (1835-1921) French Composer. A good A.L.S., `C.Saint-Saëns´, two pages, 8vo, Paris, 18th November 1902,to an unidentified correspondent, in French. Saint-Saens refers to his correspondent´s work, stating `Vous ne nous devez aucun remerciement, c´est le jury qui vous est reconnaissant de nous avoir donné cette…..; je l´ai encore joué ce matin… qui en sont charmés comme moi. Ce sera sans doute pour vous le point de depart de beaucoup d´autres, et nul ne s´en réjouis plus que votre dévoué confrère´ ("You do not owe us any thanks, it is the jury that is grateful to you for having given us this…..; I played it again this morning to… who are charmed by it like me. This will undoubtedly be the starting point for many others, and no one is more delighted than your devoted colleague") Paper with St. George´s watermark. Remnants of former affixing to the verso, otherwise VG

HINDEMITH PAUL: (1895-1963) German composer and conductor. A.L.S., Paul Hindemith, one page, 4to, Frankfurt, 19th November 1922, to [Emil] Hertzka, in German. Hindemith thanks his correspondent for their telegram and continues to remark 'A lot has changed in the meantime. Schott wrote to me that he wants to beat any offers I get and since my contract doesn't allow me to give my material to any other publisher on more favourable terms, I'm bound by him', further adding that he will come to Vienna in two weeks and would be happy to talk about the matter personally. With a received date stamp to the upper right corner. VG Emil Hertzka (1869-1932) Hungarian music publisher, an influential and pioneering publisher who was responsible for printing and promoting some of the most important European musical works of the 20th century. 

DONIZETTI GAETANO: (1797-1848) Italian Composer. A fine A.L.S., `Gaietan Donizetti´, two pages, 4to, n.p., 22nd February, n.y. [1835], to the State counsellor Charles Amédée Jaubert, in French. A lengthy letter by Donizetti asking his correspondent to help his brother Joseph to obtain the `brevet de la Légion d´honneur décerné a ceux qui revinrent avec Napoléon de l´île d´Elbe´ (“Patent of the Legion d´honneur granted to those who returned with Napoleon from the Elba island”) Donizetti kindly asks Jaubert how to get the original documents submitted for the request which were sent to him by his brother from Constantinople. Donizetti also refers to the work he is involved with, saying `Les occupations qui résultent de la mise en scene de mon opéra m´ont empêché Monsieur de vous connaitre…. Mon depart de Paris aura lieu le 5 ou 6 du mois prochain..´ (“The tasks that I am involved with because of the staging of my opera, prevented me Sir from meeting you…. My departure from Paris will take place on the 5th or 6th of next month”) With address leaf in Donizetti´s hand, bearing a small red paper seal. Very small area of paper loss to the address leaf as a result of the letter opening. Small overall minor age wearand creasing, otherwise G Joseph Donizetti (1788-1856) elder brother of the composer. Joseph Donizetti was chief of the military music orchestra of the Sultan of Turkey.Donizetti refers in the present letter to the rehearsals and staging of his opera Marin Faliero (1835) which was premiered on 12th March 1835 at the Theatre Italien in Paris. In 1835 Donizetti composed two operas, Marino Faliero and Lucia di Lammermoor which was premiered six months later in Naples.

‘Our looks will find success with all those who see and want to see as we do and will force others to see facts and things from this same side’EISENSTEIN SERGEI: (1898-1948) Soviet film director & film theorist, a pioneer in the theory and practice of montage. A rare A.L.S., S Eisenstein, two pages, large 4to, Moscow, 21st November 1928, to [Leon Moussinac] ('Tres cher Monsieur!'), on Eisenstein's personal printed stationery, in French. The director writes a charming letter to his correspondent, in red ink, commencing 'It is very difficult for me to express my feelings towards 'our looks'' explaining, 'Because unfortunately the art of expressing myself in French does not reach anywhere neither the degree of my sympathy towards your newspaper, nor the perception of its edition!' and further remarking 'But all these technical, picturesque, and literary perfections are far surpassed by the fact that your publication happily accomplishes the noble and difficult task of truly reflecting our looks as they are. The looks of all those to whom the human cause is the only worthy occupation and to which they devote all their energies and all their labors. Our looks will find success with all those who see and want to see as we do and will force others to see facts and things from this same side'. Immediately beneath his signature Eisenstein has added the titles of his two most famous silent films, Battleship Potemkin (1925) and October (1928), and in a postscript (signed with his initials SE) writes 'I do hope that if you intend to put this letter to press that you will kindly correct it and eliminate the thousands of errors contained in these few lines'. Some light overall age wear and minor staining. The letter was evidently neatly split at the central vertical and horizontal folds at one stage although has since been professionally repaired to a reasonable standard although with some light scuffing slightly affecting some words of text and the signature. About G Leon Moussinac (1890-1964) French writer, film and art critic, film historian and film theorist. Moussinac actively fought for the promotion of Soviet cinema in France and was responsible for the screening of Eisenstein's Strike at the 1925 Exhibition of Decorative Arts. He also organised a screening of the film Battleship Potemkin and founded the first mass cinema club in France, Friends of Spartacus, which was engaged in the propaganda of Soviet cinema. In 1927, Mussinac visited the Soviet Union, after which he wrote the book Le cinema sovietique in 1928.

CORTOT ALFRED: (1877-1962) Franco-Swiss Pianist and Conductor. A.L.S., `Alf Cortot´, two pages, 8vo, Neuilly-sur-Seine, 22nd July 1946, on his personal printed stationery, with his printed name to the heading and his Boulevard Maillot address, to a lawyer `Mon cher Maitre´, in French. Cortot commences his letter referring to his eye surgery, stating in part `De retour a Neuilly apres un long séjour en Suisse où j´ai été tributaire d´une operation chirurgicale a l´oeil couronnée de succes..´ ("Back in Neuilly after a long stay in Switzerland where I had an eye surgery which was successful…") Cortot further refers to the money he advanced as guarantee and that he expects to have returned and complains referring to the new government and unfair laws, saying in part `.. la restitution des sommes avancées par moi pour la régularisation des actions de l´Ecole Normale, en vertu des dispositions légales imposes par l ´occupant et auxquelles il me fallait bien me soumettre pour éviter la fermeture de l´établissement don't j´ai la charge et la mise a pied de cinquante trois professeurs. Il serait vraiment légitime que l´Etat qui exige tant de nous… en dépit du changement de régimen. Ou alors, qu´on veuille bien en prevenir ceux qui ont été obligés de se soumettre a des lois draconiennes!´ ("… the restitution of the sums advanced by me for the regularization of the shares of the Ecole Normale, based on the legal provisions imposed by the occupier and to which I had to submit myself to avoid the closure of the establishment of which I am in charge and the responsibility of the dismissal of fifty three professors. It would be truly legitimate for the State which demands so much from us…despite the change of government. If not, they could at least warn those who have been forced to submit to draconian laws!") Small overall minor age wear with a fold at the base of the letter, otherwise G to VG

JOACHIM JOSEPH: (1831-1907) Hungarian violinist, conductor and composer. A.L.S., Joseph Joachim, two pages, 8vo, n.p., n.d. (annotated 1872 in another hand), to Mrs. Benzon, in German. Joachim politely declines an invitation, writing 'On Sunday, to celebrate the 200th (!) Monday Popular Concert, there is a dinner I can't miss. I had suggested another day but unfortunately Sunday is the only day that suits everyone involved and so I respond to your kind message as to whether I will come to your dinner with 'no', much as I would appreciate the opportunity to correct my lack of dependability and punctuality!', however further adding that he still hopes to be able to come 'since Chappell's dinner is at 6 o'clock; I can make my evening visit to you afterwards' and concluding by mentioning that he has been back to Edinburgh and is now going to Brighton. A couple of very minor, small traces of former mounting, VG The Monday Popular Concerts, which were begun in 1858 and held at St. James's Hall, London, were among the most influential 19th century musical events and attracted the finest British and international musicians, among these Joachim, who was an annual visitor to England from 1862 onwards. His appearance at the Monday 'Pops' and other concerts in London and the main provincial towns was a regular feature of British musical life. Provenance: From the Pencarrow Collection previously sold at Sotheby's, 8th December 1999 (lot 193) where acquired by Dr. Chonon Elkan Lewis (1931-2020) English physician, violinist and composer, appointed Honorary Physician to the musicians of the Philharmonic Orchestra.

JOACHIM JOSEPH: (1831-1907) Hungarian violinist, conductor and composer. A.L.S., Joseph Joachim, on two sides of a printed correspondence card, Charlottenburg, Berlin, 11th June n.y., to a lady, in German. Joachim writes, in full, 'Your gracious invitation along with the inviting picture - who could resist? Hopefully the Excellencies won't disturb our cosy get-together, so we can enjoy our friend Bruch'. VGMax Bruch (1838-1920) German Romantic composer who wrote more than 200 works including three violin concertos.

