ICONIC PIANISTS OF THE 20th CENTURY: A very fine selection of two signed programs and one A.M.Q.S., by three of the main Pianists of the 20th century, comprising CORTOT ALFRED (1877-1962) Franco-Swiss Pianist and Conductor. Signed 4 x 8.5 printed program, one page, Turin, 14th March, n.y., in Italian. Signed in bold black ink. The printed text lists the works by Schumann performed by Cortot; MAGALOFF NIKITA (1912-1992) Georgian-Russian Pianist. Known for his Chopin´s performances, accustomed to perform the complete piano works in series of six recitals. He was the first to record Chopin´s complete works. Signed 7 x 10 printed program, folded, three pages, Parma, 10th November 1952, in Italian. Signed in bold black ink across the program, listing the works Magaloff played, comprising Bach-Busoni, Scarlatti, Schubert, Chopin and Mussorgsky, and HORSZOWSKI MIECZYSLAW (1892-1993) Polish-American Pianist. Horszowski was a child prodigy who toured Europe and America being a very young child. A.M.Q.S., `Miecio Horszowski´, one page, to an oblong 12mo page, Rome, 20th February 1922. Horszowski has penned three bars of music, unidentified, and dated beneath in his hand. Affixed to a dark card of same size. All are boldly signed to clear areas. Small overall minor age wear, otherwise G
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PIUS XI: (1857-1939) Pope of the Catholic Church 1922-39 and the first sovereign of Vatican City from its creation as an independent state in February 1929. Vintage signed 11.5 x 16 photograph, the circular image depicting Pius XI in a profile head and shoulders pose wearing his cassock, mozzetta and zucchetto. Photograph by Guiseppe Felici of Rome and bearing their imprint to the lower mount. Signed ('Pius PP. XI') by the Pope to the lower photographer's mount and dated 18th February 1922 in his hand. Some extensive scuffing, scratches, dust staining and age wear to both the image and mount, also affecting the signature. Only FR
SLAVERY - MAURITIUS: Philippe Jean de la Haye Duponsel (1752-1790)French slave trader established in Mauritius, which was called at that time, "Isle of France". An interesting and scarce letter related to slavery in the XVII century. A.L., four pages, 4to, Port Louis, Isle de France, 12th January 1776,to his brother, in French.De la Haye Duponsel explains that he has been over the last few months travelling on board of the King´s flute ship, stating in part `…occasionés par le voyage de la flute du Roi Le Gros Ventre et celui de L´Espérance, mon fait manquer des occasions dont jus profité avec le plus grand plaisir pour vous assurer…´ (Translation: "…occasioned by the journey of the flute of the King Le Gros Ventre and that of L´Esperance, made me miss opportunities which I had taken advantage of with the greatest pleasure to assure you…") He further announces the death of their sister saying `Je vous ai écrit au mois d´Octobre dernier pour vous announcer la perte que nous avons fait de notre chere soeur Rosine. C´est un évenement bien facheux pour ses enfants et pour sa famille. La Colonie la regrette…´ (Translation: "I wrote to you last month of October to tell you about the loss we have suffered of our dear sister Rosine. This is a very unfortunate event for his children and for his family. The Colony misses her…") He further refers to his brother´s rights of inheritance and to the documents he needs to forward and to a business he is working on, and continues with the purchases of slaves he has achieved on the Zanzibar coast, stating `Je ne puis rien vous dire sur cet armementque je presume n´avoir pas eu lieu; assure ces Messieurs du plaisir que j´aurais de leur être agréable en tout ce qui dépendra de moi. J´aurais été bien flatté de remplir à leur compte une Opération que je viens de faire à la Côte de Zanzibar et qui a eu le plus grand succès. L´abrégé de cette mission consiste en une traite de 620 beaux esclaves qui n´ont couté, frais de traite compris, que 16550 piastres. Ce mesme voyage peut se faire pour les Isles de la Mérique en se ménageant la relache du cap de Bonne Espérance, il peut donner un grand bénéfice aux intéressés d´un pareil armement. On peut le faire également pour nos isles mais la difficulté du retour me ferait preferer le premier…´ (Translation: "I cannot tell you anything about this armament which I presume did not take place; assure these Gentlemen of the pleasure I will have in being agreeable to them in all that depends on me. I would have been very flattered to carry out on their behalf a business deal which I have just carried out on the Coast of Zanzibar and which has been a greatest success. The summary of this mission consists of a trafficking of 620 beautiful slaves who only have cost, including trading costs, 16,550 piastres. This same voyage can be made for the Isles of America by sparing the release of the Cape of Good Hope, it can give a great benefit to those interested in such an armament. We can also do it for our islands but the difficulty of the return would make me prefer the first…") A letter of very interesting content, including the value of purchases of slaves. Small overall creasing with small area of paper loss to the spine, only affecting few words. About G The earliest confirmeddiscovery of the Mauritius island was in 1507 by Portuguese sailors, who otherwise took little interest in the islands. The Dutch took possession in 1598, establishing a succession of short-lived settlements over a period of about 120 years, before abandoning their efforts in 1710. France took control in 1715, renaming it Isle de France. In 1810, the United Kingdom seized the island, and four years later, in the Treaty of Paris, France ceded Mauritius and its dependencies to the United Kingdom. Mauritius remained a primarily plantation-based colony of the United Kingdom until independence in 1968. The Gros Ventre is an 18th century French barge and one of the two ships engaged in the southern expedition carried out in 1772. It was the first French ship to approach Australia.
OSWALD LEE HARVEY: (1939-1963) American private with the United States Marine Corps, the assassin of John F. Kennedy. A rare A.L.S., Lee, two pages (written to the first and third sides of the feint ruled bifolium), 8vo, n.p. (Russia), 30th November 1961, to his brother Robert. Oswald informs his brother that a package 'with a few little Christmas presents' has been send that day although it 'may be a little late you may not get it until about New Years', further writing 'We still haven't recived (sic) any word about our visas. Marina says that she cannot wait untill (sic) she gets to the U.S. and sees little Robert Jr. If you like, you can send me a football (they only have round one's here) just deflate it & send it to me like a letter. Also you can pick up a few diagrams of plays at any filling station and send them along also, these Russians seem interested in learning how to play, so I thought maybe you could help me out and together we'll show them a little bit of American sport. Our deal about the visas is not getting any better, and I think about New Years, I'll fly into Moscow, and go to the Embassy about it. As time goes on, our complaints, and their inactivity, will bring things to a head, and one side or the other will break' and concluding 'We sent you a can of a kind of Russian candy, called “KHAIIVA”, it's made from grain and sugar, so when you'll open the package you'll know its candy. I eat alot (sic) of it, if you all like it, will send some more'. VGProvenance: The present letter was included in the Warren Commission as Exhibit No. 308 (see pages 849-850 of Volume XVI of the Warren Commission Hearings). Lee Harvey Oswald had travelled to the Soviet Union in October 1959 and almost immediately after arriving expressed his desire to become a Soviet citizen, claiming that he was a communist. His application for citizenship was refused on 21st October, the day his visa was due to expire, and he was informed that he had to leave the Soviet Union that evening. Oswald's departure was delayed due to a self-inflicted injury and the Soviets kept him under psychiatric observation in a Moscow hospital for a week. In January 1960 Oswald was sent to Minsk where he was given employment as a lathe operator. A year later Oswald was beginning to reconsider his decision (although he had never formally renounced his U.S. citizenship) and wrote to the Embassy of the United States in Moscow requesting the return of his American passport. In March 1961 Oswald met Marina Prusakova, a pharmacology student, and they married six weeks later. On 24th May 1962 the Oswalds applied at the US Embassy in Moscow for documents that enabled Marina to immigrate to the United States. The couple and their infant daughter left for the United States on 1st June and soon settled in the Dallas area.
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., 9th October 1964, to Gene Baker, on the printed stationery of the Director of the Federal Bureau of Investigation. Hoover acknowledges receipt of his correspondent's letter inviting him to address the Cathedral Luncheon Club and the Ambassadors Club, continuing 'While I do wish it were possible to accept your kind invitation, the pressure of my official schedule, coupled with the numerous matters which arise daily demanding my immediate attention, precludes my filling these engagements'. Some very light, extremely minor staining and age wear to the edges, otherwise VG
DENON DOMINIQUE VIVANT: (1747-1825) French artist, writer, diplomat and archaeologist who was appointed as the first director of the Louvre museum by Napoleon following the Egyptian campaign of 1798-1801. L.S., Denon, two pages, folio, Paris, 14th March 1812, to Carlo Lasinio, on the printed stationery of the Musee Napoleon featuring an engraved vignette of a medallion at the head, in French. Denon acknowledges receipt of his correspondent's letter and continues 'J'en ai remis de suite une copie a S. Ex. le Ministre de l'Interieur qui m'a promis qu'il allait vous ecrire pour vous temoigner sa satisfaction sur l'ouvrage que vous venez de publier & sur le zele que vous avez mis a reunir tant d'objets precieux dans le campo santo. Vous pouvez etre persuade, Monsieur, que j'ai fait connaitre comme ils meritent de l'etre les services que vous avez rendus & que je ne perdrai jamais de vue les occasion de les faire valoir aupres de l'autorite' (Translation: 'I immediately gave a copy to His Ex. the Minister of the Interior who promised me that he would write to you to show you his satisfaction with the work you have just published and the zeal with which you have put together so many precious objects in the Campo Santo. You can be persuaded, Sir, that I have made the services you have rendered known as they deserve to be known, and that I will never lose sight of the opportunities to assert them before the authorities'), further stating 'Son Exc. le Ministre de l'Interieur, sur ma proposition, vient d'ordonner qu'il serait envoye a Pise plusieurs beaux platres moules sur l'antique pour son Lycee, a fin de l'indemniser des tableaux que j'ai demande pour Paris. Ce present equivaudra a la cession que cette ville fait, se sera pour elle d'un plus grand interet que ces tableaux auxquels elle attachait si peu de prix' (Translation: 'His Exc. the Minister of the Interior, on my proposal, has just ordered that there should be sent to Pisa several beautiful antique plaster casts for the Lyceum, in order to compensate them for the paintings I requested for Paris. This gift will be equivalent to the cession that this city makes, and will be of greater interest to it than the paintings to which is attached so little value'). Several passages at the conclusion of the letter have been lightly underlined in pencil in the hand of Lasinio, the engraver noting in the margin 'Bel compenso per Dio!' (Translation: 'Beautiful compensation, by God!). With integral address leaf. A letter of interesting association. Some light creasing and minor staining to the edges, only very slightly affecting a few words of text and not the signature, GCarlo Lasinio (1759-1838) Italian engraver who was appointed conservatore of the Camposanto in Pisa in 1807. Lasinio made considerable efforts to protect the Camposanto and its frescoes from ruin during the destructive period of the Napoleonic Wars and in 1812 commenced his influential book of etchings, Pitture a fresco del Campo Santo di Pisa, which recorded the frescoes in the Camposanto.