RUBINI GIOVANNI: (1795-1854) Italian Tenor. The major exponent of the bel canto era of Bellini and Donizetti. Rubini´s upper register was exceptional as he could effortlessly go up to a "ringing" high F. Favourite tenor of Bellini, he was the creator of Arturo in Bellini´s opera I Puritani in 1835. A.L.S., `Gio. Batti Rubini´, one page, 4to, Milan, 3rd July 1852, to Sr. Torri, in Italian. Rubini announces to his correspondent the arrival of `my very good and old friend the famous Maestro and Music composer Capecelatro, who will wish that you, as a wise and full of knowledge man, advise him on everything that he will explain to you in person´, further saying `I expect from you your best advices as the gallant man you are´. Rubini also reports his immediate future plans, having to leave Milano tomorrow, regretting not having the chance to meet him before but promising that will return before the end of the month and that the first thing he will do is visiting him, and ends sending his best regards and on behalf of Adelaida. Overall creasing and two small foxing stains. Bottom corner paper loss, cleanly trimmed, not affecting the text or signature. G                                                      Vincenzo Capecelatro (1815-1874) Italian ComposerAdelaide Comelli-Rubini (1796-1874) Italian Mezzo Soprano, wife of Giovanni Rubini.

MALIBRAN MARIA: (1808-1836) Spanish Mezzo-Soprano. Rare A.L.S., `Malibran´, three pages, 8vo, `Passing via Bristol on my way to Exeter´, n.d. 1829, to Baron Denniée, in Paris, in French. A young 21 years old Malibran sends an amusing letter, explaining first her near future timetable `Nous partons demain pour Exeter… Nous serons le 24 en chemin pour Paris. Nous serons le 26 a Calais´ ("We leave tomorrow to Exeter… We will be on our way to Paris the 24th. We will be at Calais the 26th"), further saying that she expects a charming letter from his correspondent and blame him in a funny way, stating `Je vous prie d´adresser une lettre pour moi a l´hotel Meurice, dans laquelle apres m´avoir dit toutes les jolies choses que vous savez si bien dire sans avoir l´air de vous en apercevoir… je termine ma lettre en vous disant que vous êtes un villain, qui n´avez pas voulu me répondre. Je vous ai écrit de Gloucester, de Chester, de tous les coins du monde… mais il parait que l´année n´est pas favorable aux gens qui se dédient a la litérature, aux beaux arts, et qui se dédient comme moi de la maniere la plus dévouée au style épistolaire… Hum!!´ ("Please send a letter for me to the Hotel Meurice, in which, after having told me all the pretty things that you so well know how to express without seeming to notice it… I will end my letter by telling you that you are a villain, who did not want to answer me. I have written to you from Gloucester, from Chester, from all over the world... but it seems that the year is not favourable to people who dedicate themselves to literature, to the fine arts, and who, like me, dedicate themselves in the most devoted manner to the epistolary style… Hum!!" Before concluding, Malibran refers to her own foolishness, saying `Savez vous ce qui me gene toujours au moment de finir vos lettres? C´est d´être oblige de signer Malibran a la suite de toutes les bêtises du monde´ ("Do you know what always bothers me when finishing your letters? It is to be forced to sign Malibran following all my foolery") With addressee to the verso, with post ink stamps. Letters of Maria Malibran are rare and very desirable after her early death at the age of 28. Very small minor creasing and a very small hole to the third page as a result of the letter opening, not affecting the text or signature. G to VG

PAVLOVA ANNA: (1881-1931) Russian prima ballerina, remembered for her creation of the role of The Dying Swan. A good vintage signed and inscribed sepia 9.75 x 7 photograph of Pavlova in a full-length pose in costume from The Dying Swan. Signed in dark fountain pen ink to a clear area of the image and dated 1929 in her hand. Signed photographs of Pavlova of this size, and depicting the dancer in her most famous role, are scarce and desirable. Some light silvering to the edges of the image and a couple of heavy creases and one closed tear to the right edge. Possibly mounted to card, although unexamined out of the original dark wooden frame, measuring 12 x 8.5 overall. G The Dying Swan is a solo dance choreographed by Mikhail Fokine to Camille Saint-Saen's Le Cygne from Le Carnaval des animaux as a piece d'occasion for Pavlova, who performed it around 4,000 times. The short ballet, of four minutes, follows the last moments in the life of a swan, and was first presented in St. Petersburg, Russia, in 1905.

PIUS IV: (1499-1565) Pope of the Catholic Church and Ruler of the Papal States 1559-1565. Born Giovanni Angelo Medici. A member of the Milan branch of the Medici family. An extremely rare L.S., signed twice, `Concessimus ut petitur in presential D.[ominum] N.[ostri] P.P. Jo. A. Card[inal] de Medicis´, and below `Concess[imus] Jo. A. Card[inal] de Medicis´, in his capacity as Cardinal and Prefetto della Signatura di Grazia, one page, 4to, dated in Rome `Dat[um] Roma Apud s[an]ctum petrum quartodecimo Kal[endis] octobr[is] Anno quinto´, 18th September 1554, in Latin. The document is a Papal Motu Proprio, issued by Pope Julius III, who most probably and due to his advanced age, he would day six months later, submits it to Cardinal Giovanni di Medici, future Pope IV, who signs and approves it. By this document, the Pope responds to a request received from the parishioners of the Church of Santa Maria Annunziata of Vedrana, related to some ecclesiastic grants they claim against the decision of Giovanni Della Casa, who was about to become appointed Archbishop of Benevento. The document states in part `Motu Proprio - Bea[tissi]mo p[ater]…semper parrochiali Ecclesia nuncupate S[an]cte Marie de Vedrana Bononiensi diocesis quondam devota modernus Archiepiscopus Benevento…´ The Pope agrees with the parishioners and dictates against the poet Della Casa. Documents signed by Pius IV, whether as Pope or Cardinal, are extremely rare and desirable. Very small age wear with only right edge very slightly trimmed and upper edge uneven, otherwise G to VG    A Motu Proprio is a will granting certain privileges.Jules III (1487-1555) Pope of the Roman Catholic Church 1550-55.Giovanni Della Casa (1503-1556) Italian Poet from Florence and Diplomat. Best known for his work "Il Galateo overo de´ costume" (1558). A courtesy book which enjoyed huge success and influence. Della Casa pursued a prestigious career in the Church, and even rose to become Archbishop of Benevento in 1554, the year of the present letter. Pope Paul III (1468-1549) nominated Della Casa Papal Nuncio to Venice. And it was precisely in a Palace on the Grand Canal that he made the encounter with the poets, artists, and nobility of Venice. But with the death of his Farnese protector and the election of the successor Giulio III, Della Casa decided to leave Rome and disappointed for not having been elevated to Cardinal, he retired to a reflective life of writing and reading. It is during these years, 1551 to 1555, date of the present letter, that he wrote his Galateo

INNOCENT IX: (1519-1591) Pope of the Catholic Church and ruler of the Papal States fin 1591. His papacy lasted only two months, one of the shortest ever. Born Giovanni Antonio Facchinetti. Extremely rare L.S., only three documents signed by him have ever been recorded in private hands, signed `G.A. Car.l S.ti-Quattro´, (“G.[iovanni] A.[ntonio] Car.[dina]l S.[an]ti-Quattro”), Cardinal of the Roman Basilica Santi-Quattre-Coronati,one page, folio, Rome, 24th September 1588, addressed to the Vice-Legate of Bolonia, in Italian. The future Pope Innocent IX tries to appoint the uncle of one of his subordinates, member of the powerful Inquisition, into the “Compagnia de Salaroli”, stating in part `Intendo che alli mesi passati Messer Evangelista Salicini, zio di Mons.r Salicini che fatica (sic-lavora assidumente) nel S.t Officio, renuntiò il luogo del numero de gli honorevoli huomini della Compagnia de' Salaroli a Ms Hercole, suo figliolo, il quale hora è passato da questa vita  et desiderando esso Ms Evangelista rihaver in persona sua il detto luogo, che per cento et più anni è stato in diverse persone della sua Casa, ritrova in ciò difficoltà per molte prattiche fatte in servitio d'un fumante, ch'è - siccome mi vien detto - incapace del luogo per i Statuti della Compagnia..´ (“I mean that Messer Evangelista Salicini, uncle of Mons.r Salicini who works assiduously in the S.t Officio, takes the place and number of the honoured man of the Compagnia de 'Salaroli, Mr Hercole, his son, who has now passed away from this life and since he wishes Ms Evangelist to have in his own person the said place…”) The letter bears to the verso a paper seal affixed, and alongside a draft manuscript in the hand of Anselmo Dandini which was going to be his response to Innocent IX. According to this draft letter, Dandini was pleasing Innocent IX request. Small overall age wear, otherwise G The present letter is addressed to the Vice-Legat of Bolonia, Anselmo Dandini (1546-1608) Jurist and former Apostolic Nuncio in France. Dandini was replacing Alessandro Damasceni Peretti (1571-1623) a nephew of Pope Sixtus V, and future Cardinal at the early age of 14. Well remembered for his impressive bust done by Gian Lorenzo Bernini. Giulio Cesare Salicini (1541-1606) Jurist and member of the Inquisition. Bishop of Rimini from 1591. The Company Salaroli was founded in 1376 and was the original producer, and still is at today´s date, of the worldwide famous Mortadella of Bolonia.