A month after the discovery of Tutankhamun’s tomb, Egyptologist Gunn writes – ‘I have excavated for Lord Carnarvon, whose name you may have heard lately’ GUNN BATTISCOMBE: (1883-1950) English Egyptologist and philologist who assisted with the translation of ostraca from the tomb of Tutankhamun. At one stage of his life Gunn became involved in the occult and formed a friendship with Aleister Crowley. By 1918 however Gunn lost interest in the occult and focused instead on Freudian psychoanalysis. An excellent A.L.S., Battiscombe, three pages, 8vo, Vienna, 28th December 1922, to [Albert t'Serstevens] ('Mon bien cher'), in French. Gunn wishes his friend good fortune for the New Year and continues 'Il m'etait une grande joie de recevoir ta lettre a Tell el-Amarna l'hiver passe. Deux ou trois jours apres que je t'ai ecrit j'ai acheve la lecture de ton livre et il m'a donne un sentiment bien singulier de trouver mon nom perpetue dans l'Elegie sur la Colline' (Translation: 'It gave me great joy to receive your letter at Tell el-Amarna last winter. Two or three days after I wrote to you I finished reading your book and it gave me a very strange feeling to find my name perpetuated in the Elegy on the Hill') also asking t'Serstevens not to judge him too harshly as a friend and commenting 'J'ai vecu toute me vie dans une prison psychologique, et je ne commence a me comprendre un peu que maintenant seulement. Je t'expliquerai un peu de cela - qui t'interessera peut-etre - quand ous nous reverrons. Qu'il suffise pour le moment de dire que justement parce que tu m'es un ami tres proche, il m'est tres difficile de t'ecrire. Chose paradoxale!' (Translation: 'I've lived my whole life in a psychological prison, and I'm only beginning to understand myself a little now. I'll explain a little about this to you - which may interest you - when we meet again. Suffice it for the moment to say that precisely because you are a very close friend to me, it is very difficult for me to write to you. Paradoxically!'), further writing 'Apres que les fouilles de Tell el-Armana se sont achevees, nous sommes alles passer deux semaines chez un ami anglais a Assiout, au Moyen-Egypte, et ensuite nous sommes alles a Thebes, ou j'ai passe plus de deux mois chez des amis, travaillant tout le temps. J'ai fait des fouilles pour Lord Carnarvon, duquel tu auras peut-etre entendu le nom tout recemment: J'ai copie 175 ostraka que le meme noble lord a trouve dans la Vallee des Rois; et j'ai etudie, copie et traduit des papyrus remarquables. Les lettres d'un fermier de 2300 av J.C. - trouve par les americains dans un autre endroit de Thebes. En toute, je suis reste en Egypte 7 mois, en travaillant tout le temps' (Translation: 'After the Tell el-Armana excavations were completed, we went to spend two weeks with an English friend in Asyut, in Middle Egypt, and then we went to Thebes, where I spent more than two months with friends, working all the time. I have excavated for Lord Carnarvon, whose name you may have heard lately: I have copied 175 ostraca which the same noble Lord found in the Valley of the Kings; and I have studied, copied and translated remarkable papyri. Letters of a farmer from 2300 B.C. - found by Americans in another place in Thebes. In all, I stayed in Egypt for 7 months, working all the time'), and informing his friend that when he left Egypt he was reunited with his wife in Rome and they then rented a small farmhouse with wonderful views over Florence, although as it was June and becoming hot they travelled to Vienna and spent six weeks there before returning to England, but now find themselves back in Vienna where they plan to stay for a good part of the next year, reflecting 'Aussi notre rencontre - toi et moi - est encore renvoye, et commence a devenir presque legendaire. Je ne peux pas te dire combien fut grande la deception de ne pas te vois en passant par Paris en octobre 1921' (Translation: 'Also our meeting - you and me - is postponed again, and begins to become almost legendary. I cannot tell you how great the disappointment was at not seeing you passing through Paris in October 1921'). Gunn concludes his letter writing 'Je ne travaille pas effrenement, mais tous les jours. J'ai acheve mon gros bouquin sur la grammaire egyptienne, et maintenant j'edite les inscriptions provenant des fouilles de Tell el-Amarna l'hiver passe. Ma femme etudie beaucoup la psychologie de l'ecole de Freud, sujet qui m'interesse beaucoup aussi' (Translation: 'I don't work frantically, but every day. I've finished my big book on Egyptian grammar, and now I'm editing the inscriptions from the excavations at Tell el-Amarna last winter. My wife studies the psychology of Freud's school a lot, a subject that interests me a lot too'). A rare letter of wonderful content and good association. VGAlbert t'Serstevens (1886-1974) Belgian novelist. George Herbert (1866-1923) 5th Earl of Carnarvon. English aristocrat who financed the search for and excavation of Tutankhamun's tomb in the Valley of the Kings, which was discovered by Howard Carter in November 1922.Gunn's first wife was Lillian 'Meena' Hughes who, during the 1920s, studied psychoanalysis with Sigmund Freud in Vienna and Sandor Ferenczi in Budapest. At around this time Freud invited Gunn to see his collection of Egyptian antiquities and, whilst he never said anything to Freud, Gunn was of the opinion that most were fakes.
![[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. T.L.S., Alfr](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/3c11b264-1c23-4958-8efa-b02300b373e4/468x382.jpg)
[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. T.L.S., Alfred W. Fryzer, by the solicitor to Almina Herbert, Countess of Carnarvon, two pages (separate leaves), 4to, Arundel Street, Strand, London, 25th June 1930, to Howard Carter. Fryzer commences his letter by stating 'I think Lady Carnarvon has explained to you that I am anxious to get your signature to a document which I hope will assist in obtaining payment from the Egyptian Government of the money which has, I believe, already been voted to her Ladyship and the representatives of the late Lord Carnarvon', further stating 'It will be necessary for you to sign this document in the presence of a Notary Public who will subsequently have to attend at the Egyptian Consulate to authenticate the document in manner appropriate for use in Egypt' and asking Carter if he could call in at the office the following afternoon. With a few pencil annotations ('Friday 11am' etc.) in Carter's hand to the upper part of the first page and with a small area of paper loss and tear to the lower edge of the second page, not affecting the text or signature, otherwise about VGAlmina Herbert (1876-1969) Countess of Carnarvon, wife of George Herbert, 5th Earl of Carnarvon. The Countess was the illegitimate daughter of the banker Alfred de Rothschild, who provided her with considerable wealth which went towards funding the search for Tutankhamun's tomb in Egypt. The Countess continued to provide financial support for Carter's excavation of the tomb until 1925, when she reached a settlement with the Egyptian authorities whereby she gave up any claim on the contents of the tomb in return for a compensation payment of £36,000. Despite her wealth, the Countess was declared bankrupt in 1951 and spent the last years of her life living in a terraced house in Bristol. George Herbert, 5th Earl of Carnarvon (1866-1923) English peer and aristocrat, financial backer of the search for and excavation of Tutankhamun's tomb in the Valley of the Kings.
CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. Manuscript D.S., with his initials H C, (and also signed Howard Carter at the head of the first page), two pages, folio, Cairo, 4th October 1930, in pencil. The document, marked Draft, is addressed to Mr. J. T. West of the solicitors Messrs Frere, Cholmley & Co. in London, and provides a statement of Carter's income received in Egypt from 1st April 1928 to 31st March 1929, detailing the individual sums received in various months from British and American newspapers, annuities, interest from the National Bank of Egypt etc. Rare. VG
BREAKSTON GEORGE: (1920-1973) French-American child actor, later a film producer and director. A rare vintage signed and inscribed 8 x 10 photograph of the young actor standing in a full-length pose in costume as the boy Pip from the first sound version of the film Great Expectations (1934) adapted from the Charles Dickens novel of the same title. Photograph by Roy D. MacLean for Universal Pictures and bearing his credit stamp to the verso. Signed, as a juvenile, by Breakston in black fountain pen ink to a light area at the base of the image. A few light, minor corner creases and one small, insignificant crack to the image, close to, but not affecting the signature. About VG
![[PAX MUNDI]: [GREAT BRITAIN] Selection of Autograph Statements Signed by a variety of famous individuals from Great Britain,](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/af0676e8-dcdd-4609-ad3d-b02300b37f15/468x382.jpg)
[PAX MUNDI]: [GREAT BRITAIN] Selection of Autograph Statements Signed by a variety of famous individuals from Great Britain, each one page, large folio, various places and dates, including Oliver Lodge (1851-1940) British physicist, stating, in part, 'If humanity would agree to dispense with continually improving instruments of destruction, what energies & material means would be liberated for beneficial activity! We are so used to the present extravagant precautions against the fear of attack, that we fail to realise the wealth of our opportunity. Every nation's insurance policy is too great a burden. Posterity will look with pitying eye on our & Europe's distressed & poverty-stricken condition…..we have to labour hard without enjoyment in the work - and all in order (to) pay for madness in the past & to provide against madness in the future….'; Beverley Nichols (1898-1983) English writer & playwright, stating, in part, 'I believe that permanent peace is possible - but only by an educational revolution - a revolution in which the word “patriotism” will be degraded from its false and high estate, and in which the word “pacifism” will be exalted to an equality with “Christianity”….'; Gilbert Murray (1866-1957) Australian-born British classical scholar and public intellectual; Austen Chamberlain (1863-1937) British politician, Nobel Peace Prize winner, 1925; Oliver Baldwin (1899-1958) British politician, son of Stanley Baldwin, stating 'Peace can only be assured by inculcating into the minds of Youth that war is murder: & the more dastardly a murder if camouflaged by the waving of flags & beating of drums'; Eric Drummond (1876-1951) British diplomat, the first Secretary-General of the League of Nations 1920-33; Arthur Pugh (1870-1955) British trade unionist; Michael MacWhite (1883-1958) Irish diplomat, the first Irish permanent delegate to the League of Nations; Herbert Dunnico (1875-1953) British Baptist minister and politician; Cecil Hurst (1870-1963) British international lawyer, President of the Permanent Court of International Justice in The Hague 1934-36; Godfrey Locker-Lampson (1875-1946) British politician & poet; Viscount D'Abernon (1857-1941) British politician & diplomat; Marquess of Crewe (1858-1945) British politician and writer; Margaret Kennedy (1896-1967) English novelist & playwright; stating 'To any mother the cause of World Peace must be supreme: she has risked her life in vain if the children that she bears are doomed to the horrors of modern warfare', etc. Some light age wear, generally about VG, 17 The present statements were prepared for publication in the Pax Mundi book; an anthology of sentiments on peace published in Switzerland by the World League for Peace. Between 1925 and 1932 many notable persons from around the world were asked to comment on the prospects of world peace and the volume included contributions from Marie Curie, Guglielmo Marconi, Albert Einstein, Rabindranath Tagore and many others.
![[PAX MUNDI]: [EUROPE] Selection of Autograph Statements Signed by a variety of famous European individuals, each one page, la](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/6fa5ab9c-4338-4115-a7a5-b02300b37ff9/468x382.jpg)
[PAX MUNDI]: [EUROPE] Selection of Autograph Statements Signed by a variety of famous European individuals, each one page, large folio, various places and dates, including Giulio Aristide Sartorio (1860-1932) Italian painter and film director, stating, in full, 'I have seen what peace truly is in the colonies of birds that live on the Pacific Islands; after prolonged moaning, instead of engaging in a conflict, the opponents would swarm to one side and the other. When men give wings to the spirit and become angels of God in the kingdom of Justice, the task of the League of Nations shall have been completed'; Dionisio Anzilotti (1867-1950) Italian jurist and judge of the Permanent Court of International Justice, stating, in part, 'As desirable as world peace is, there is something more desirable yet, without which peace has no value: that is justice…..it seems to me neither wise nor worthy to assess the means of guaranteeing peace without first having ensured the means of achieving justice'; David van Embden (1875-1962) Dutch politician; Frans Beelaerts van Blokland (1872-1956) Dutch politician and diplomat; Thanassis Aghnides (1889-1984) Greek barrister and diplomat; Nikolaos Politis (1872-1942) Greek politician and diplomat who served as Greek Minister of Foreign Affairs 1916-20, 1922; Giovanni Ciraolo (1873-1954) Italian lawyer, journalist and politician, nominated for the Nobel Peace Prize in 1928, stating, in full, 'Peace shall crown the efforts of men of goodwill when they apply themselves not only to drafting formal treaties, but also to founding the family of nations based on international mutualism and distributive justice'; Giacomo Paulucci di Calboli (1887-1961) Italian ambassador, Under Secretary-General of the League of Nations 1927-32; Alberto de Marinis Stendardo (1868-1940) Italian General and politician; John Loudon (1866-1955) Dutch diplomat and politician who served as Minister of Foreign Affairs 1913-18; Willem van Eysinga (1878-1961) Dutch diplomat and jurist who served as a judge on the Permanent Court of International Justice 1931-45; Julius Curtius (1877-1948) German politician who served as Foreign Minister of the Weimar Republic 1929-31 etc. Some light age wear, generally about VG, 23 The present statements were prepared for publication in the Pax Mundi book; an anthology of sentiments on peace published in Switzerland by the World League for Peace. Between 1925 and 1932 many notable persons from around the world were asked to comment on the prospects of world peace and the volume included contributions from Marie Curie, Guglielmo Marconi, Albert Einstein, Rabindranath Tagore and many others.
![[PAX MUNDI]: [EASTERN EUROPE] Selection of Autograph Statements Signed by a variety of famous Eastern European individuals, e](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/9c3d071e-8d4b-4103-959c-b02300b38122/468x382.jpg)
[PAX MUNDI]: [EASTERN EUROPE] Selection of Autograph Statements Signed by a variety of famous Eastern European individuals, each one page, large folio, various places and dates, including Petras Klimas (1891-1969) Lithuanian diplomat, author & historian, one of the twenty signatories of the Act of Independence of Lithuania, stating, in part, 'Increasingly beleaguered by the economic and financial disarray which is the result of uncoordinated, undirected international activities, and in the absence of a clearly defined spiritual ideal, enlightened circles in all countries are, quite rightly, advocating that the States adopt a policy of collaboration for peace. Unfortunately, this peace, so fervently desired, does not depend upon measures applicable to international relations alone….'; Athanase Bouroff (Bulgaria), Lazare Marcovitch (Yugoslavia), Prince Nicolas Cantacuzene (1868-1944; Romania), Waclaw Lypacewicz (1871-1951) Polish politician, stating, in full, 'If schools, the press, the film and broadcast industries worked for peace as fervently as they work to unleash hatred and mistrust among nations - war would become impossible'; Ignacy Daszynski (1866-1936) Polish politician and journalist who briefly served as the first Prime Minister of the Second Polish Republic in November 1918, stating, in part, 'I express my best wishes for the success of the pacifist movement. I hope it will have the greatest popularity: may every mother, leaning over her son's cradle, become a conscious and implacable enemy of war'; Jaroslav Kallab (1879-1942) Czech lawyer and writer, stating, in part, 'It is only when the idea of lasting world Peace has become, not a diplomatic and political programme, but a moral maxim, that humanity will have taken a decisive step in its evolution - that which guarantees peace'; Marceli Handelsman (1882-1945) Polish historian; Alfred de Chlapowski (1874-1940) Polish ambassador; Admiral Alfred Dietrich von Sachsenfels (Hungary), Pierre Jivkovitch (Yugoslavia), Vladimir Molloff (Finance Minister of Bulgaria), Constantin Bataloff (Bulgarian diplomat), Charles Duzmans (Latvia) etc. Some light age wear, generally about VG, 23 The present statements were prepared for publication in the Pax Mundi book; an anthology of sentiments on peace published in Switzerland by the World League for Peace. Between 1925 and 1932 many notable persons from around the world were asked to comment on the prospects of world peace and the volume included contributions from Marie Curie, Guglielmo Marconi, Albert Einstein, Rabindranath Tagore and many others.
FAMOUS MEN & WOMEN: An unusual vintage signed 16.5 x 14.5 photograph by the 5th Earl of Lonsdale (1857-1944) English peer and sportsman, founding member and first president of the National Sporting Club, who also donated the original Lonsdale Belts in 1909 for the boxing championship trophy, the image depicting him seated outdoors in a full-length pose accompanied by several dogs. Photograph by Stanley M. Ballance and signed by him in pencil to the lower mount. Signed ('With all the best of wishes from Lonsdale') by Lonsdale in dark fountain pen ink at the base of the image and dated 19th September 1941 in his hand. With a small label neatly affixed to the upper right corner bearing the typed caption, 'Photograph of Lord Lonsdale presented to Mr. Gus Demmy'. The photographer's mount is further signed by over thirty other famous men and women from a variety of professions, including Joe Louis (1914-1981) American boxer, World Heavyweight champion 1937-49; Billy Conn (1917-1993) Irish-American boxer, World Light Heavyweight champion 1939-40, famed for his fights with Joe Louis; Jimmy Wilde (1892-1969) Welsh boxer, World Flyweight champion 1916-23; Nel Tarleton (1906-1956) English boxer, British Featherweight champion and one of only seven fighters to win two or more Lonsdale Belts outright, being the first to do so; Bruce Woodcock (1920-1997) English Light Heavyweight and Heavyweight boxer, British and Empire Heavyweight champion 1945-50 and European Heavyweight champion 1946-49; Johnny Dundee (1893-1965) American boxer, World Featherweight champion 1923 and the first World Junior Lightweight champion 1921-23; Joe Baksi (1922-1977) American heavyweight boxer; Johnny Addie (1902-1971) Italian-born American announcer at Madison Square Garden from 1948-71, calling virtually every major fight there in the period, including the 'Fight of the Century' between Ali and Frazier; Ray Arcel (1899-1944) American boxing trainer of the 1920s - 1980s who trained twenty world champions; Jack Curley (1876-1937) American sports promoter who managed several high-profile boxing events; Henry Cotton (1907-1987) English golfer, Open Championship winner 1934, 1937 & 1948, Joe Davis (1901-1978) English snooker and billiards player, World Snooker champion 1927-40, 1946; Tom Webster (1886-1962) English cartoonist and caricaturist, remembered for his sporting cartoons; Jack White VC (1896-1949) British Lance Corporal, Victoria Cross winner for his actions on the 7th/8th March 1917 on the Dialah River, Mesopotamia, during World War I; Quentin Reynolds (1902-1965) American journalist and World War II correspondent; Jack Buchanan (1891-1957) Scottish entertainer; Bud Flanagan (1896-1968) British Music Hall entertainer, a member of the Crazy Gang; Chesney Allen (1894-1982) English Music Hall entertainer, a member of the Crazy Gang, remembered for his double act with Bud Flanagan; Richard Hearn (1908-1979) English actor and comedian; George Formby (1904-1961) English actor, singer and comedian, and his wife and manager Beryl Formby (1901-1960) etc. The majority of signatures are in fountain pen inks, some also adding inscriptions to Gus Demmy. Some of the signatures are slightly faded and others (not included in the list above) are barely visible. Matted in off-white and framed and glazed in a plain black frame to an overall size of 23 x 20. Some corner creasing to the mount, just affecting some signatures, otherwise about VG
GOBERT PIERRE: (1662-1744) French portrait painter, the preferred painter of the great ladies of the court during the reign of King Louis XIV. D.S., Gobert, one page (vellum), oblong 8vo, n.p. (Paris), 30th January 1705, in French. The manuscript document is issued by Gobert in his capacity as painter-in-ordinary to the King and his academy and acknowledges receipt of the sum of fifty pounds from an un-named individual in payment for the first six months of the current year, and making reference to an earlier payment of one hundred pounds that had been made on 16th April 1703. Signed by Gobert at the foot and also bearing two countersignatures. With an official circular stamp to the head. Some light staining and minor age wear and one small hole. About VG
CHAPLIN CHARLES JOSHUA: (1825-1891) French painter and printmaker, remembered for his elegant portraits of young women. A.L.S., Ch. Chaplin, four pages, small 8vo, Arromanches pres Bayeux, to Beugruet, in French. Chaplin informs his correspondent that he will return to Jouy in the first half of September, at which time he will give him the Russian watercolour that they are impatiently waiting for, continuing 'Je ne me baigne pas du tout et travaille tous les jours pas tres fier de ce que je fais et un peu honteux je n'ai d'excuse que l'oisivite et le besoin de payer une nouvelle maison mitoyenne…..Je vous conterai cela a mon retours - en vous montrant mes horreurs' (Translation: 'I don't bathe at all and work every day, not very proud of what I do and a little ashamed, I have no excuse but idleness and the need to pay for a new terraced house…..I will tell you about it on my return - showing you my horrors'). VG
One of the very few known letters of Gauguin to his early champion Albert Aurier, the critic who also praised van Gogh and was the first to declare him ‘a genius’ GAUGUIN PAUL: (1848-1903) French Post-Impressionist painter. A.L.S., P Gauguin, one page, 8vo, Finistere (Breton), n.d. (c.1890), to [Albert] Aurier, in French. The artist writes, in full, 'J'avais demandé a Bernard de m'envoyer la “pleiade” et numero ou est votre “salon” et “le moderniste” concernant a qui m'interesse. Vous serez bien aimable de me l'envoyer ci inclus quelques timbres postes pour regler la depense approximative' (Translation: 'I had asked Bernard to send me the ”pleiade” and the number where your “salon” is, and “le moderniste” about which interests me. You will be very kind to send it to me, including some postage stamps, to pay the approximate expense'). With blank integral leaf (minor traces of former mounting to the head of the verso). A letter of good association. Some very light, extremely minor age wear, VG Albert Aurier (1865-1892) French poet, art critic and painter associated with the Symbolist movement. Aurier's noted essays Les Isoles: Vincent van Gogh and Le Symbolisme en peinture: Paul Gauguin were both published in the Mercure de France in the early 1890s. Emile Bernard (1868-1941) French Post-Impressionist painter and writer, a friend of Gauguin, Vincent van Gogh and other artists.
‘I don’t know yet if he likes these paintings, he hasn’t said a word’ PISSARRO CAMILLE: (1830-1903) French Impressionist painter. A good A.L.S., C. Pissarro, two pages (written to the first and final sides of the bifolium), 8vo, Paris, 6th September 1891, to his wife ('Ma chere Julie'), in French. Pissarro states that they are looking forward to hearing news from his wife, and continues to send news of his own, explaining that he has visited Paul Gallimard who has arranged to make a book with Lucien, 'Il est convenu que M. Gallimard doit ecrire a Geffroy qui est absent pour lui prier de faire un conte que Lucien illustrera de gravures en couleurs et autres ce sera tres artistique et conviendra tout a fait.....c'est donc une chose arrangee.....il va donc pouvoir faire un livre dont le texte sera grave sur bois et illustre de gravures en couleurs a l'eau ce qui ne s'est jamais fait; j'espere que bien compris ce livre fera grand bien a Lucien. C'est une chance exceptionale que d'avoir trouve cette affaire' (Translation: 'It is agreed that Mr. Gallimard should write to Geffroy, who is absent, to ask him to write a story that Lucien will illustrate with colour engravings and the like. It will be very artistic and will suit perfectly…..so it's one thing arranged…..he will therefore be able to make a book whose text will be engraved on wood and illustrated with colour engravings in water, which has never been done; I hope that this book will do Lucien great good. It's an exceptional chance to have found this business'). Pissarro further remarks 'J'ai porte 5 tableaux chez Durand Ruel, j'attends une reponse, je ne sais encore si ces toiles lui plaisent il n'a pas souffle un mot' (Translation: 'I took 5 paintings to Durand Ruel, I'm waiting for an answer, I don't know yet if he likes these paintings, he hasn't said a word'). A letter of interesting content and artistic references. A few small, neat splits and minor tears to the edges, GJulie Pissarro (1838-1926) Wife of Camille Pissarro from 1871, with whom she had seven children.Lucien Pissarro (1863-1944) French landscape painter, printmaker, wood engraver, designer, and printer of fine books. The eldest son of Camille and Julie Pissarro, Lucien Pissarro published his first portfolio of prints, Twelve Woodcuts in Black and Colours, also known as The First Portfolio, in 1891.Paul Gallimard (1850-1929) French art collector and bibliophile, the father of publisher Gaston Gallimard.Gustave Geffroy (1855-1926) French journalist, art critic, historian and novelist.Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists and the Barbizon School.
RENOIR PIERRE-AUGUSTE: (1841-1919) French painter. A.L.S., Renoir, two pages (written to the first and third sides of the bifolium), small 8vo, n.p., n.d., to Monsieur Chorquer (?), in French. Renoir states that it is not possible for him to leave at the moment, explaining 'Aussitot apres votre depart la dame qui etait la ma demande timidement de faire le portrait de leur petite fille que j'ai du entreprendre aussitot a cause de leur depart' (Translation: 'Immediately after your departure, the lady who was there timidly asked me to paint a portrait of their little girl, which I had to undertake immediately because of their departure') and further adding that as soon as he is free he will come to shake his correspondent's hand and pay respects to their wife, hoping that she has completely recovered from her illness. One small area of paper loss to the lower right corner of two pages, otherwise VG
An attractive letter on Monet’s printed stationery from Giverny, arranging a visit for his friend, the artist Jules Cheret MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, one page, small 8vo, Giverny par Vernon, Eure, 18th November 1893, to Gustave Geffroy ('Cher ami'), in French. In his characteristic dark purple ink Monet writes, in full, 'Je vous attends lundi matin une voiture sera au devant de vous a la gare. J'esperais que vous porriez ne pas partir si vite, en tout ceci c'est entendu suis ravi de vous voir. Si le hazard vous faisait trouver Cheret et que vous ne veniez pas seul priere envoyer une depeche' (Translation: 'I expect you on Monday morning, a car will be waiting for you at the station. I was hoping you wouldn't be leaving so soon, in any case it's understood. I'm delighted to see you. If by chance you find Cheret and you do not come alone, please send a telegram'). Accompanied by the original envelope hand addressed by Monet. With blank integral leaf. VGGustave Geffroy (1855-1926) French journalist and art critic, a friend of Monet and one of the first historians of the Impressionist art movement. Jules Cheret (1836-1932) French painter and lithographer, a master of Belle Epoque poster art.
SIGNAC PAUL: (1863-1935) French Neo-Impressionist painter. A.L.S., Paul Signac, one page, 8vo, Les Maraniousques, Viviers, Ardeche, 1st August n.y., to a friend, in French. Signac confirms that a painting is indeed that of Madame Henri-Edmond Cross, although adds that without access to his documents at the present moment he cannot confirm the date of the work or when it was exhibited, further suggesting that they contact Felix Feneron who will be happy to assist. With blank integral leaf. A minor, light stain to the upper left corner, otherwise VGHenri-Edmond Cross (1856-1910) French painter and printmaker, a master of Neo-Impressionism. In 1893 Cross married Irma Clare, the former wife of Hector France, whom he had first met in 1888. Cross's portrait Madame Hector France is held by the Musee d'Orsay in Paris.Felix Feneon (1861-1944) French art critic, gallery director, writer and anarchist who coined the term Neo-Impressionism in 1886.