CLEMENT XIII: (1693-1769) Pope of the Roman Catholic Church and Ruler of the Papal States 1758-69. One of the few early Popes who favoured dialogue with Old Catholic Protestants. Rare L.S., `C Cardinale Rezzonico´, one page, 4to, Padova, 13th October 1754, to Pietro Paolo Franchini in Verona, in Italian. The future Pope, states in part `In quanto poi alle persone de Sacerdoti, o altri Preti, o Chierici esistenti nella giurisdizione Abbaziale, ne attendo in foglio a parte dal suo zelo il vero carattere, e il loro costume, per poter pigliar regola, o di lodarli, o di correggerli; essendo cosa difficile in un solo giorno, i coprirne, e vile…´ (“As for the Priests, or other Priests, or Clerics existing in the jurisdiction of the Abbey, …in order to be able to rule, or to praise them, or to correct them; being difficult thing in a single day...”) Paper with Papal watermark. With blank integral leaf. Accompanied by the original envelope bearing a paper seal affixed. Small overall creasing, otherwise G

PAUL VI: (1897-1978) Pope of the Roman Catholic Church 1963-78. A very fine, attractive and unusual Letter Signed by Paul VI as Pope, `Paulus P P. VI´, two pages, large 10.5 x 15.5 folio, Rome, Saint Peter, 20th December 1965, to Americo Deus Rodrigues Thomaz, in Latin. The Pope congratulates his correspondent on the occasion of his re-election as President of Portugal, stating in part `On August 9th of this year, you were re-elected President of the Republic of Portugal, and you will continue until the year 1972. As we express our gratitude for this announcement, … we pray to the merciful God that the gift that has been conferred on you be of great honour, so that it happily redounds to the good of the Portuguese people. Now as it is written in your letter, it will be the responsibility of your conscience to ensure that public relations between the Portuguese Republic and the Apostolic See remain secure not only now, but also in the future´ Paper with a papal watermark. With blank integral leaf. Accompanied by the original large 11 x 8 envelope, bearing to the verso a large papal paper seal affixed in excellent condition, stating “Paulus VI - Pont-Max”. EX Americo Tomas (1894-1987) Portuguese Navy officer and Politician who served as President of Portugal for sixteen consecutive years, 1958-74.

BELLARMINE ROBERT: (1542-1621) Saint of the Catholic Church, canonized a saint in 1930. Italian Jesuit and Cardinal of the Catholic Church. Very rare A.L.S., `Il Card.le Bellarmino, Protettore de´ celestini´, one page, 4to, Rome, 24th August 1617, Saint Robert Bellarmino, who was at the head of the Order of the Celestines, gives his permission to a Neapolitan monk who has to travel to Rome, and states in part `…dritto al monastero di S.to Eusebio, dove habita il molto R.do Padre Abbate, don Celso Romano, Procurator generale delli Celestini..´ (“..straight to the monastery of Saint Eusebio, where the very Reverend Father Abbot, Don Celso Romano, General Procurator of the Celestines lives..”) With blank address leaf in Bellarmine´s hand. Overall age wear, toning, and small staining, with a tear to the centre as a result of the opening, not affecting the text or signature, and uneven right edge. Considering the age of the document, about G The Celestines were a Roman Catholic monastic order founded in 1244, a branch of the Benedictines. At the foundation of the new rule, they were called Hermits of St Damiano, or Moronites, and did not assume the appellation of Celestines until after the election of their founder, Peter of Morone (Pietro Murrone), to the Papacy as Celestine V. Due to the political reforms movements and to the French Revolution, the Order of the Celestines is now disappeared. 

SAINT VINCENT DE PAUL: (1581-1660) French Catholic Priest. Venerated both in the Catholic Church and the Anglican Communion. Canonized in 1737 by Pope Clement XII. Vincent de Paul is known for his humility and for serving the poor. Extremely rare L.S., `Vincent de Paul I.[ndigne] P.[retre] d[e] l[a] M[ission]´, (''Vincent de Paul, Unworthy Priest of the Mission''), with two additional words to a correction in his hand, three pages, 8vo, Paris, 14th June 1658, to the Superior of Firmin Get, in French. Saint Vincent de Paul refers to the ships going to Algeria and refers to Algiers, to Marseille, Tunisia, to the slaves and as usual to funds which could help the slaves and the convicts, and states in part `..j´estime comme vous qu´il n´y a'rien a espérer du côté de la ville de Marseille pour l´entreprise d´Alger. Il faut attendre de la Providence seule ce qu´il lui plaira d´en ordonner. Je vous prie de me mander le temps précis que partira la barque de M. Roman et s´il ne s´en prépare point d´autre. Je vous dirai au premier jour, comme j´espere, celui que nous aurons choisi pour aller négocier la décharge du consul´ (“I believe like you that there is nothing to hope from the side of the city of Marseille for the project of Algiers. We must expect from Providence alone what it pleases to order. Please let me know exactly when Mr. Roman's boat will leave and if there is no other in preparation. I will tell you on the first day, as I hope, which one we will have chosen to go and negotiate the discharge of the consul”) Saint Vincent de Paul further refers to payments to release slaves and convicts and to the honest persons he trusts for such negotiations and states in part `Je voudrais bien lui remettre l´argent qui vous reste pour le rachat de deux basques; mais celui qui fait ici pour eux nous a dit de ne pas le faire sans son avis, que nous attendons. Celui que nous enverrons a Alger pourra conduire cet argent et le délivrer aux esclaves même´ (“I would like to give him the money you have left for the purchase of two Basques; but the one who handles the matters here for them told us not to do it without his advice, which we are waiting for. The person we will send to Algiers will be able to take this money and deliver it to the slaves themselves”) With address leaf. Few stains not affecting the signature and very little the text which remains fully and easily legible. Accompanied by a full transcription of the letter. G to VG Firmin Get (1621-1682) Superior of the Mission in Marseille.

ESCRIVA DE BALAGUER JOSE MARIA: (1902-1975) Spanish Roman Catholic priest who founded the Opus Dei in 1928. Canonized in 2002 by Pope John Paul II. Rare A.L.S., `Jose M Escrivá de B´, two pages, 5.5 x 4 card, (14.5 cm x 10.7 cm), Rome, 21st March 1957, on his printed stationery with his name to the heading “Mons. Jose Maria Escriva de Balaguer”, in Spanish. On a boldly and carefully written text in dark blue ink, Escriva in the third person, states `Abraza cariñosamente a Mons. Palarzini, agradece su afectuosa felicitación, le ruega que felicite a Mons. Giuseppe, y le asegura que tiene muy presente cada dia - en sus pobres oraciones - la persona y las intenciones de Mons. Pietro´ (“He affectionately embraces Msgr. Palarzini, thanks him for his affectionate congratulations, asks him to congratulate Msgr. Giuseppe, and assures him that every day - in his poor prayers - he keeps in mind the person and good intentions of Msgr. Pietro”) VG to EX

CASANOVA GIACOMO: (1725-1798) Italian Author and Adventurer. An excellent and lengthy A.L.S., `Giacomo Casanova´, with his full name, three pages, 4to, Dux, 11th January 1790, to Count Antonio Collalto ('Your Excellency, my Beloved Patron'), in Italian. Casanova thanks his correspondent for his letter which he has just received and states in part `.. especially interesting seems to me the election of Counselor to your Excellency of Count Odoardo, your dignified son. An appointment which grants a noble and wise member to the senate.´ Casanova further refers to Prince Ruspoli and makes an amusing comment `…considering that Bacchus and Mars have never been my favourite divinities..´ Further again, Casanova mentions a new he has received related to Mirabeau, and expresses his contempt for the French author, stating `I have received today the news that the bestial Mirabeau, chief of the rebels assassins who dethroned the Christian King, is dead as a result of the wounds received on a duel. This death distresses me because I had the hope of meeting him somewhere, kill him and watch him die. He is an infamous writer who has dishonoured crowned heads and famous writers, and among them our illustrious Abbot Boskovitch who he treats as an ignorant.´ Before concluding, Casanova comments on the Emperor´s health stating `I wish that His Majesty the Emperor and King will recover his lost health and that he will enjoy it for long without having any further troubles, surrounded by his loyal servitors, listening to the good advices he receives from the wise people who abound in his court.´ Some very light overall age wear and very small stain to the third page edge, not affecting the text or signature, otherwise about VG     Count Antonio Collalto - Italian Nobleman and Military officer. Patron of Casanova. Translation into French of the paragraph referring to Mirabeau. « J'ai reçu aujourd'hui la nouvelle que le bestial Mirabeau, chef des rebelles assassins qui ont détrôné le roi très chrétien est mort des blessures reçues en duel. Cette mort m'afflige parce que j'avais l'espoir de le rencontrer quelque part et de le voir mourir de ma main. C'est un écrivain infâme qui a déshonoré des têtes couronnées et des écrivains fameux, parmi lesquels notre illustre abbé Boskovitch, qu'il traite d'ignorant » N.H. Odoardo, son of Count Antonio Collalto. Member of the Major Council of Venice 1789-90Honoré Gabriel Riqueti, Comte de Mirabeau (1749-1791) French Writer and an early Leader of the French revolution. President of the National Constituent Assembly 1791. A successful orator who became the voice of the people.Mirabeau did not die in January 1790 as Casanova comments. The duel death announced a year earlier than his real death date was one of the many fake news that circulated during the Revolution years. Roger Joseph Boscovich (1711-1787) A Polymath from the Republic of Ragusa. An extremely interesting life the one of this Jesuit Priest, also Physicist, Astronomer, Philosopher, Poet, Diplomat.. Boscovich made multiple contributions to astronomy. He discovered the absence of atmosphere on the moon in 1753.Joseph II (1741-1790) Holy Roman Emperor 1765-90. The Emperor did not recover as Casanova was wishing and died only a month later.