‘inspiration is always possible – if not present – whatever happiness or unhappiness is present’ MAGRITTE RENE: (1898-1967) Belgian surrealist artist. An excellent A.L.S., Rene, two pages, 8vo, Rue des Mimosas, Brussels, 25th August 1963, to his cousin, in French. Magritte expresses his regret that he probably didn't explain himself very well in his last letter, explaining that he had thought, on reflection, 'pour obtenir un succes evident (et, helas, toujours incertain lorsqu'il s'agit d'etre apprecie pour le public des expositions et par les soi-disant critiques d'art) il aurait ete souhaitable de remettre ta premiere exposition a plus tard' (Translation: 'to obtain an obvious success (and, alas, always being uncertain when it comes to being appreciated by the public at exhibitions and by the so-called art critics) it would have been desirable to postpone your first exhibition until later') and continuing to comment 'Cela ne met pas en cause la qualite deja remarquable de tes travaux. Mais cela implique que de nouveaux travaux auriant plus de chances encore de rencontrer plus de succes……. a la reflexion j'ai pense qu'il serait souhaitable d'avoir "plus d'atouts dans tou jeu" et je devair je pense, te le dire, ne croyant pas que la date de ton exposition est absolument irrevocable. La preuve de mon interet pour les travaux me semble indiscutable' (Translation: 'This does not call into question the already remarkable quality of your work. But this implies that new works would have even more chances of meeting with more success……on reflection, I thought it would be more desirable to have “more assets in your game” and I should, I thought, tell you, not believing that the date of your exhibition is absolutely irrevocable. The proof of my interest in the works seems to me indisputable'). The artist further writes in philosophical tones, 'Pour ma part, je n'accorde aucune importance aux "consequences", le succes ou l'echecpublic......c'est uniquement de l'authenticite des oeuvres qu'il importe et celle de ton travail n'est pas douteuse pour moi. C'est en raison de cette authenticite, que l'on peut attendre de sa part une maitrise plus grande qu'a present. La partie de ta lettre relative a la joie et a la souffrance, je la comprends, je pense, tres bien. La vie n'est jamais un echec pour les imbeciles. Si tu as retenu ce que j'ai ecrit dans un catalogue, tu dois savoir que je ne confonds pas l'importance des "concourantes" avec celle de la presence d'esprit indispensable a la conception d'une oeuvre d'art: j'ai ecrit "l'inspiration est toujours possible - sinon presente - quels que solient le bonheur ou le malheur presents"' (Translation: 'For my part, I do not attach any importance to the “consequences”, the success or the public failure……it is only the authenticity of the works that matters and that of your work is not questionable to me. It is because of this authenticity that we can expect greater mastery than at present. The part of your letter relating to joy and suffering, I understand, I think, very well. Life is never a failure for fools. If you have remembered what I wrote in a catalogue, you must know that I do not confuse the importance of “competitors” with that of the presence of mind essential to the design of a work of art: I wrote “inspiration is always possible - if not present - whatever happiness or unhappiness is present”'). A letter of fine content. VG
CHAGALL MARC: (1887-1985) Russian-born French artist. A.L.S., Marc Chagall, two pages, 4to, n.p., 21st May 1925, to a gentleman, in French. Chagall thanks his correspondent for a draft contract and proceeds to suggest a few alterations, in part, '1. Par exemple c'est pas toujours que je fais les dessins pour les gravures souvent ce sont de petits croquis…..2. Je voudrais que les cuivres apres le premier tirage serions detruites. 3. Quant au terme, je vous prierais de pas preciser la date. Je n'oubeierai…..Peut-etre je les ferai plus tot du temps….4. Quant au payement, je vous demanderais 2000 fr a la signature du contrat et tout la reste a la livraison….' (Translation: '1. For example, it's not always that I make the drawings for the engravings, often they are small sketches…..2. I would like the brass after the first stage to be destroyed. 3. As to the term, I would ask you not to specify the date. I won't forget….Maybe I'll do them sooner…..4. As for the payment, I would ask you 2000 francs at the signing of the contract and all the rest on delivery…..'). Chagall further requests that the work be carried out by his engraver, Monsieur Fort, 'car je sois deja habitue a travailler avec lui et il connait deja bien me maniere de travail' (Translation: 'because I am already used to working with him and he already knows my way of working well') and concludes by remarking 'Je vous remercie infiniment pour votre livre, il est tres interessant, il m'inspire beaucoup d'emotion' (Translation: 'Thank you very much for your book, it is very interesting, it inspires me with great emotion'). A few very light, minimal creases, VG
GOYA FRANCISCO JOSE DE: (1746-1828) Spanish Painter. Goya is considered the most important Spanish Painter of the late 18th and early 19th centuries and is regarded as the last of the Old Masters and the first of the moderns. A precursor of the Expressionism. His masterpiece portrayal of a naked woman, La Maja Desnuda ("The Naked Maja"), now in the Museo del Prado in Madrid, was a remarkably daring nude for the time, renowned for the unashamed gaze of the model towards the viewer without negative connotations. An exceptionally rare L.S., `Fran[cis]co de Goya´, three pages, 4to, Bordeaux, 30th November 1824, to the Duchess of San Fernando, in Spanish. Goya apologies for his hasty departure from Paris preventing him from saying goodbye to her himself, stating in part `Cuando salí de Paris para venir a esta [ciudad], dispuse atropelladamente mi viaje; el tiempo urgía, me hallaba sin dinero, y admití la oferta de unos amigos que me anticiparon los gastos del camino…´ (Translation: `When I left Paris to come to this [city], I hastily organized my trip; time was urgent, I was without money, and I accepted the offer of some friends who anticipated the expenses of the trip…") Goya is still not sure about his near future and explains that his has requested to the King of Spain an extension of his permission to leave his court painter obligations, saying `Aqui estoy, sin saber lo que debo hacer de mi. He pedido una prórroga, siquiera para poder pasar el invierno al calor de la chimenea, y no se si S[u] M[ajestad] tendrá a bien de concedérmela…´ (Translation: "Here I am, not knowing what I should make of myself. I have asked for an extension, at least that I can spend the winter in the warmth before a fireplace, and I don't know if H[is] M[ajesty] will be good enough to grant it to me…") Further again, Goya explains in full detail what the present he has sent to his correspondent is, being some drafts, drawings and figurines of three dwarfs, stating in part `Me tomo la libertad de remitir a V.E. esos tres comisionados, a quienes doy el encargo especial de asegurarla cuan agradecido estoy a la memoria que conserva de mi, y cuanto deseo complacerla y servirla. Son tres enanos que se presentaron en la feria de Burdeos dos meses hace, y me pareció conveniente sacar un tanteo de sus caras y sus figurillas. El de los pantaloncitos tiene 18 pulgadas, de los otros dos (que son marido y mujer) ella tiene 21 pulgadas y el esposo 20. Celebraré que cumplan su comisión, según los deseos del invalido que los envia´ (Translation: `I take the liberty of sending to Y.E. those three commissioners [referring to his three dwarfs figurines], to whom I give the special charge of assuring you how grateful I am to the memory you keep of me, and how much I wish to please and serve you. They are three dwarfs who appeared at the Bordeaux fair two months ago, and I thought it convenient to make a test of their faces and their figurines. The one with the short trousers is 18 inches, and the other two (who are husband and wife) she is 21 inches and the husband is 20. I will celebrate that they fulfil their commission, according to the wishes of the invalid who sends them" [Goya refers here to himself]) Goya has a lengthy list of important portraits paintings of dwarfs. An exceptional document, with very interesting content related to Goya´s last years, short after his arrival to France, and referring to his work on three dwarves he met at a fair in Bordeaux. A letter in very fine condition. VG Goya became a court painter to the Spanish Crown in 1786 and this early part of his career is marked by portraits of the Spanish aristocracy. In 1793 an illness left him deaf, after which his work became progressively darker. In 1799 Goya became the First Court Painter, the highest rank for a Spanish court Painter, under King Charles IV of Spain. During the Peninsular War and Napoleon´s invasion of Spain, Goya remained in Madrid, and his series of paintings Disasters of War, or his painting The Second of May 1808, show how much this war affected him deeply, fearing for his country´s fate. He also painted important portraits of the Royal Spanish family and of Lord Wellington.His late period is marked by the Black Paintings, on the plaster walls of his own house "La Quinta del Sordo" ("The House of the Deaf Man") where disillusioned by political and religious corruption, and by social developments in Spain, he lived near isolation. He also painted dwarves, and persons with insanity or in mental asylums, as well as themes related with witches and fantastical creatures. Goya abandoned Spain in 1824, the year of the present letter, to retire to the French city of Bordeaux from where the present letter is written. He was accompanied by his maid and companion Leocadia Weiss, 42 years younger than him, although it remains unclear if she was or not his lover.It was at that time and in Bordeaux where Goya completed his well-known series of paintings La Tauromaquia, depicting bullfighting scenes. Goya died and was buried in Bordeaux, but was later re-interred in the Royal Hermitage of San Antonio de la Florida in Madrid. Famously, the skull was missing, and the Spanish consul to Bordeaux reported so to his superiors in Madrid, who wired back "Send Goya, with or without head". The present letter is most probably in the hand of Leandro Fernández de Moratín (1760-1828) Spanish Dramatist, Poet, and translator of works of Moliere and Shakespeare into Spanish. Goya made his friend´s portrait in his late years in Bordeaux. Fernandez de Moratin lived his late years in exile in France and died in Paris only two months after Goya passed away in Bordeaux. The present letter is written to Maria Luisa of Bourbon and Villabriga (1783-1846) Duchess of San Fernando de Quiroga. She was directly related to several Kings of Spain, being the grand-daughter of Philip V, the niece of Charles III, and cousin of Charles IV. Maria Luisa and her husband, first duke of San Fernando, went into exile in 1823 to Paris.