TRUMBO DALTON: (1905-1976) American screenwriter of Roman Holiday (1953) and other Hollywood movies, Academy Award winner. Trumbo was one of the Hollywood Ten and refused to testify before the House Un-American Activities Committee in 1947 during their investigation of alleged Communist influences in the motion picture industry. Book signed, being a hardback edition of Hollywood on Trial by Gordon Kahn, First Edition published by Boni & Gaer, New York, 1948. Signed by Trumbo in blue ink with his name alone to the front free endpaper and also signed by Adrian Scott (1911-1972) American screenwriter and film producer, one of the Hollywood Ten who was blacklisted by Hollywood movie studio bosses. Further signed by Gordon Kahn (1902-1962) American author and screenwriter who was blacklisted during the McCarthy era. Signed ('Gordon Kahn') in black fountain pen ink to the title page. Bound in grey boards with dark green title to the cover and spine. Lacking the dust jacket. Some light age wear and a few small tears and scuffing to the upper and lower edges of the spine, otherwise about VG

MADAME ROLAND: (1754-1793) Born Marie-Jeanne Philipon, also known as Manon Roland de la Platiere. French Revolutionary salonniere and Writer. She was the first Girondin to be arrested during the reign of terror and guillotined. Very rare A.L., signed with a small flourish, two pages, 8vo, in French. Manon sends a letter full of spicy comments, stating in part `Si j´étais dans une disposition caustique, je vous dirais que je vous fais passert trois lettres: d´une bégueule, l´autre d´un pédant, la troisieme d´un cadet de famille. Mais a la campagne on est pacifique, on pardonne aux sots; et partout on plaint les malheureux cadets. Silence donné! J´y consens, et c´est prudent; car je pourrais en dire long sur cette niece qui exhorte a pousser sa tante et qui pourrait si bien le faire elle même. J´imagine que vous n´attendrez plus rien de toute cette…´ (“If I was in a caustic disposition, I would tell you that I pass you three letters: one from a prude, the other from a pedant, the third from a cadet. But in the countryside we are peaceful, we forgive fools; and everywhere people pity the unfortunate cadets. Silence given! I consent to it, and it is prudent; because I could say a lot about this niece who urges to push her aunt and who could so well do it herself. I imagine that you will expect nothing more from all this..”) Madame Roland, known as “Madame”, says before concluding `Adieu, le soleil m´a fait mal a la tête,…. et je pleure comme un enfant. J´ai encore le coeur et l´esprit tous neufs pour les romans´ (“Goodbye, the sun gave me a headache,…. and I cry like a child. I still have a brand new heart and mind for novels..”) Overall age wear and small creasing, otherwise G

MATA HARI: (1876-1917) Gertrud Margaretha Zelle being her real name. Dutch exotic Dancer, with stage name Mata Hari, who was convicted of being a spy working for Germany during World War I. She was executed by firing squad in Paris. A rare and excellent A.L.S., `Mata Hari´, four pages, 8vo, n.p., [Paris], 24th June [1908], on the Hotel Majestic, Paris, printed stationery, to Monsieur Gerson, in French. Mata Hari refers to her engagements with theatres and states in part `J´ai réfléchit et je trouve preferable de ne pas signer un engagement avec Marigny dans ces conditions… pour l´hiver où je veux faire mes nouvelles creations sur les contes persanes´ ("I have thought about it and I find it preferable not to sign a commitment with Marigny under these conditions… in winter, I want to do my new creations on Persian tales´, further referring to the money she is expecting to receive from Germany, saying `Vraiment il n´y est plus personne a Paris. J´attends mon argent de Berlin et je pense qu´il vaut mieux partir pour rester tranquilles chez moi…´ ("Really, there is no one left in Paris. I'm waiting for my money from Berlin and I think it's better to leave and stay quiet at home..") To a postscriptum, Mata Hari adds `Je pense que le contrat a un truc pour me faire danser seulement 8 jours. Je préfere débuter dans Septembre´ ("I think that the contract has a trick to make me dance only 8 days. I prefer to start in September") Extremely small creasing, otherwise VG

MATA HARI: (1876-1917) Gertrud Margaretha Zelle being her real name. Dutch exotic Dancer, with stage name Mata Hari, who was convicted of being a spy working for Germany during World War I. She was executed by firing squad in Paris. Rare signed and inscribed large cabinet card 7.5 x 12 photograph (18.8 cm x 30 cm), `Mata Hari´, Monte Carlo, a bold ink attractive signature. The prestigious Atelier Ernst Schneider attractive image, of Berlin, depicting the artist standing in a full-length pose and wearing a gala dress. Signed to the bottom right corner of the image. The inscription and location are partially uncomplete. Age wear to the card edges with very small scratches, otherwise G 

VANDERBILT GLORIA: (1924-2019) American artist, author, actress, fashion designer, heiress and socialite, particularly noted as an early developer of designer blue jeans. A.L.S., with her initial G, on two sides of her personal printed folding letter card, n.p. (New York), 17th April 1990, to Tessa Kennedy. Vanderbilt informs her friend that she has finally moved to 67 East 91st Street in New York, and also provides her with the telephone and fax numbers, further adding 'I wanted to share the enclosed with you'. Accompanied by the original envelope hand addressed by Vanderbilt. Together with the original enclosure, a photocopy of a letter to Gloria Vanderbilt from J. John Mann, Professor of Psychiatry at the University of Pittsburgh, concerning Vanderbilt's son, Carter Cooper, who had committed suicide at the age of 23. Also including Oscar de la Renta (1932-2014) Dominican fashion designer. Ink signature ('Oscar de la Renta') on a printed correspondence card from Harry's Bar in London, further adding his New York address and telephone numbers etc. beneath his signature. One light vertical central fold to De la Renta's card, otherwise VG, 2 Tessa Kennedy (1938-     ) British interior designer whose second husband was Elliott Kastner (1930-2010) American film producer.

‘There was something bewildering, yet interesting in the scene which lay before us’CARTER HOWARD: (1874-1939) British archaeologist and Egyptologist who discovered the intact tomb of Tutankhamun in November 1922. An important typed manuscript, unsigned, with numerous corrections and annotations in Carter's hand, in pencil and ink, ten pages, 4to, n.p., n.d. (1933), being the working manuscript of chapter three ('The Annexe') of Volume III of Carter's work The Tomb of Tutankhamun (1933). The manuscript explains the thrilling moment in which Carter's party enters the crucial section of Tutankhamun's tomb, in part, 'Strange and beautiful objects call for wonder and praise, conjecture and fair words - but are they not all signs of the thought and progress of the Age to which they belong?......In contrast to the comparative order and harmony of the contents of the Innermost Recess, we find in this last chamber - the Annexe - a jumble of every kind of funerary chattel, tumbled any way one upon the other, almost defying description. Bedsteads, chairs, stools, footstools, hassocks, game-boards, baskets of fruits, every kind of alabaster vessel and pottery wine-jars, boxes of funerary figures, toys, shields, bows and arrows, and other missles (sic) all turned topsy-turvy. Caskets thrown over, their contents spilled: in fact, everything in confusion……To exaggerate the confusion that existed would be difficult. It was but an illustration of both drama and tragedy…..Two days of somewhat strenuous work had to be spent in clearing the way to the little doorway…..The southern end of the Antechamber, where the doorway is situated, was occupied by a number of large roof sections of the dismantled sepulchral shrines that had shielded the sarcophagus……The doorway of this Annexe, only 51 inches high, and 37 inches broad, had been blocked up with rough stones and plastered over on the outside. The plaster while still wet had received numerous impressions of five different sepulchral-seals of the king…..The history of this little room may have been unfortunate, but never the less romantic. There was something bewildering, yet interesting in the scene which lay before us. The incongruous medley of material jostled in wanton callousness and mischief concealed, no doubt, a strange story if it could be disclosed. Our powerful electric lamp threw a strong mass of light upon its crowded contents…..The blaze of light illuminated strange objects…..Here a vase and there a tiny figure gazing at one with forlorn expression. There were weapons of various kinds…..a boat of alabaster, a lion, and a figure of a bleating ibex. Here a fan, there a sandal, a fragment of a robe, a glove! - keeping odd company with emblems of the living and of the dead. The scene, in fact, seemed almost as if contrived, with theatrical artifice, to produce a state of bewilderment upon the beholder. When one peers into a chamber arranged and sealed by pious hands of the long past, one is touched filled with an emotion: it seems as if the very nature of the place and objects enforce and hush the spectator into noiseless silent reverence. But here in this chamber, however, where nothing but confusion prevailed, the sobering realization of a prodigious task that lay before one, took the place of that emotion……..Tradition holds that in burial custom each article belonging to tomb equipment has it prescribed place in the tomb. However, experience has shown, that no matter how true the governing conventions may be, seldom have they been strictly carried out……The foregoing are but Such were the general facts and impressions gathered during this final part of our investigations in the tomb……Nothing can ever change the fact that we have undoubtedly found evidence in this tomb of extreme felicity mingled with want of order and eventual dishonour. This hypogeum, though it did not wholy (sic) share the fate of its mightier and kindred mausoleums, it was nevertheless robbed, twice robbed, in Pharaonic times……I am also of the belief that both robberies took place within a few years after the burial. Facts such as the transfer of Akh-en-Aten's mummy, from its original tomb at El Amarna to its rock-cut cell at Thebes, apparently within the period Reign of Tut.ankh.Amen……throw considerable light upon the state of affairs in the royal necropoli at that Age……In any case the evidence afforded by those two burials and by this tomb, prove how the royal tombs suffered even within their own Dynasty. The wonder is how it came about that this burial, with all its riches, escaped the eventual fate of the twenty-seven others in the Valley'. Three of the pages feature relatively lengthy holograph additions to the text and to the verso of the ninth page Carter has drawn two pencil sketches of tomb complexes. An exceptional manuscript. Some light overall age wear and two file holes to the left edge of each page, causing a few small tears and paper loss, none of which affect the text. About VGCarter's drawings of the tomb complex were published in The Tomb of Tutankhamun (KV 62) : Supplementary Notes, (The Burial of Nefertiti? III) by Nicholas Reeves, the British Egyptologist, as part of the Amarna Royal Tombs Project, Valley of the Kings, Occasional Paper No. 5. In the article Reeves provides an explanation of Carter's drawings 'Although at first glance this sketch might appear to record Carter's ruminations on the location of additional chambers within KV 62, a moment's reflection will indicate that this is not the case. The typescript on the reverse of which this drawing was made almost certainly post-dates Carter's failed investigation of the left-hand side of room J's north wall-meaning that, by the time the sketch was made, Carter's hopes of KV 62 being a larger tomb were already in the past……[the] document is a casual attempt to illustrate, for persons unknown, how the Annexe and Treasury within KV 62-pictured in the centre of the sheet-relate to a full-sized royal tomb. The tomb Carter here chose as example, and sketched above KV 62, was WV 22 (Amenhotep III), drawing in neat dotted line the chambers present in that earlier tomb which were missing from the tomb he had found; obviously thrown in as an aside-as reflected in the sloppiness of the line-was Carter's acknowledgement of other chambers running off from the WV 22 burial chamber and of no particular relevance to what he was then attempting to describe.'

BARNARD CHRISTIAAN: (1922-2001) South-African cardiac Surgeon who performed the world´s first heart transplant and the first in which the patient regained consciousness. Signed 3.5 x 5.5 photograph `Chris Barnard´, the image showing the South-African surgeon in a head and shoulders pose. Signed in bold black ink to a clear area of the image. Accompanied by the original envelope posted from Cape Town. VG

CAPABLANCA JOSE RAUL: (1888-1942) Cuban chess player, World Chess champion 1921-27. T.L.S., Capa, one page, 4to, Havana, Cuba, 30th June 1940, to his second wife Olga Chagodaev ('Ma chere Kikiriki'), in French and English, on the printed stationery of the Hotel Packard. Capablanca states that his wife's letter arrived yesterday evening and that he is pleased she is settled and with new furniture ('Because you know how well I like clean things and old furniture always has a dirty air about it'), adding that he has written a letter to the bank, who will take care of payments, and further discussing domestic plans in New York, 'The arrangement that you made is good: you will have the month of July to arrange the apartment, without paying for anything. For the rugs, I believe that one must buy them in New York also. I believe you should have a carpet for the bed room and a rug for the living room…..Take it easy about fixing up the apt., now that you have where to put the furniture you can take your time. Should you be invited to spend a week-end somewhere by some Lady friend of yours, go ahead and take a rest. Do not forget to have a clause in the contract that in case we go away some where (sic), we have the right to sublet the apt. I hope that it will not happen, but we should be prepared for any eventuality'. Accompanied by the original envelope. VG

AUTOGRAPH ALBUM: A good 8vo leather bound Writing Album containing several hundred signatures by a wide variety of famous men and women, all acquired by Mary Plumpton Beck, wife of Captain Frank Beck, in the early 20th century, including King George V (1865-1936) King of the United Kingdom 1910-36, signed ('George P') as Prince of Wales and dated at York Cottage, Sandringham, 14th October 1905 in his hand, with an epitaph in an unidentified hand immediately beneath, dated at Sandringham, 20th January 1936, and headed Sportsman and King, King Haakon VII (1872-1957) King of Norway 1905-57, Maud of Wales (1869-1938) Queen consort of Norway, wife of King Haakon VII and the youngest daughter of King Edward VII and Queen Alexandra, A.Q.S., Maud, in full, 'Thought is deeper than all speech, Feeling deeper than all thought', dated at Appleton [House], 10th December 1906, King Olav V (1903-1991) King of Norway 1957-91, son of King Haakon VII and Maud of Wales, Michael Ramsey (1904-1988) English Anglican bishop who served as Archbishop of Canterbury 1961-74, an unusual A.Q.S., Michael Ramsey, in both Greek and Roman script, beginning 'Stranger; Life is a fair inn to all, for she loves children and travellers-by-night alike…..', dated 31st July 1928, Alexandra of Denmark (1844-1925) Queen of the United Kingdom 1901-10, wife of King Edward VII, A.Q.S., Alexandra, in full, 'Let not yr. heart be troubled, neither let it be afraid', dated Sandringham, 24th March 1907 in her hand, Maria Feodorovna (1847-1928) Princess Dagmar of Denmark, sister of Queen Alexandra and Empress of Russia 1881-94 as wife of Emperor Alexander III, A.Q.S., Maria Feodorovna, taken from Psalm 149:4, in full, 'He will beautify the meek with salvation', dated Sandringham, 24th March 1907, Mabel Hervey (1860-1939) Wife of Rev. Canon Frederick Hervey of Sandringham, Bryan Godfrey-Faussett (1863-1945) British Naval Captain and Courtier, a friend of King George V, serving as his naval aide-de-camp 1915-18 and later as Equerry-in-Ordinary, and his wife Eugenie Fanny Eveline Dudley Ward (both A.Qs.S., each dated 28th January 1908), Princess Victoria (1868-1935) Daughter of King Edward VII and Queen Alexandra, Two A.Qs.S., Victoria, the first stating, in full, 'Hope shall brighten days to come and memory guild the past', dated at Sandringham, 3rd August 1905 in her hand, the preceding page featuring an autograph verse signed by the Princess with her initial V, in full, 'There is so much good in the worst of us, There is so much bad in the best of us, That it ill becomes the most of us, To say what we think of the rest of us', dated 30th April 1916 in her hand, Nikolai Faberge (1884-1939) Son of Peter Carl Faberge and grandson of Gustav Faberge, jeweller and founder of the House of Faberge, Autograph Statement Signed, N. Faberge, in full, 'May you be assured that these were the happiest and most enjoyable X-mas holidays I've had since I left my country 5 years ago', dated 31st December 1907 in his hand, Frank Beck (1861-1915) British land agent to the British royal family, instrumental in the formation of the Sandringham Company of Volunteers. Under his leadership the unit fought in the Gallipoli Campaign of 1915 and, during a battle there, Beck and many of his men went missing, presumed killed. Beck was portrayed by David Jason in the film All the King's Men (1999) which depicted the formation of the Sandringham Company and its fate. An extremely rare fountain pen ink signature and inscription, 'To my wife, A good woman whose words are those of wisdom, Her deeds are better than pearls, Frank Beck', dated Easter Day, 1905, in his hand, Archie MacLaren (1871-1944) English cricketer who captained the England cricket team, Henry Sylvester Stannard (1870-1951) British watercolour artist whose patrons included the British Royal family. An attractive original watercolour painting (6 x 3.5) signed in the lower left corner and neatly mounted to the centre of the page, additionally titled and signed beneath, '…..closing day, Light at evening time', H Sylvester Stannard', as well as many other signatures of family, friends and acquaintances of Captain Frank Beck and his wife, some of potential interest given further research including some pilots and officers with the Royal Flying Corps., members of the Blackwatch (including signatures of a Blackwatch football team who played against the RFC on 21st October 1916) etc. Many of the pages are multiple signed and are accompanied by verses, quotations and a few original drawings and watercolours etc. A few pages loose and the binding also loose and with some wear and damage to the covers and spine. Generally about VG

STROUD ROBERT: (1890-1963) American Prisoner and Ornithologist, known as The Birdman of Alcatraz, and considered to be one of the most notorious criminals in American history. A.L.S., Love, Bob, Robert Stroud #594, two pages, 4to, Alcatraz, California, 6th August 1954, to his sister, Mamie Stroud. Writing in bold pencil, Stroud acknowledges receipt of his sister's letter and continues 'I also had a long sales letter from Marc this evening. The second I have had this week, but can't say that I am feeling any better about the whole situation. I do not think that he has fouled things up intentionally, that is, not consciously so, but it amounts to the same thing anyway, and the sad part of it is that he has really worked hard and spent a lot of money, but I cannot get him to carry things through to the end nor can I breaking of the bad habit of consistently lying to me, when the truth would serve his purpose a lot better. So I am still thoroughly dispirited about the whole thing. He now says that he will have the book ready to send in in November, and it will be out in the spring, but I cannot see where I am ever going to get anything out of it, so I am probably a fool for not calling the whole thing off now. Which is what I should have done years ago'. Stroud also writes of his health, 'Physically I have been feeling pretty good the last few weeks, but I have not been sleeping much. I had about four hours last night, which is the most of any night this week. I never did require a great deal of sleep, but when I do not get that little that I do require, it gets me down' and of his activities within prison, 'I have been reading all week on a French book, La Commune, which is the 4th book of a series dealing with the conditions in France leading up to, during and following the war of 1870…..This is a phase of history with which I was not very familiar, and it is one with which it would profit a lot of people in this country to be more familiar. It is from this set of circumstances that the communists take their name, although it was not until years later that the name was used in this country. Commun (spelled without an e on the end) means common in French, and what we call a city council is there called the common council or commune (spelled with an e). What we call communist today was at that time in France spoken of as members of the society international de oeuvres, or the International Society of workers. In England and the United States up until the First world war it was known as the 3rd International Trade Unions Congress. In 1871 the city of Paris, disgusted with 21 years of treason and inefficiency which led to defeat by Germany……refused to give up its arms and fought a war against the national government, and many of the disgraceful conditions that led to that cruel and bloody impasse exist in this country today. The difference being Paris, which is different from any other city in the world, because for a thousand years it has attracted to it the most independent thinkers of the world, who have always been ready to fight for their rights….' Also signed in the return address panel at the head of the first page. VG Stroud served seventeen years of his life imprisonment at Alcatraz from 1942-59 and was allowed access to the prison library where he began studying law.