MIRO JOAN: (1893-1983) Spanish painter. An excellent, lengthy and early A.L.S., Miro, three pages, 4to, Barcelona, 7th April 1934, to [Christian] Zervos, in French. Miro states that he has received his correspondent's letter, article and photograph, explaining that he did not answer sooner 'parce que j'ai du me rendrer a Montrois pour verifier d'apres le dessins.....les dates exactes, et vous donner de la facon la plus exacte possible, les renseignments que vous m'aviez demande a Paris' (Translation: 'because I had to go to Montrois to check according to the drawings….the exact dates, and to give you in the most exact way possible, the information that you had asked me for in Paris') and continuing to write concerning Zervos's article, and offering some advice, 'Votre article est tres, tres bien, vous avez tres bien compris mes inquietudes, il est en meme temps ecrit avec un grand courage. Je l'ai lu maintes fois attentivement et en suis tres emu. Vous en remercie de tout Coeur. Il faudrait toutefois rectifer, quelques dates, il m'etait tres difficile de les preciser lors de notre entretien chez vous. J'estime que ces donnees doivent etre tres exacter, d'autant plus qu'elles seront repandues a l'etranger, ou l'on se servira de ce numero de "Cahiers d'Art" lorsque l'on voudra ecrire quelque chose d'important sur moi. a) J'ai commence l'etude de la peinture a l'age de 14 ans, mon premier professeur a ete Urgell, et plus tard Pasco. b) Je cesse de peindre de 1910 a 1912 - a partir de cette date je m'adonne entierement a la peinture et frequente a Barcelone certaines academies etc. et passe mes vacances a Montrois, je frequente les academies jusqu'a 1914, et desormais je travaillerai seul. c) arrive a Paris pour le premiere fois en mars 1919, et c'est a partir de cette date que je travaille tantot a Barcelone tantot a Montrois, tantot a Paris. d) qouique la plupart de reproductions n'auront pas de titre, il ne faudrait cependant pas negliger d'en mettre a celles que vous citez dans votre article et aux plus representatives pour mieux le comprendre. e) ces tableaux ont ete faits l'hiver et le printemps 1933. f) Je trouve aussi que c'est mieux que vous supprimiez ce passage. Comme vous voyez toutes les rectifications sont tres necessaires et tres importantes, je vous demande de faire l'impossible pour y etre a temps' (Translation: 'Your article is very, very good, you have understood my concerns very well, it is at the same time written with great courage. I have read it carefully many times and am very moved by it. Thank you wholeheartedly. However, it would be necessary to rectify a few dates, it was very difficult for me to specify them during our interview with you. I consider that this information must be very exact, especially since they will be spread abroad, where people will use this number of “Cahiers d'Art” when they want to write something important about me. a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stop painting from 1910 to 1912 - from this date I devote myself entirely to painting and attend certain academies etc. in Barcelona and spend my holidays in Montrois. I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919, and it was from this date that I worked sometimes in Barcelona, sometimes in Montrois, sometimes in Paris. d) although most of the reproductions will not have a title, you should not neglect to put one to those you quote in your article and to the most representative ones to better understand it. e) these paintings were made in the winter and spring of 1933. f) I also think it is better that you delete this passage. As you see all the corrections are very necessary and very important, I ask you to do the impossible to there in time'). Miro also asks his correspondent if they have decided to go ahead with an exhibition, and to let him know the exact date of the opening as soon as they know it, and further enquiring if invitations will be sent, in which case Miro will provide some addresses, additionally writing 'J'ai reflechi a ce que votre femme me demande d'apporter de nouveaux tableaux. Il me semble que cette nouvelle serie faudrait la montrer ensemble, ce serait une erreur que d'en exposer quelques specimens au prealable. Ce qui serait peut-etre tres bien, ce que, du moment ou "Cahiers d'Art" est consacre a toute mon oeuvre, vous exposiez aussi, dans une piece a part quelques toiles anciennes. En etant fait simultanement a l'apparition de "Cahiers d'Art" cela n'aura nullement l'air d'une retrospective, qu'il faut a tout prix eviter.......ca restera tres intime et n'aura pas l'air pretentieux d'une exposition rue de la Boetie. Et suivrait en meme temps la trajectoire qui se termine en 1933' (Translation: 'I thought about your wife asking me to bring new paintings. It seems to me that this new series should be shown together, it would be a mistake to exhibit a few specimens beforehand. What would perhaps be very good, since “Cahiers d'Art” is devoted to all my work, you also exhibit, in a separate room, a few old paintings. By being done simultaneously with the appearance of “Cahiers d'Art” it will in no way seem like a retrospective, which must be avoided at all costs….it will remain very intimate and will not have the pretentious air of an exhibition on rue de la Boetie. And at the same time it would follow the trajectory which ends in 1933'). Miro concludes by asking if Zervos has seen Pierre Matisse, explaining 'Je lui ai ecrit deux lettres en reponse a la sienne ou'il me faisait part de l'accord avec [Henri] Matisse et il ne m'a point repondu. Je lui demandais s'il m'autorisait a ecrire a Matisse pour lui demander de s'entendre avec lui pour les mensualites de maniere a ce que ce fut Pierre qui ces versat en toute sa totalite. Je crois que du moment ou Pierre est, pour ainsi dire, le marchand officiel, pourrait trouver des moyens pour regler les mensualites…..' (Translation: 'I wrote him two letters in response to his where he informed me of the agreement with [Henri] Matisse and he did not answer me. I asked him if he would authorise me to write to Matisse to ask him to come to an agreement with him for the monthly payments so that it was Pierre who would pay them in full. I believe that since Pierre is, so to speak, the official merchant, he could find ways to settle the monthly payments….'). A letter of fine content. Some very light, extremely minor age wear, VGChristian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'art and also ran an art gallery.Pierre Matisse (1900-1989) French-American art dealer, the youngest child of Henri Matisse. The Pierre Matisse Gallery was opened in New York in 1931 and represented many European artists including Miro, Marc Chagall, Alberto Giacometti and Jean Dubuffet amongst others.
ERNST MAX: (1891-1976) German painter, sculptor, printmaker and graphic artist, a primary pioneer of the Dada movement and Surrealism in Europe. Book signed and inscribed, being a hardback edition of the monograph Max Ernst by Patrick Waldberg, First edition with French text, edited and published by Jean-Jacques Pauvert, Paris, 1958. With numerous illustrations, some in colour, the selection of which was supervised by Ernst and with the artist also designing the initial letters for the chapter headings. Signed and inscribed by Ernst to the half-title page in blue ink, also adding an ink drawing of Loplop, Father Superior of the Birds, the alter ego of Ernst, in his hand. Attractively bound in the publisher's original cloth. Some very light, extremely minor age wear, VG
KUPKA FRANTISEK: (1871-1957) Czech Painter and graphic Artist. A pioneer of the abstract art movement. A very fine and interesting A.L.S., `Kupka´, a bold and large attractive signature, one page, 4to, n.p., 25th July 1948, to Monsieur Sides, in French. A very good content letter, Kupka referring to the evolution of painting and to his pioneering role and his predictions made many years ago, and includes a singular definition of abstract, stating `Seuls les évènements m´empêcherent de vous écrire en rentrant du vernissage des R.N. pour vous communiquer ma joie de voir le progres bien notable des exposants et de la repercussion dans le monde de la réforme de l´art plastique, réforme partie de Paris. Bien sur que pour moi particulièrement c´est comme une satisfaction immense d´être dans ma 77eme année, present à ce revirement quand mes - déja si lointaines expositions - je préchais les possibilités nouvelles en peinture une fois séparée de la morphologie de la nature autonome. Trop autonome´ (Translation: `Only events prevented me from writing to you on returning from the opening of the R.N. to communicate to you my joy at seeing the very notable progress of the exhibitors and the repercussion in the world of the reform of plastic art, a reform that started in Paris. Of course, particularly for me, it is like an immense satisfaction to be in my 77th year, present at this turnaround when my - already so distant exhibitions - I was preaching the new possibilities in painting once separated from the morphology of autonomous nature. Too autonomous´ Some small remnants of paper affixed to the verso as a result of former affixing, and a hole to the lower border of the letter because of the letter opening, but not affecting the text or signature. G Fredo Sides (1888-1952) founder of the 1946 first "Salon des Réalités Nouvelles" ("Exhibition of the New Realities") promoting the Abstract art. The 1948 exhibition had 350 exhibitors from 17 different countries.
RIVERA DIEGO: (1886-1957) Mexican painter. T.L.S., Diego Rivera, one page, 4to, Coyoacan, Mexico, 3rd February 1947, to Nettie King. Rivera thanks his correspondent for her kind letter, continuing 'I am ready to wait for the decision of the publisher provided that I could have the hope of your coming down to discuss the matter, and that of course more for the pleasure of seeing you again' and further stating 'The Christmas cards interest me, specially on account of being in the good company of painters such as you mention, but the only trouble is to have to do the sketches without knowing the results the[y] may have. The most difficult part of it is to imagine and do the composition for the painting. The actual price for my sketches are around the amount you announce as the possible advance, which makes it difficult to risk the work without being sure of the profit obtained by it. This is why being interested in your proposition, I hope you find a solution to the situation I present'. Together with three carbon typed retained copies of letters from Nettie King to Rivera, each one page, 4to, New York, January - September 1947, discussing the project for providing paintings to be reproduced on Christmas cards, to which other artists including Norman Rockwell and Picasso are contributing, as well as the possibility of Rivera making illustrations for a book ('It is very secret to this point because I am trying to get a large first edition publication and I am presenting the matter with suggestions to have you illustrate the book. Naturally these things take lots of time and lots of maneuvering [sic]. I still feel very confident that we will get it'), and also sending good wishes to Rivera's lovely and charming wife, hoping that she is recovering her health quickly. One staple to the upper left corner of Rivera's letter and some chipping to the edges of King's letters, G to VG, 4
FRIESZ OTHON: (1879-1949) French artist associated with the Fauvist movement. A.L.S., Othon Friesz, two pages, oblong 4to, Aups (Provence, Var), 22nd November 1926, to a friend, in French. Friesz informs his correspondent that he is still at the Chateau de Taurenne and continues 'Je m'empresse de t'envoyer mes affectueux remerciements pour cette nouvelle preuve de ta veille et sincere amitie que tu viens de me donner en ecrivant le bon et spirituel article sure moi dans l'Europe nouvelle - agremente de quelques jolies phrases de douce poesie - j'en suis tres touche et j'espere te dire bientot de vive-voix mon sentiment: en effet je compte venir a Paris des la premiere huitaine de Decembre et t'y rencontrer et nous ferons ensemble un de ces vieux 'pique-nique' qui s'eloignent trop' (Translation: 'I hasten to send you my affectionate thanks for this new proof of your watchful and sincere friendship that you have just given me by writing the good and witty article on me in L'Europe nouvelle - embellished with some pretty sentences of sweet poetry - I am very touched by it and I hope to tell you very soon my feelings: indeed I intend to come to Paris from the first week of December and meet you there and we will have one of those old 'picnics' together that stray too far'), further remarking 'Ma femme te remercie aussi car ta sais combien cela touche les femmes quand un critique valable se donne la peine de faire si amicalement le tour d'une artiste qu'elles aiment' (Translation: 'My wife also thanks you because you know how much it touches women when a worthy critic takes the trouble to be so friendly around an artist they love'). Some minimal age wear and a few very minor, small tears to the edges, not affecting the text or signature, VG
COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A good original colour drawing signed by Cocteau, one page, 4to, n.p., n.d. (c.1948). In various coloured pencils, predominantly pale blue and yellow, Cocteau has drawn a figure looking upwards, with the title Les parents Terribles alongside. Signed ('Jean Cocteau') in red pencil beneath the title (the signature somewhat indistinct). To the foot of the page Cocteau has added an A.L.S., Jean Cocteau, in blue ink, to Monsieur Georges, in French, stating, in full, 'Vous me demandez une photographie - et je n'en ai pas de bonne sous la main. J'ai pense que cette esquisse pour une couverture vous ferait plaisir' (Translation: 'You ask me for a photograph - and I don't have a good one handy. I thought this sketch for a cover would please you'). Neatly mounted to a stiff card. Some light overall age toning and a couple of extremely small, minor stains to the upper and lower edges, otherwise about VGLes Parents terribles is a play written by Cocteau in 1938 and first performed at the Theatre des Ambassadeurs in November 1938. Its run was terminated the following month amid accusations of immortality and the production was transferred to the Theatre des Bouffes-Parisiens in January 1939 where it continued until the outbreak of World War II. In 1948 a film adaptation was released, directed and narrated by Cocteau and starring Jean Marais.
BALTARD VICTOR: (1805-1874) French architect, remembered for various works in Paris. A.L.S., Vor. Ballard, two pages (written to the first and fourth sides of the bifolium), 8vo, n.p., 16th January 1864, to Monsieur Michaux, in French. Baltard writes, in part, 'Ce que je croyais n'etre qu'une simple indisposition passagere se prolonge et me provoque a des grimaces, a des soupirs, presque a des cris, lorsque je me leve ou je m'assieds.....Malgre la douleur, je vaque a mes affaires cahin-caha; mais je me refuse tout plaisir. soyez donc assez bon pour porter nos excuses et nos sinceres regrets a Monsieur le prefet et a Madame Haussmann de ne point nous rendre ce soir….' (Translation: 'What I believed to be only a simple temporary indisposition is prolonged and provokes me to grimaces, to sighs, almost to cries, when I get up or I sit down……Despite the pain, I go about my business juggling; but I deny myself all pleasure. So be good enough to convey our apologies and our sincere regrets to the Prefect and to Madame Haussmann for not coming this evening….'). Together with a second A.L.S., V Baltard, one page, 8vo, n.p., 17th November 1868, to Monsieur [Michaux], in French. Baltard writes, in part, 'Veuillez me pardonner, Monsieur, d'avoir accepte hier sans reflexion, l'offre obligeante que vous m'avez faite de m'envoyer chez moi la consultation qui j'etais venu vous demander. Mon devoir etait de vous eviter ce soin et je l'accomplie quoique tardivement en vous priant de remettre votre avis a mon messager, si vous avez pu vous en occuper' (Translation: 'Please forgive me, Sir, for having accepted yesterday without reflection, the obliging offer you made me to send me the consultation which I had come to ask you for. My duty was to spare you this care, and I accomplished it, albeit belatedly, by asking you to deliver your opinion to my messenger, if you were able to take care of it'). With blank integral leaf. VG, 2Georges-Eugene Haussmann (1809-1891) Baron Haussmann. French official who served as Prefect of Seine (1853-70) and was responsible for re-building Paris into a modern city.