PURVIS MELVIN: (1903-1960) American law enforcement official and Federal Bureau of Investigation (FBI) agent who captured more designated public enemies than any other agent. D.S., Melvin H. Purvis, being a signed cheque, Kalamazoo, Michigan, 15th April 1943. The partially printed cheque, completed entirely in Purvis's hand, is drawn on the First National Bank and Trust Co. and made payable to Philip A. Willcox for the sum of $14. The perforated bank cancellation does not affect the signature. Encased ('slabbed') in clear plastic and certified by PSA/DNA with a NM-MT 8 grade. One very light vertical fold to the centre, otherwise EX

HOOVER J. EDGAR: (1895-1972) American law enforcement administrator, the first Director of the Federal Bureau of Investigation (FBI) 1924-72. T.L.S., J. Edgar Hoover, one page, 4to, Washington D.C., 23rd April 1964, to Major General George J. Richards, on the printed stationery of the Federal Bureau of Investigation. Hoover states that he has received his correspondent's letter 'requesting a representative of this Bureau to address the Cumberland Valley Chapter of the Retired Officers' Association' and continues to explain 'While I would like to be of assistance, the official schedule of my associates who normally speak on the topic of communism precludes their accepting additional commitments in the foreseeable future.' Together with a carbon typed copy of Richards's original letter to Hoover, dated 20th April 1964. Some very light, minor creasing to the right edge and one very light stain just affecting the conclusion of Hoover's signature. About VG, 2

PIERREPOINT ALBERT: (1905-1992) English hangman, responsible for the execution of 200 people who had been convicted of war crimes in Germany and Austria, as well as high treason, including William Joyce (Lord Haw-Haw). Pierrepoint also executed a number of high profile murderers including John Haigh, John Christie and Ruth Ellis. A good dark blue fountain pen ink signature ('With best wishes, A. Pierrepoint') on an oblong 12mo page removed from a notepad and with the red printed text 'Extra Strong Ale - For the colder nights' to the left edge. Some very light, extremely minor creasing, VG Pierrepoint ran a pub in Lancashire from the mid-1940s until the 1960s.

BURGESS GUY: (1911-1963) British diplomat and Soviet Agent, a member of the Cambridge Five spy ring that operated from the mid-1930s to the early years of the Cold War era. A rare book signed, being a hardback edition of Classics and Commercials - A Literary Chronicle of the Forties by Edmund Wilson, second impression published by W. H. Allen, London, February 1952, bearing the ownership signature ('Jim Eliot') of Burgess, using his pseudonym, in bold pencil to the front free endpaper. Also bearing the bookplate of Kim Philby (1912-1988) British intelligence officer and a double agent for the Soviet Union. The slim oblong 12mo bookplate features Philby's name ('H. A. R. PHILBY') within a decorative border and is neatly affixed to the front pastedown. Bound in the publisher's blue cloth with title to spine and with a small Foyles bookshop sticker affixed to the lower left corner of the front pastedown. Lacking the dust jacket. An interesting association copy bearing the rare signature of Burgess. Some fading to the spine and boards and with some light overall age wear, G It was Harold Adrian Russell 'Kim' Philby who, in 1935, recommended to Soviet Intelligence that they recruit Guy Burgess as an agent. Philby was also responsible for tipping off Burgess (and the spy Donald Maclean) that they were under suspicion of espionage, prompting them to defect and flee to Moscow in May 1951. In the biography Guy Burgess - The Spy who knew Everyone the authors Stewart Purvis and Jeff Hulbert write that Burgess adopted a pseudonym in order to prevent a wider knowledge of his whereabouts in Moscow, explaining 'He gave himself the first name Jim, after Jim Lees, the former miner who'd been at Trinity with him. The surname he adopted was Eliot, apparently after the female author of Middlemarch known as George Eliot. To fit with the Russian style of having a patronymic as a middle name, he should have Russianised his father's name Malcolm, but it was easier to use a character from War and Peace, Andrei, and use Andreyvitch instead. Thus Guy Burgess was also 'Jim Andreyvitch Eliot', sometimes Elliot and even Elliott'.

WRIGHT FRANK LLOYD: (1867-1959) American architect, designer & writer. Typed manuscript, unsigned, five pages, 4to, Taliesin, Spring Green, Wisconsin, August 1939, being a draft of Wright's article entitled To the Fifty-Eighth, with a number of ink corrections in Wright's hand, in part, (Wright's corrections marked in bold text), 'If printed reactions to my talks in London - no speaker really - which should HAVE reached me there x but now reach me at Taliesin mean anything, I have succeeded in getting myself pretty thoroughly misunderstood and well disliked, especially by those who should have been quick to understand me. I refer to the 58th variety - “the fruit of my own orchard”? For such pains as I took in the circumstances I am accused of disowning the “fruit of my own orchard” when I intended only to cut DOWN out saplings interfering with good fruit. Therefore certain intellectualists (saplings) are saying I am changed to “escapist”. A bad word, their word “escapist”? Boys, Why call names? Why not go to work? Go on…do something on THEIR your own that doesn't take refuge with the incompetent in a “universal” pattern for something that (should it abide with principle) ought to be as alive and various as human character is itself! AND have I “changed” or ONLY simply smashed myself as an idol? I intended to smash that IDOL but only to let idol worshippers a little closer than they NOW seem to want to go. Hero worship is sometimes pretty awful. That any of mine can now bear hide nor hair of me would be a surprise to me……Once and for all concerning this constantly repeated reference to my contribution to Architecture as a kind of romanticism: because any attempt on their part to establish a “contemporary vernacular” is defied by the revelations of principle eternally fresh and new in every building I build - they DRAG IN THE term “Romanticism” is dragged in to conceal their own impotence whereas it only really explains it. I love romance as I love sentiment. But just as I dislike sentimentality I would dislike their “Romance”. Corbusier or Gropius - I suggest you put a gently sloping roof on any LE CORBUSIER OR GROPIUS just to see what you have left of the so-called International Style after proper deductions have been made…..But where is that creative force today? THE man is not using the Machine! The machine is using the man and is using him so he is losing himself….becoming a “thing” beneath his push button and steering wheel….I see now as I saw then - that the only way man can use the machine - not let it use him - is to get it as a working principle into the hands of the great human forces we used to call the creative artist. Well…again, where is he?.....So, bid to England, I came with another “Declaration of Independence”. This time ONE concerned, not with taxes, but with independence of any aesthetic whatsoever where this matter  of life as structure is now concerned - social, political, or artistic. I said that the only way man can use his machine and keep alive what is best in him is to go by means of it to the larger freedom the machine makes possible - go toward decentralization instead of continuing the centralization the machine exploits and, so far as any great human benefit goes, will soon explode. Simple enough? Do I continue to fog the issue? If so the Machine itself will prove me right. Meantime I can wait and work'. A few minor staple holes to the upper edge of each page, not affecting the text, and with some very light, minor age wear, VG Wright's article was published in the Journal of the Royal Institute of Architects in October 1939 and served as a rebuttal to criticisms levelled at him after a lecture he delivered in in London in May 1939 attacking the 'international style' of architecture.

LE CORBUSIER: (1887-1965) Swiss-French Architect, Painter, Urban Planner. His real name being Charles-Edouard Jeann´eret. An interesting content T.L.S., `Le Corbusier´, also making two corrections to the typed text, in his hand, one page, 4to, Paris, 8th October 1964, on Le Corbusier´s printed stationery, to Reverend Father de Couesnongle, at the Dominicans Convent of Eveux-sur-l´Arbresle, and to Abbott Bolle Reddat, Chaplain of Notre Dame du Haut Ronchamp, in French. Le Corbusier states in part `Je vous envoie, en un rouleau, l´un des deux dessins (l´un de la chapelle de Ronchamp, l´autre celui de l´Eglise de la Tourette) reçus du Professor Michael Graves de l´Université de Princeton (U.S.A.)…. Ces croquis ont été dessinés a même le sol de chacune de vos églises par ce brave professeur qui ne manque pas de talent. (Attention! Ce n´est pas moi qui ai fait ces croquis, c´est le signataire…´ (“I send you, in a roll, one of the two drawings (one of the chapel of Ronchamp, the other being the Church of La Tourette) received from Professor Michael Graves of Princeton University (U.S.A.) …. These sketches were drawn on the floor of each of your churches by this brave professor who is not lacking in talent. (Attention! It is not me who made these sketches, it is the signatory..”) VG Michael Graves (1934-2015) American Architect and Designer. Graves was a member of The New York Five, and a professor of architecture at Princeton University for fourty years. Following his own partial paralysis in 2003, Graves became an internationally recognized advocate of health care design.