HADID ZAHA: (1950-2016) British-Iraqi Architect and Designer. Known as the Queen of the Curve, her works include the London Aquatics Centre for the 2012 Olympics and the Guangzhou Opera House among many others. Hadid was the first woman to have ever been awarded the Pritzker Architecture prize. Signed 5 x 7 photograph, the image showing Hadid seated, in a full length pose. Signed in bold blue ink across the image. VG
NADAR: (1820-1910) Gaspard-Felix Tournachon. French photographer, caricaturist and balloonist, the first person to take aerial photographs (1858). A.L.S., Nadar, one page, 8vo, Paris, n.d. (1870s), to a friend, on the red printed stationery of Galerie Nadar, in French. Nadar writes a hurried letter to his correspondent, informing him that it will be impossible to attend a dinner and remarking 'Heureusement que je sui par que vous pourrez vous passer de moi' (Translation: 'Fortunately, I am so that you can do without me'). With blank integral leaf. Some very light, extremely minor age wear, VG
SNOWDON EARL OF: (1930-2017) Antony Armstrong-Jones. British photographer, known for his portraits of world notables. Husband of Princess Margaret from 1960-78. Small collection of three A.Ls.S., Tony, each two pages, 8vo, London (2) and n.p., 1963-86, all to Anthony Wieler, two on the printed stationery of Kensington Palace. Snowdon writes, in part, 'How very kind of you to ask us to dinner - the awful thing is that at the moment we are so drastically involved with dreary events of one kind or another I am afraid that, much as we would like to, we are unable to accept' (17th July 1963), 'There is, I know, no one who could understand ones present feelings better than yourself. I hope we may meet sometime after Hong Kong' (2nd February 1966), 'Dearest Susan had a terrible last few months….she was so brave. All her children were really wonderful & so unselfish with their love & care - at the end everything was peaceful & we were all with her. No one can take away all the happiness we had together since childhood…..' (19th May 1986). The first two letters are accompanied by the original envelopes hand addressed by Snowdon (one signed with his initial S to the lower left corner). VG, 3 Anthony Wieler (1937-2022) British stockbroker, co-founder of the Gurkha Welfare Trust and pioneer of modern pentathlon. Susan Anne Armstrong-Jones (1927-1986). Lady de Vesci. Sister of Antony Armstrong-Jones. Lady de Vesci passed away as a result of cancer in May 1986.
BOW CLARA: (1905-1965) American actress. A.L.S., Clara (“It Girl”), to the inside of a folding 8vo Christmas greetings card, n.p. (Culver City, California), December 1963, to William Wellman ('Dear “Wild Bill”'). Bow expresses her wish that Wellman and his family enjoy a happy Christmas and continues to reminisce, 'I remember with wistfulness the fun we all had in making “Wings” even though the heat was unbearable……and then “Ladies of the Mob”, with bullets flying everywhere…..You were always my favorite director, but you were a hard taskmaster. I think I did my best acting under your direction', and further enquiring if Wellman is in contact with any of his old friends from the Lafayette Escadrille squadron, remarking 'I loved the stories you told me about your duels in the sun with your German counterparts'. In a postscript, signed with her initial C, the actress explains that the card is being sent in care of Wellman's son-in-law James Franciscus, adding 'He is certainly a fine actor and handsome, too'. Accompanied by the original envelope. A letter of good content and association. VGWilliam Wellman (1896-1975) American film director whose 1927 film Wings (in which Bow portrayed Mary Preston) was the first film to win an Academy Award for Best Picture at the first Academy Awards ceremony. Before directing, Wellman was a decorated combat pilot during World War I, serving in the Lafayette Flying Corps of the French Air Force.
GUS: (1911-1997) Gustave Erlich. French comic Cartoonist. Well remembered for his publications in French newspapers Le Figaro, Le Canard Enchainé, and many others. Three excellent signed original watercolours, `Gus´, one page each, oblong folio, drawing paper, n.p., all dated in his hand, in French. Gus has drawn three amusing colourful sketches, the first dated 10th July 1974 shows a scale with an eagle with swastika on one of the plates and entitled to the lower white border “Beate Klarsfeld Condamnée a Cologne” (“Beate Klarsfeld Condemned in Cologne”); the second, dated 7th May 1985, shows a colourful “big bang” watercolour, entitled “Anniversaire” (“Anniversary”) on the occasion of the 40th anniversary of the end of WWII; and the third and last is an attractive drawing showing a military tank painted half with the colours of the German flag and half with the French flag. The text states `Garde à vous, Achtung! - Brigade Franco-Allemande?´ (“Attention, Achtung! - Franco-German Brigade?”), dated 22nd June 1987. VG, 3 Beate Auguste Klarsfeld (1939- ) Franco-German Journalist, known as a Nazi hunter after her multiple investigations, together with her French husband, of Nazi war criminals, including Kurt Lischka or Klaus Barbie among others.
VOLTAIRE: (1694-1778) French Enlightenment Writer and Philosopher. Voltaire is a pseudonym, his name being François-Marie Arouet. Voltaire is known for his attacks on Catholic Church, and his advocacy of freedom of religion and expression, and separation of church and state. Rare A.L.S., `Voltaire´, three pages, 4to, Les Délices, Geneva, 10th December 1760, in French. An unusual letter by Voltaire responding to a letter addressed to him on this same letter, partially to the lower part of the first page, beneath the text of the correspondent and to the second and third pages. The upper part of the first page is a letter sent to Voltaire relating to a legal court case referring to the rights of the King, King Louis XV of France, on the lands of La Perriere. They report that the inheritors of de Fleury in Bourgogne request the renouncement of President Mr. de Brosses, owner of part of the land known as "la terre de Tourney" and the renouncement of Mr. de Voltaire who holds the usufruct. The text refers to the official and written renouncement that they are expecting from Mr. De Brosses and the renouncement and further discharge of Voltaire. Voltaire responds stating in part `Monsieur, J´obéis a vos ordres avec autant de reconnaissance que de joye, jay l´honneur de de vous envoier ma requeté contenant ma declaration que je renonce a la haute justice de la perriere, qu´elle appartient au Roy et que l´amande prononcée en ma faveur ne m´appartient pas. J´envoye un double de ma requeté a Monsieur l´Intendant de Bourgogne et je le supplie de vouloir bien exiger que Monsieur le préseident de Brosses signe ce double comme il le doit. Si Monsieur de Brosses fait quelque difficulté j´aurai toujours rempli mon devoir…´ (Translation: "Sir, I obey your orders with as much gratitude as joy, I have the honour to send you my request containing my declaration, that I renounce to the high justice of the Perriere, that it belongs to the King, and that the fine issued to me does not belong to me. I send a duplicate of my request to the Intendant of Burgundy and I beg him to request that the President de Brosses sign this duplicate as he should. If Monsieur de Brosses makes any difficulty, I will always have fulfilled my duty...") Paper with watermark. The last page has been neatly and professionally inlaid. G to VG La Perriere was a land situated next to the lake of Geneva. In 1760, Voltaire wrote `La république de Genève a cédé cette juridiction au roi en 1749, par un traité solennel. On ne voit pas par quelle raison les officiers du bailliage de Gex, qui doivent être instruits de ce traité, ont attribué la haute justice de la Perrière aux seigneurs de Tournay. Il est démontré qu'elle appartient à Sa Majesté´ (Translation: "The Republic of Geneva ceded this jurisdiction to the King by a solemn treaty in 1749. We do not understand why the officers of Gex, who must be informed of this treaty, attributed the high justice of La Perrière to the lords of Tournay. It is clear that it belongs to Her Majesty") Provenance: From the celebrated collection of Robert de Flers (1872-1927) French playwright, opera librettist and journalist. The manuscripts amassed by de Flers were dispersed in 2014 at an auction in Paris conducted by Beaussant Lefevre.
BOW CLARA: (1905-1965) American actress. Vintage signed and inscribed 10 x 12 photograph of The It Girl in an appealing half-length pose with one hand raised to her left ear. Signed in green fountain pen ink across a light area at the centre of the image, 'To Jack, what a great fellow! your friend, Clara Bow'. Presented to Jack Wilson, a Paramount studios electrician. Neatly mounted to board and with some surface marks and evidence of previous tears to the image, since restored to a reasonable standard and only very slightly affecting the conclusion of Bow's signature. Accompanied by two vintage unsigned 9.5 x 7.5 photographs, the first depicting Bow seated in a full-length pose at a table signing photographs for a group of male crew members who worked on the film Dancing Mothers (1926) including Jack Wilson, standing as the tallest man in the back row, and the second photograph depicting Paramount's Astoria studio where the film was shot. Some surface creasing and other minor faults to the two unsigned photographs. About G, 3Clara Bow portrayed Kittens Westcourt in the black and white silent drama film Dancing Mothers (1926), marking her debut performance for a Paramount Pictures film.
`I am neither a man, nor an angel, nor a devil. I am a kind of literary mechanic…´ BALZAC HONORÉ DE: (1799-1850) French Novelist and Playwright. Best known for his masterwork novel La Comedie Humaine, a multi-novel collection of novels written over twenty years. An excellent content A.L.S., `Balzac´, three pages, 8vo, n.p., 18th [October] 1831, to Samuel-Henry Berthoud, in French. Balzac sends an extremely interesting and unusual content letter referring to himself, as writer, and stating in part `Songez qu'il m'est impossible de vous envoyer la Peau de Chagrin avant une huitaine de jours, vous savez ce que sont les exigences des libraires. Gosselin a gardé toute la première édition pour la vente, - nous avons deux volumes de réimprimés et le 3e ne durera pas longtemps à faire, - ainsi vous aurez 3 beaux volumes décents et honorables au lieu de deux. - J'ai été assassiné par des obligations de journalisme et de plus, je suis forcé d'aller ces jours-ci en Touraine pour une affaire fort désagréable, sans cela j'eusse été vous voir avec un plaisir que je ne saurais exprimer. - Du reste, je n'en ai pas perdu l'espoir, et je crois que la Flandre me verra en Octobre. J'aurai trois ou quatre jours à vous donner, si Dieu le veut. - Si je ne vous ai pas écrit c'est à cause des énormes travaux dans lesquels je suis engagé par suite des besoins pécuniaires que ma maladie et mon inaction forcée m'ont faits´ (Translation: `Remember that it is impossible for me to send you La Peau de Chagrin before a week, you know what the demands of booksellers are. Gosselin has kept the whole first edition for sale, - we have two volumes of reprints and the 3rd won't last long to be made, - so you'll have 3 nice decent and honourable volumes instead of two. - I was murdered by journalism obligations and moreover, I am forced to go to Touraine these days on a very disagreeable business, otherwise I would have gone to see you with a pleasure that I cannot express. - Besides, I have not lost hope, and I believe that Flanders will see me in October. I'll have three or four days to give you, God willing. - If I have not written to you it is because of the enormous work in which I am engaged as a result of the pecuniary needs that my illness and my forced inaction have caused me…´) Balzac further refers to friendship concepts and to himself, including his personal view of himself as writer, saying `Croyez, mon bon ami, que nul mieux que moi ne connais les douceurs de l'amitié, ses lois, et j'ai si bien senti parfois dans la vie le charme qu'il y a d'être aimé que je comprends admirablement bien les pensées dont vous êtes actuellement assailli sur ces étranges amitiés parisiennes qui veulent de l'actualité, qui oublient l'absent, qui souvent s'en moquent. Mais je voudrais vous voir entraîné par notre courant, je voudrais que vous connussiez de quelle religion cordiale vous êtes l'objet, et que de fois une sincère et vive exclamation qui m'échappe vous est accordée au détriment de mes amis présents. Je suis ni un homme, ni ange, ni un diable. Je suis une espèce de mécanique à littérature, je suis hébété de travail. L'autre jour, nous deux Nodier, nous nous confessions que nous nous arrachions les cheveux par moments faute de pouvoir réaliser nos promesses et de ne nous trouver sans un mot à écrire avec des idées plein la tête…´ (Translation: `Believe, my good friend, that no one knows better than I the sweetness of friendship, its laws, and I have sometimes felt so well in life the charm of being loved that I understand admirably well the thoughts with which you are currently assailed on these strange Parisian friendships which want topicality, which forget the absent, which often make fun of it. But I would like to see you carried away by our current, I would like you to know what cordial religion you are the object of, and how often a sincere and lively exclamation which counts out of me is granted to you to the detriment of my present friends. I am neither a man, nor an angel, nor a devil. I'm a kind of literary mechanic, I'm dazed with work. The other day, Nodiers and I, we confessed that we were tearing our hair out at times because we were unable to fulfill our promises and finding ourselves without a word to write with our heads full of ideas…´) Before concluding Balzac sends and advise to his correspondent, saying `Songez qu'il ne suffit pas d'avoir du talent, des amis prêts à vous servir. Il y a un fait à accomplir, une entente…´ (Translation: `Remember that it is not enough to have talent, friends ready to serve you. There is a fact to be accomplished, an agreement…´) With address leaf in the hand of Balzac, bearing remnants of a former red wax seal and few postmarks. Overall age wear, creasing and small staining, otherwise G Samuel-Henry Berthoud (1804-1891) French Editor of Musée des Familles and friend of Balzac. La Peau de Chagrin (1831) known in English as The Magic Skin and The Wild Ass´s Skin is a novel by Balzac which belongs to the Etudes Philosophiques sequence of novels La Comedie Humaine The work tells the story of a young man who finds a magic piece of shagreen (untanned skin from a wild ass) that fulfills his every desire. For each wish granted, however, the skin shrinks and consumes a portion of his physical energy.