WELLES ORSON: (1915-1985) American actor & film director, Academy Award winner. D.S., Orson Welles, one page, 4to, New York, 21st February 1941. The carbon typed document is an agreement between Welles and Wellman Inc. in which Welles is engaged to direct the play Native Son by Paul Green and Richard Wright and states, in part, 'You agree to devote your best efforts and skill to the direction of the said play and to render all services necessary in connection with such direction. The undersigned plans to produce said play on or about March 15, 1941, at a theatre in New York City. As compensation for your services hereunder the undersigned agrees to pay you the sum of Three Thousand ($3000) Dollars, of which Fifteen Hundred ($1500) Dollars shall be paid upon the execution hereof, and Fifteen Hundred ($1500) Dollars two weeks from the date hereof, and in addition thereto, an amount equal to one and a half (1 ½) percent of the gross receipts received by the corporation, which payments shall be made weekly as and when realized'. Signed by Welles at the foot and countersigned by L. Arnold Weissberger (1907-1981) American theatrical lawyer who represented many prominent artists and theatrical personalities. A few minor creases and very light age wear, otherwise VG Welles produced and directed the original Broadway production of Native Son whilst he was waiting for Citizen Kane to be released. The Mercury Production, in conjunction with John Houseman, starred Canada Lee and the show ran from 24th March to 28th June 1941 at the St. James Theatre. The play would represent the last time Welles and Houseman would ever work together.

`..I have there in my studio for several days a large canvas still all white and blank..´DELACROIX EUGENE: (1798-1863) French Painter. Regarded as the leader of the French Romantic school, he is also considered one of the last old Masters of painting, and one of the few who was ever photographed. Rare lengthy A.L.S., `E. Delacroix´, four pages, 4to, n.p., 1st of December [1829], to Monsieur Felix Guillemardet, in French. Delacroix commences referring to the women and soirées that his correspondent, who is on holiday out of Paris, mentioned in his letter, and states in part `Depuis longtemps tu n´avais tant pris de vacances…je t´avertis que tu es mortel et que les plaisirs sont mêlés d´amertume. Encore, ne sont-elles pas toutes si insipides… tu trouveras, je n´en doute pas, quelques infidélités à faire à ta belle Parisienne, que ta discretion couvre d´un voile mystérieux et louable. On trouve en province de certaines beautés… Il n´est pas rare d´y trouver au milieu de ces troupeaux de niaises prétentieuses… quelque caractère singulier et saillant dans de jolis petits corps´ (“It's been a long time since you took so many vacations… I warn you that you are mortal and that pleasures are mixed with bitterness. Still, aren´t they all so insipid… you will find the way, I have no doubt, to make some infidelities to your beautiful Parisian couple, whom your discretion covers with a mysterious and praiseworthy veil. You can find in provinces certain beauties… It is not rare to find there in the middle of these herds of pretentious fools… some singular and salient character with pretty little bodies”) Delacroix further refers to a painting he is not starting yet, and refers to his mood and his artist self-esteem, and states `J´ai là dans mon atelier depuis plusieurs jours une grande toile encore toute blanche et vierge;…Tu chatouilles mon amour-propre d´artiste avec le succès… je me croirai bientôt moi-même un ancient..´ (“ I have there in my studio for several days a large canvas still all white and blank;... You tickle my self-esteem as an artist mentioning success... I will soon believe myself an ancient...”) Delacroix writes his fourth page to the upper and lower borders of the address leaf, bearing a red wax seal in fine condition, showing a bust portrait. Overall creasing, otherwise G

COURBET GUSTAVE: (1819-1877) French painter who led the Realism movement in 19th century French painting. A good vintage signed carte-de-visite photograph, the sepia albumen print by an unidentified photographer depicting Courbet seated in a three-quarter length pose. Signed ('G. Courbet') in dark fountain pen ink with his name alone to the lower photographer's mount. One very small dark stain at the head of the image and with some very minor traces of former mounting to the verso, otherwise VG

COURBET GUSTAVE: (1819-1877) French Painter. An innovator who rejected academic convention and leaded the French Realist movement. Courbet was active in politics and was imprisoned in 1871 for his involvement with the Paris Commune, having to live in exile in Switzerland until his death. Rare and large signed and inscribed large 16.5 x 20.5 photograph, the sepia impressive image depicting Courbet seated, holding his pipe, in a three-quarter length pose. Signed and inscribed in bold dark ink `Souvenir d´exil´ (“Exile Souvenir”), `Gustave Courbet´, also dated in his hand Geneva 1877, the year of his death. Inscribed to his friend and art dealer Paul Pia. The photograph with inscription to a darker background is 10.5 x 13.5. Very small age tone, otherwise G to VG

`I have, it is true, more than need of money at the moment..´GAUGUIN PAUL: (1848-1903) French post-Impressionist Artist. Recognized, only after his death, for his experimental use of colour and synthetist style, distinct from Impressionism. An extremely rare A.L.S., `P Go´, two pages, 8vo, n.p., n.d. [1889], to Emile Schuffenecker, in French. Gauguin states `Mon cher Schuff - 2 mots à la hate…. J´ai, il est vrai, plus que besoin d´argent en ce moment, mais j´ai crédit. Je ne puis en passer par la presse, le couteau sur la gorge, ce serait un exemple déplorable! En outre, je ne puis faire une affaire sans en parler à Van Gog qui tient les prix plus cher´ (“My dear Schuff - 2 words in a hurry…. I have, it is true, more than need of money at the moment, but I have credit. I cannot accept the press, feeling obliged with a knife at my throat, it would be a deplorable example! Besides that, I can't make a deal without talking to Van Gog, who keeps the prices higher”) Gauguin refers to `Felix Champsor´ commenting how he gets paid and invited against a simple article, and further says that he has taken a decision regarding a sale of a painting, although the figures are not enough, but he doesn´t bother and expects they will sort out the matter, stating `J´écris donc à celui-ci pour (200Fr  - commission - moins cadre = presque 0) qu´il se débrouille avec lui´ (“I therefore write to him for a deal of (200 Francs less commission less frame is equal to almost zero) he will have to deal that with him”) Gauguin further refers again to his lack of money and the difficulties of working forward when you are blocked by small amount matters, saying `J´ai reçu la lettre de Lambert. Il faudrait 40 Fr pour cela; je ne les ai pas en ce moment. Je suis donc obligé d´attendre. Quelle scie d´être retenu par des riens chaque fois qu´il s´agit de travailler..´ (“I received Lambert's letter. I would need 40 Fr for that; I don't have them at the moment. So I have to wait. What a nightmare to be held back by trifles every time it comes to work..”) Letter in very fine condition, VG Emile Schuffenecker (1851-1934) French Painter and friend of Gauguin. He was instrumental in establishing and organizing the first exhibition of the Pont-Aven group at the Café Volpini in Paris, 1889, during the Universal exhibition. Félicien Champsaur (1858-1934) French Novelist and Journalist.

              `Only he, knows the depths of my workshop´TOULOUSE-LAUTREC HENRI DE: (1864-1901) French Painter, Printmaker and Illustrator. Best remembered for his immersion in the colourful and theatrical life of Paris in the late 19th century, producing elegant and provocative images of the decadent affairs of those times. A fine A.L.S., `Henri´, two pages, written to the first and third page, 8vo, n.p., n.d., to his mother, in French. Toulouse-Lautrec refers to the keys of his workshop, and states `Ma chere Maman, Je viens de voir Georges qui doit vous amener ici. Veuillez donner les clefs de mon atelier a mon ami Robin; qui en será le dépositaire. Lui seul connait les tréfonds de mon atelier. En attendant votre visite, je vous embrasse´ (”My dear Mum, I have just seen Georges who is to bring you here. Please give the keys of my workshop to my friend Robin; who will be the custodian. Only he knows the depths of my workshop. Waiting for your visit, I kiss you”) VG

ROUAULT GEORGES: (1871-1958) French Expressionist Painter. A.L.S., twice, G.R, and Rouault, two pages, 12mo, Paris, 11th April 1919, to Mr Girardin, in French. The document being a stamped post letter card, written to the inside by Rouault who starts thanking his friend and correspondent for his note, sending his regards to his wife and apologizing for this quick and written in a hurry letter, further stating `It is better this way, and more certain. Indeed, I will go to Versailles and will find your letter, but it could have been different and my children and wife could have come to Paris. It is therefore preferable to act as you have done…´ The French painter signs also `Rouault´ at the front of the post card letter as sender. Hand addressed in the hand of Rouault. VG

PAIGE SATCHEL: (1906-1982) American baseball pitcher who played in Negro league baseball and Major League Baseball, World Series Champion with the Cleveland Indians, 1948. Blue ink signature ('Satchel Paige') on a small 12mo piece. Very slightly irregularly trimmed edges and minor age wear, otherwise VG