DUMAS ALEXANDRE Pere: (1802-1870) French Writer whose works include The Three Musketeers. A.L.S., `Alex Dumas´, two pages, 8vo, n.p., n.d., to Mr. Lemoine, in French. A boldly written letter by Dumas, referring first to two bills of exchange and to the payment he has to face, as usual he is short of money and tries to pay back with manuscripts, stating in part `…Vous voyez à leur forme qu'elles ne sont point des lettres de change commerciales mais bien des garanties remises à M. Lautour pour des articles que je devais lui donner (…) Je ne m'attendais donc pas à avoir cette somme à payer en argent mais en manuscrits…´ (Translation: `…You can see from their form that they are not commercial bills of exchange but guarantees given to Mr. Lautour for items that I had to give him (…) I therefore did not expect to have this sum to pay in money but in manuscripts…´) Dumas further explains to his correspondent that he can meet him at any of the two theatres where he is working daily with rehearsals, saying `…J´ai deux répétitions par jour, l´une au théatre Français, l´autre au theatre de la Renaissance, de sorte que tout mon temps est pris…Je joins à cette lettre un laissez-passer pour entrer dans les coulisses…´ (Translation: `…I have two rehearsals per day, one at the French theatre, the other at the theatre of the Renaissance, so that all my time is fully occupied… I enclose to this letter a free-pass to access behind the scenes…´) One single very small hole, not affecting the signature, otherwise VG
FLAUBERT GUSTAVE: (1821-1880) French novelist A.L.S., with his initials G F, two pages (written to the first and third sides of the bifolium), 8vo, n.p., n.d. (1878) to Monsieur Bal (?), in French. Flaubert states that his correspondent is invited to lunch next Saturday at the home of the Minister of Public Instruction and continues to write 'Voila le resume de la conversation que je viens d'avoir avec lui, a trois reprises differentes. Le dialogue a ete long et serieux d'Osmay qui m'a l'air du vice-ministre. Je parle tres serieusement, veut vous nommer directeur des gobelins (sic) a la place de Dareil qu'on se propose le foutre a la porte (c'est un secret d'etat). J'ai dit que vous n'ent demandiez pas tout......Nous avons parle de beaucoup de choses mais partout il faut les titres.....En resume, on va faire des nettoyages importants & il y aura place pour vous. Je n'en doute pas' (Translation: 'Here is the summary of the conversation I just had with him, on three different occasions. The dialogue was long and serious with Osmay, who to me looks like the vice-minister. I spoke very seriously, wanting to appoint you director of the goblins (sic) in place of Dareil that we propose to kick out (it's a state secret). I said that you didn't ask for everything…..We talked about a lot of things but everywhere you need titles….In summary, we are going to do some major cleaning & there will be room for you. I don't doubt it'), further discussing certain individuals and commenting 'Cependant ne lui annoncez rien de positif. mais vous pouvez lui dire que j'ai remis sa note, en l'appuyant chaudement......Je reparlerai de lui samedi' (Translation: 'However, do not tell him anything positive, but you can tell him that I handed over his note, pressing it warmly….I'll talk to him again on Saturday') before concluding 'Donc, mon vieux, ne manquez pas d'etre a Paris vendredi soir - aujourd'hui, je dine chez Baudry & ne serai guere rentre avant 11 heures, ou minuit. Si vous voulez venir vous m'attendrez. Sinon soyez chez moi samedi matin vers 9 heures pour que nous ayons le temps de causer avant d'aller dejeuner.....' (Translation: 'So, old man, don't miss being in Paris on Friday evening - today I'm having dinner at Baudry's & won't be home until 11 o'clock or midnight. If you want to come you will wait for me. Otherwise, be at my place on Saturday morning around 9 am so that we have time to chat before going to lunch….'). Some neat splits (one quite lengthy) to the lower edges of folds, none significantly affecting the text or signature. About VG
‘je refuse’ ZOLA EMILE: (1840-1902) French novelist, journalist and playwright. A.L.S., Emile Zola, two pages (written to the first and third sides of the bifolium), 8vo, Paris, 9th December 1883, to a lady, in French. Zola apologise for the long delay in replying to his correspondent, owing to his work and the fact that he could not provide a good answer, explaining 'J'ai fouille mes lettres, et toutes celles que j'ai trouvees de Flaubert, sont si intimes, si peu interessantes pour le public, qu'il est vraiment impossible de les publier. Il ne m'y parle que de mes livres, et je refuse absolument de livrer a l'impression ces reclames posthumes' (Translation: 'I searched my letters, and all those I found from Flaubert are so intimate, so uninteresting for the public, that it is really impossible to publish them. He only speaks to me about my books, and I absolutely refuse to publish these posthumous advertisements') and further continuing 'Je crois bien en avoir quelques autres, plus interessantes; mais je n'ai pu les retrouver. Je chercherai encore. Si la correspondance ne parait pas tout de suite, il se peut que je vous envoie quelque chose. Seulement ne comptez pas sur moi, car en verite ce que je puis avoir n'ajoutera rien au volume' (Translation: 'I believe I have a few others, more interesting; but I could not find them. I will search again. If the correspondence does not appear immediately, I may send you something. Just don't count on me, because in truth what I can have won't add anything to the volume'). VGGustave Flaubert (1821-1880) French novelist. An ink annotation to the verso of the letter indicates that Zola's correspondent was Caroline Commanville, the niece of Flaubert.
ZOLA EMILE: (1840-1902) French novelist, a major figure in the exoneration of the falsely accused and convicted Alfred Dreyfus, summarised in Zola's renowned newspaper opinion headlined J'Accuse…! A.L.S., Emile Zola, two pages, 8vo, Paris, 3rd March 1894, to [Ely] Halperine Kaminsky ('Mon cher confrere'), in French. Zola confirms that he has sent Halperine Kaminsky's last letter to Lermina 'ce qui le mettra au courant de votre situation' (Translation: 'which will make him aware of your situation') and continues to write 'Vous pouvez traiter avec M. Huvorine pour "Lourdes", le roman commencera à paraitre ici, dans "le Gil Blas", le 14 avril, et y durera environ trois mois. Chaque feuilleton, quotidiennement, contiendra à peu près trois cents lignes' (Translation: 'You can deal with M. Huvorine for "Lourdes", the novel will start appearing here, in "Gil Blas", on 14th April, and will run there for about three months. Each serial, daily, will contain about three hundred lines'), further explaining that he will send the first chapters as soon as he returns so that the translation can be prepared in time. Accompanied by the original envelope hand addressed by Zola to Halperine Kaminsky in Saint Petersburg. VGEly Halperine-Kaminsky (1858-1936) French-Russian writer and translator.Jules Lermina (1839-1915) French writer and journalist who was arrested for his socialist political opinions, receiving the support of Victor Hugo.Zola's Lourdes was first published in 1894 and comprises part of his Three Cities trilogy, the other parts being Rome (1896) and Paris (1898).
PROUST MARCEL: (1871-1922) French Novelist and Essayist. Best known for his major novel A la Recherche du Temps Perdu (`In search of Lost Time´). An excellent A.L.S., `Marcel Proust´, one page, 8vo, Paris, `Mercredi soir 7h, 9 B[ouleva]rd Malesherbes´, 4th September 1895, to Monsieur Jeantet, in French. Proust states `Monsieur Je repars ce soi ren Bretagne…´ (Translation `Sir, I am going back this evening to Bretagne…´), Further referring to his works and their edition, saying `Je vous envoie mes épreuves corrigées. Je crains qu´on ne fasse des erreurs quant aux épigraphes, vous serais bien reconnaissant d´y veiller´ (Translation: `I send you my corrected proofs. I am concerned about them making mistakes to the epigraphs, I would be very grateful if you would take care of it´) To a post-scriptum and beneath his signature, Proust adds `J´ai chez moi le double de l´épreuve dans le cas ou il vous serait nécessaire´ (Translation: `I have at home the copy of the proof in case you would need it´) The first page of the bifolium is lightly adhered at the upper and lower right corners to the integral leaf, and the whole lightly and attractively mounted to a pale cream card matt to an overall size of 9.5 x 12.5, (24.5 cm x 31.2 cm) evidently for the purposes of previous framing. Accompanied by the original envelope, postmarked and stamped. VG Felix Jeantet was the Director of the Revue Hebdomadaire.Proust most probably refers in this letter to his work La Mort de Baldassare Silvande which was published in October 1895 in the Revue.
`I work constantly with Breton. This morning and this afternoon we wrote “The feeling of nature” ‘ ELUARD PAUL: (1895-1952) French Poet, widely considered one of the founders of the surrealist movement. A rare and very good content love letter, A.L.S., `Ton Paul´, one page, 12mo, n.p., Tuesday evening, n.d. [Summer 1930], to Marie Benz, Nush, in French. One of the very few letters by Eluard to Nush as they were almost never far one from each other until her death, the present one is written shortly after their first encounter. Eluard states `Ma petite Nush chérie, j´ai reçu ta lettre ce matin. Elle est très bien écrite et m´a consolé un peu de ne pas t´avoir auprès de moi´ (Translation: `My dear little Nush, I received your letter this morning. It is very well written and consoled me a little for not having you with me´) Eluard further refers to his work with André Breton, saying `Je travaille sans arrêt avec Breton. Ce matin et cet après-midi, nous avons écrit “Le sentiment de la nature” et ce soir nous faisons “Il n´y a rien d´incompréhensible”. Nous voulons avoir fini dans deux jours car je vais partir´ (Translation: `I work constantly with Breton. This morning and this afternoon we wrote “The feeling of nature” and this evening we are writing “There is nothing incomprehensible”. We want to have it done in two days because I'm leaving´) Further again, Eluard sends very warm words to the woman he is in love with, saying `Ma belle Nush, je pense à toi. Je t´aime, tu sais. Dis-moi bien tout ce que tu fais. Ecris-moi chaque jour. Je t´embrasse, je te tiens dans mes bras, je regarde tes beaux yeux. Ton Paul´ (Translation: `My beautiful Nush, I'm thinking of you. I love you, you know. Tell me everything you do. Write to me every day. I kiss you, I hold you in my arms, I look at your beautiful eyes. Your Paul´) With blank integral leaf. VG Maria Benz (1906-1946) Best known by her nickname “Nusch”. French Model and surrealist Artist. She was introduced to Eluard in 1930 by Man Ray and Pablo Picasso, getting married in 1934. They produced a surrealist photomontage and other work, and was the subject of "Facile," a collection of Éluard's poetry published as a photogravure book, illustrated with Man Ray´s nude photographs of her. She was also the subject of several cubist portraits and sketches by Picasso in the late 1930s, and is said to have had an affair with him. Nusch worked for the French Resistance during the Nazi occupation of France during World War II. She died at the early age of 40 due to a stroke. During the summer of 1930, Paul Eluard and Andre Breton wrote jointly L´Immaculée Conception (“The Immaculate Conception”). The two prose poems mentioned in the present letter by Eluard, “Le sentiment de la nature” and “Il n´y a rien d´incompréhensible” are regarded as some of the most important examples of surrealist prose.
COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A.L.S., Cocteau, one page, oblong 4to, n.p., n.d. (June 1916), to [Gaston de] Pawlowski, in French. Cocteau writes a brief, upbeat letter, in full, 'J'ai hate de vous voir - Plus de Coxyde. Si j'avais eu comoedia pour parade!' (Translation: 'I can't wait to see you - No more Koksijde. If I had had Comoedia for parade!'). Some very light, extremely minor age wear, VGGaston de Pawlowski (1874-1933) French writer of the prophetic novel of science fiction Voyage to the Land of the Fourth Dimension (1911), first published in Comoedia, of which Pawlowski was editor-in-chief. Comoedia was a French literary and artistic journal founded in 1907 and to which Cocteau was a regular contributor. The monthly publication provides one of the most complete sources of cultural history in France just prior to World War I.From late December 1915 until late June 1916 Cocteau served with the Red Cross as an ambulance driver at the Belgian town of Koksijde, taking leave between 1st and 10th June (at which time the present letter was most likely penned).