DUBUFFET JEAN: (1901-1985) French Painter and Sculptor. Best known for founding the Art Brut movement. A very fine and cleanly written A.L.S., Jean Dubuffet, one page, 4to, Le Touquet, 26th July 1963, to Noel Arnaud, in French. Dubuffet initiates his letter referring to the cold weather in the north of France and states `J´ai reçu le tire a part de votre étude sur Ménard, fortement impréssionné par l´attentive lecture que j´en ai faite. La brillante allégresse de votre ample texte, sa grande autorité, l´ampleur de la documentation sur laquelle il se fonde, me stupéfient positivement´ (“I received the offprint of your study on Ménard, strongly impressed by the attentive reading I made of it. The brilliant joy of your ample text, its great authority, the breadth of the documentation on which it is based, amaze me positively”) A very interesting content letter related to Dubuffet´s interest in the works by antisocial persons and mentally ill people without any artistic culture knowledge. Dubuffet refers to a patient dead in hospital stating `Je voudrais bien connaitre le nom du médecin chef principal de l´hopital de Maison Blanche, en vue de solliciter qu´il m´autorise a prendre connaissance du dossier de Madame Jeanne Tripier, qui a été hospitalisée dans cet établissement a partir de 1935 et y est demeurée ensuite jusqu´a son déces. Comme vous le savez je fais une étude approfondie des manuscrits de cette malade et ce serait pour moi tres précieux de recueillir des informations sur sa biographie, et notamment sur les circonstances de sa vie antérieure à son internement´ (“I would like to know the name of the main chief medical officer of the Maison Blanche hospital, in order to request that he authorizes me to read the file of Madame Jeanne Tripier, who was hospitalized in this establishment from 1935 and remained there until his death. As you know, I am doing an in-depth study of the manuscripts of this patient and it would be very valuable for me to gather information on her biography, and in particular on the circumstances of her life prior to her internment”) VG

.PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An excellent folio softcover edition of the catalogue issued to accompany an exhibition of Pablo Picasso's works of 1969-70 at the Palais des Papes from 1st May to 30th September 1970, held in conjunction with the 24th Festival d'Avignon and curated by Yvonne Zervos, published by Cahiers d'Art, Paris, 1970. The catalogue features an essay, in French, by Christian Zervos, and two colour plates, 165 monochrome plates of paintings and a further 45 of drawings. The presentation copy is beautifully signed and inscribed by Picasso in blue ink to the front free endpaper, 'Pour Marie, Picasso', and dated 4th June 1970 in his hand. Picasso has artistically transformed the first word of the inscription with two concentric circles, perhaps representing a flower. The final numeral of the date is similarly enhanced by Picasso. With an oblong 12mo partially printed label from the Galerie Alphonse Chave in Vence neatly affixed to the verso of the front free endpaper. Bound in the original paper wrappers with blue printed title and spine. A magnificent example of Picasso's signature incorporating an original piece of art. Some very light, extremely minor staining and age wear to the paper wrappers, otherwise VG Yvonne Zervos (1905-1970) French gallery owner and wife of Christian Zervos with whom she was a co-director of Cahiers d'Art. An expert on Picasso, she organised the exhibition of over 200 works by the artist held in Avignon, the promotional poster for the event posthumously honouring Zervos by proclaiming that she conceived and developed the exhibition in tribute to Picasso. Christian Zervos (1889-1970) Greek-French art historian, critic, collector, writer & publisher who founded the magazine Cahiers d'Art and also published a catalogue raisonne on the work of Picasso.

A Royal Doulton Wind in the WIllows figure 'Who is it this time?' together with four Goebel figures

Napoleon Bonaparte, an early-19th century French silver-gilt table knife and fork, by Martin-Guillaume Biennais (1764-1843), Paris Marks for 1809-1819, circa 1810, the tapering knife handle with a profile of Minerva, palmette and husk motifs, bees and the imperial arms of Napoleon, also with an N in a roundel with laurel wreath mantling, steel blade, the four tined fork with palmette and foliate decoration, the reverse of the stem with a bull's head, a classical maiden and the imperial arms of Napoleon, length of knife 26.6cm, length of fork 21.3cm, approx. weight of fork 3.2oz. Provenance: Alfred William Weston (1892-1950) The knife and fork were purchased by him in the 1920s/1930s. Then passed down to his daughter and then inherited by her godson, the current owner. In 1928 Alfred Weston was a businessman, entrepreneur and illustrator who was employed by John Logie Baird and his business partner Captain Oliver Hutchinson to edit 'Television: The world's first television journal'. His papers were sold at Bonhams, London, Books, Maps, Manuscripts and Historical Photographs, 7 June 2011, lot 185. Martin Guillaume Biennais was the main supplier of silver and silver-gilt to Napoleon and his family, and he supplied the Emperor's crown and sceptre for the 1804 coronation. A knife from this service was sold at Christie's, New York, The C. Ruxton and Audrey B. Love Collection: Magnificent, 19 October 2004, lot 158. Other items from Napoleon's service have appeared at auction including the Property of Madame Tussauds, which was sold at Christie's, South Kensington, 13 December 2005. Another knife from the service is in the Royal Collection, (RCIN48460) for further reading on the knife in the Royal collection see www.rct.uk/collection/search#/1/collection/48460/knife.

A pair of George III silver two-handled wine coolers, by William Frisbee, London 1807, circular bellied form, part-fluted decoration, reeded side handles issuing from Bacchus masks, engraved with arms of Smith within drape mantling, with liners and collars, crested, on raised circular bases, also with two cut-glass bowls, in a fitted wooden case retailed by Rundell, Bridge and Rundell, height 24.7cm, approx. weight 184.5oz. Plus a watercolour of Thomas Smith Esq., Lord Mayor of London 1809, and owner of the wine coolers in 1807. Provenance: A Private Collection Christie's, King Street, Fine Silver 24 October 1990, lot 146. Thomas Smith (1746-1823) was a merchant who served as Lord Mayor of London in 1809 Smith was a wine seller on Bridge Street near Blackfriars. He also served as a magistrate, and was a liveryman of the Worshipful Company of Leathersellers. He served as Master of that Company in 1812-13.

A RARE .44 CALIBRE SIX-SHOT PERCUSSION COLT MODEL ARMY REVOLVER TO PRIVATE WILLIAM WEBB OF THE ILLINOIS CAVALRY REGIMENT, 8inch sighted barrel stamped with the manufacturer's details, the cylinder with naval engagement scene and serial no. 5219 for 25219, the left side of the frame stamped COLT'S PATENT, wooden grip, contained in an open topped leather holster, complete with factory letter and a large quantity of research paperwork. The Colt Factory Letter, dated 17th March 2008 confirms that this gun was sold to the United States War Department and shipped to Col. T Lyle Dickey, Commanding Illinois Cavalry Regt January 9th 1862, there were 500 guns in that shipment. Photocopies of the muster roll show this gun as having been issued to William Webb. William Webb, aged 45 was mustered on the 23rd of September 1863, he is listed as present in December 1863 and January and February of 1864, listed as Deserted in March and April, May and June 1864 Webb is listed as Deserted Through Mistake, Receives Bounty of 35$ July and August, Present in September and October then Under Arrest in Lexington Kentucky for the last quarter. A deposition dated 5th December 1864 from Alexander Robertson detailing the events of the night of 3rd of December 1864: "I was going down to the spring after water - Webb asked me "Who comes there?" I told him "Alexander Robertson" Webb said "Come on all right". Lee Adams came up and before he (Webb) could see his (Adams') face, Webb put the pistol to Adams' face and fired it off in Adams' face. I told Webb not to shoot anymore and he turned around and shot me."

A FINE AND RARE PAIR OF 16-BORE IRISH SILVER MOUNTED FLINTLOCK HOLSTER PISTOLS BY TWIGG & BASS TO THE 1ST REGIMENT OF HORSE OR 4TH ROYAL IRISH DRAGOON GUARDS, 10.5inch sighted two-stage blued barrels, the octagonal breech transitioning to hexadecagon and profusely inlaid in gold with key-form, geometric designs and poincons, P.S over TB over VA and a second with a diamond form over BA, suggestive of the maker Pedro Esteva in Barcelona, border engraved stepped locks signed TWIGG & BASS, full stocked with Irish hallmarked silver mounts for Dublin, to include long eared butt caps with grotesque mask butt caps, border engraved trigger guards, Continental style stepped sideplates engraved 1st REGT HORSE within a scroll set within a foliate spray, the back of the wrist set with a large crowned Prince of Wales feathers flanked by the motto ICH DIEN, polished steel topped wooden ramrods. A fine pair of pistols retaining good amounts of original finish throughout, rubbing to hallmarks with maker's mark PW. The transition of the 1st Regiment of Horse to the 4th Royal Irish Dragoon Guards occurred in 1788. John Fox Twigg and John Bass formulated their partnership in 1788 and lasted until Twigg's death in 1790. It has been suggested that these pistols were made to mark the transition to the 4th Royal Irish for the Colonel of the regiment George Ward who ultimately became Commander in Chief, Ireland. For a pair of pistols with identical looking barrels, see the silver mounted examples by Henry Hadley in The Metropolitan Museum of Art, accession number 2018.856.13a/c. In acknowledgement of the fine work of Esteva, Hadley has copied the design, finish and inlay of his barrels.