MARINETTI FILIPPO TOMMASO: (1876-1944) Italian poet and art theorist, founder of the Futurist movement, best known as the author of the first Futurist Manifesto (1909) and as a co-author of the Fascist Manifesto (1919). A fine L.S., F T Marinetti, three pages, large 4to, Milan, n.d. (annotated 1912 in pencil in an unidentified hand), to Gustave Kahn ('Mon tres cher Gustave') on the attractive red printed stationery of Movimento Futuristai, in French. Marinetti states that he is delighted to learn that his correspondent's wife has recovered, although remarks 'Quant a vous, il est probable que vous ayez repris, en desobeissant a Mme. Kahn, vos vilaines habitudes de fumeur enrage! Est-ce exact?' (Translation: 'As for you, it is likely that you have resumed, by disobeying Mrs. Kahn, your ugly habits of rabid smoking! Is it correct?'), adding that he often talks of Kahn and declaims his Au jour fermant to his friends, the futuristic painters. Marinetti also informs his friend that he has already sent him a copy of Monoplan du Pape ('The Pope's Aeroplane'), and will send a second if the first is lost ('Comment avez-vous pu supposer un oubli de ma part?') (Translation: 'How could you suppose an oversight on my part?), further observing 'Mon livre, qui est je crois mon meilleur, vous plaira d'un cote: caricature epique de la papaute et du christianisme, mais vous deplaira de l'autre: exaltation de la guerre' (Translation: 'My book, which I believe is my best, will please you on the one hand: an epic caricature of the papacy and Christianity, but will displease you on the other: an exaltation of war') and asking Kahn to write to him when he has completely read it, 'Je tiens à savoir exactement votre jugement' (Translation: 'I want to know exactly your judgement'). A letter of good content and excellent association. A few very small, extremely minor holes to the final page, close to, but not affecting, the signature. VGGuatave Kahn (1859-1936) French Symbolist poet and art critic, a primary influence on Marinetti. Le Monoplan du Pape was a highly anti-Roman Catholic and anti-Austrian verse novel published by Marinetti in 1912.
SOLIS Y RIBADENEYRA ANTONIO DE: (1610-1686) Spanish playwright, writer and historian, chronicler of the Indies. A.L.S., Don Ant. de Solis, one page, 8vo, n.p., 30th September 1683, to Joseph Donner, in Spanish. Solis states that he had a meeting with his master, the Count of Oropesa, that morning and he begged him again to speak on behalf of Donner, explaining that his Excellency agreed to do so in the warmest manner, 'promising me another request in case the first had been lost amongst other papers'. In a postscript Solis further remarks 'The peaches are so good and so abundant that after enjoying them I can still offer them to my friends'. With blank integral leaf. Some very light, extremely minor age wear, VGMiguel Joaquin Alvarez de Toledo (1641-1707) Count of Oropesa. Castilian nobleman and politician, the patron of Antonio de Solis.
Gorky writes of the ‘creative tension which will undoubtedly burst in the greatest discoveries and inventions, and which promises to make the life and work of an exhausted man easier’ GORKY MAXIM: (1868-1936) Russian writer and socialist political thinker and proponent. A fine A.L.S., M Gorky, in Cyrillic, two pages (written to the first and third sides of the feint squared graph paper bifolium), 8vo, n.p., 9th September 1921, to an unidentified correspondent, in Cyrillic. Gorky states that he only arrived from Moscow yesterday, and will return there in two days, and therefore does not have time to see his correspondent, although wishes to provide his thoughts on the issues that concern his correspondent, continuing 'You ask what to do. At your age, there is only one thing you can do more or less successfully, that is, to learn. You should study everything that you are passionate about, but it is most useful to study natural sciences, as they are the most stable and the most necessary for people. It is these very sciences that are now in the state of the most fruitful tension, that creative tension which will undoubtedly burst in the greatest discoveries and inventions, and which promises to make the life and work of an exhausted man easier. To work in this field is a sacred duty and a great blessing. Human sciences? Surely that is good too, but there has never been a time more inconvenient for the growth of the humanities than our time. People have lost their mind, and humaneness and humanism sound like a mockery. This, of course, does not diminish the importance of these sciences'. Gorky concludes by providing his telephone number and invites his correspondent to call him in a fortnight in order to arrange to continue their conversation. A letter of excellent content. Some light creasing, a few minor stains and minimal age wear and with a few small tears to the edges, about VG
![[JOYCE JAMES]: (1882-1941) Irish novelist and poet. An unusual partially printed document, completed and signed on behalf of](https://cdn.globalauctionplatform.com/d9f4f5d5-e853-4d8c-9ccb-b02300a8b7ae/d44f1f9a-6c5a-49cf-8f4a-b02300bab6cc/468x382.jpg)
[JOYCE JAMES]: (1882-1941) Irish novelist and poet. An unusual partially printed document, completed and signed on behalf of Joyce in the hand of an administrative agent, four pages, 4to, Paris, 21st April 1939, in French. The official Reseau Telephonique de Paris (Paris Telephone Network) document is Joyce's contract to have a telephone line installed at 34 rue des Vignes in Paris for an annual fee of six hundred and sixty francs, the head of the first page stamped Transfert ('Transfer') and a further stamp with manuscript insertions to the third page confirming that the document replaces an earlier commitment to have a telephone line at 7 rue Edmond Valentin and that the minimum duration of the subscription is still in place. The foot of the third page is signed on behalf of Joyce with the observation 'Lu et accepté' (Translation: 'Read and accepted'). A moving document relating to Joyce's last private residence in Paris. Some very light, extremely minor age wear, VGJames Joyce first came to Paris in July 1920 and would reside in the French capital for almost two decades, although the writer never bought a home of his own. Joyce's health problems afflicted him throughout his Paris years and despite over a dozen eye operations his vision severely declined and by the 1930s he was practically blind, making the telephone an important method of communication and explaining why he was unable to sign the present document.Joyce lived in an elegant apartment at 7 rue Edmond Valentin, close to the River Seine and Eiffel Tower, for five years from February 1935 until April 1939 before moving into a smaller apartment (although blessed with a lot of natural light) at 34 rue des Vignes on 15th April 1939. Finnegans Wake was published whilst Joyce was living in the apartment, which he would leave after six months in mid-October 1939. Following the fall of France in 1940 Joyce and his family travelled to Zurich to flee the Nazi occupation. On 11th January 1941 Joyce underwent surgery and fell into a coma the next day, awaking briefly at 2 am on 13th January before dying fifteen minutes later.
KENNAWAY JAMES: (1928-1968) Scottish screenwriter and novelist whose films include Tunes of Glory (1960), The Mind Benders (1963) and The Battle of Britain (1969). A scarce A.L.S., James, three pages, 4to, Montecito, Santa Barbara, California, n.d. (mid/late 1960s), to 'My dear Mother'. Kennaway writes a social letter, although also makes references to his work, in part, 'I hand in the first draft of the Indian screenplay on Wednesday or Thursday….I have to wait 10 days for the studio to make up its mind about my piece. Thereafter they have a month of my services for revisions, but I think most of these can be carried out in England….On my return it appears that I will be writing The Battle of Britain first as a film, possibly as a book as well. This is to be an 8 million production & I think there's been some bally-hoo about it on T.V. & in your papers. I haven't signed yet, but we've agreed terms which are pretty astronomical. If it comes through on top of this one there's going to be a big tax problem this year….I may start a company now, but I don't want to have to leave the country', also mentioning his son ('Lord Guy') and wife, Susan, 'By the time you get this Susan should be home. She will tell you about this place which is very expensive & secluded'. Accompanied by the original envelope hand addressed by Kennaway to 'Lady Bell' (the titles of his mother and son seemingly a family joke) in Auchterarder, Perthshire. Autographs of Kennaway are scarce as a result of his untimely death at the age of 40 in a car crash. VG
DOYLE ARTHUR CONAN: (1859-1930) Scottish author, creator of Sherlock Holmes. A very fine A.L.S., A Conan Doyle, four pages, 8vo, Maloja Hotel, Maloja [Switzerland], 1st August 1895, to [James] Payn. Doyle's unusually lengthy letter begins in a social vein, 'How I wish I could waft you up here, for it is a very charming place, but decidedly inaccessible to any man who is not very robust….I see from the Illustrated that your wit and cheeriness never fail you, but I know that in your case that is no proof of health or strength', before continuing on the subject of his present literary endeavours, 'I have been very busy on the…..prize fighter book of which, I think, I said something to you. I think it will work out fairly well, but I dare not be too sanguine. I remember that you were disposed to think that I was dealing with an unsavoury subject in the prize ring……But I hope that it may justify itself. I think I have done it in such a way that it is picturesque and not offensive, though I have two big fights in the book. It has never yet been done, as far as I know, and yet the Ring is the one typical Anglo Saxon sport which has never existed outside English speaking countries, and which has now, I believe, a very deep hold of the people - in spite of the unspeakable state to which it has been reduced. In the old days it stood for chivalry, gallantry & fair play, and I am sure I would rather fight in the lists with lance and sword than stand up to a good man for a hundred rounds, as far as the bravery & endurance which is needed goes. I hope when it comes your way that you may think I have made it interesting.' The author returns to his social and sporting activities, 'Our chief amusement here is to play golf, but as the grass is very thick & long the game gives you a lot of fresh air with very little exertion, for at your first drive you lose your ball, and then you spend your day, with intervals for meals, in walking round in circles and looking for it. [John] Hare is here and I believe [Squire] Bancroft & [Arthur Wing] Pinero are expected, so we feel that we are quite a dramatic centre', and also comments on his holiday reading, 'Of course you have read Morrison's "Mean Streets". It seemed to me to be very good indeed. I have just finished "The Honour of Savelli" but did not care for that so much….Books are the great difficulty out here, for the hotel library has only got as far as Bulwer Lytton'. In concluding Doyle refers to the health of his wife ('very well & bright') and their plans to have their own house built by the end of the next summer, 'I bought the land, but the Tyndalls now claim that there is a right of way through it. I recall a painful story I read somewhere of a man who had actually finished his house when such a claim was made & proved. As a result he had the whole parish continually passing in at his back door and out at the front one. Warned by it I shall settle this matter before I build - and I have no doubt we shall arrange it all right'. A letter of excellent content, not least for its rich literary references to Doyle's novel Rodney Stone. Some light overall age wear, minor creasing and a few small, neat tears to the edges of some folds, about VGJames Payn (1830-1898) English novelist and editor of periodicals including Chambers's Journal and the Cornhill Magazine.John Hare (1844-1921) English actor and theatre manager.Squire Bancroft (1841-1926) English actor and theatre manager.Arthur Wing Pinero (1855-1934) English playwright.Doyle's Gothic mystery and boxing novel Rodney Stone was first published in TheStrand Magazine from January to December 1896. As well as the author's depictions of prize fighting and the famous bare-knuckle boxers of the late eighteenth and early nineteenth centuries, Rodney Stone also includes narratives of thuggery, gambling, cheating and of dangerous horse-drawn chases. The work was adapted into a stage play, The House of Temperley, in 1909 and into a silent movie in 1913.
MILNE A. A.: (1882-1956) English author, creator of Winnie-the-Pooh. Book signed and inscribed, being a hardback edition of Alps and Sanctuaries of Piedmont and the Canton Ticino by Samuel Butler, published by Jonathan Cape, London, 1931 (as No.25 of The Life and Letters Series). Signed and inscribed by Milne to the front free endpaper, 'For Moon, with love from Blue' and dated Christmas 1940 in his hand. An excellent association copy inscribed by Milne to his son, Christopher Robin, using their family names. Bound in the publisher's original green cloth with gilt titles to the spine and front cover, the spine and board edges a little faded and with some minor foxing to the front free endpaper. About VG Christopher Robin Milne (1920-1996) English author and bookseller, the only child of A. A. Milne. As a child he was the basis of the character Christopher Robin in his father's Winnie-the-Pooh stories. At the time the present copy was inscribed Christopher Robin Milne had completed his first year at Trinity College, Cambridge and was awaiting his call-up papers with the expectation of beginning training in November 1940. Milne failed his medical examination; however his father used his influence to get Milne a position as a sapper with the second training battalion of the Royal Engineers. He received his commission in July 1942 and was posted to the Middle East and Italy. A. A. Milne had decided on the name Billy before his son was born, although without the intention of christening him William. Instead, each parent chose a name, hence the legal name Christopher Robin. He was referred to within the family as Billy Moon, a combination of his nickname and his childhood mispronunciation of Milne.
TWAIN MARK: (1835-1910) Samuel Langhorne Clemens. American writer and humourist. A fine, long A.L.S., Samuel, eight pages, 8vo, 'Study' [Hartford, Connecticut], n.d. ('Tuesday. P.M.', October 1880), to his wife, Olivia. Twain commences his letter in German, stating that he arrived at 7.15pm and continuing to inform his wife of the preparations being made at their house, 'Georg hat alles gethan wie du hast es befordert. Die halle-Teppiche sind aufgehoben, die Thuren von das FrauenZimmer unde deine Schlaf-Zimmer sind geschlusselt, die Mobel sind.....weggenommen. O nein, Ich habe nicht die Warheit gesprochen: er hat nicht das Tuch vor das Sideboard fest genagelt. - Also - eferydings else ist all und ganz gut gemacht' (Translation: 'George did everything as you requested. The hall carpets are lifted, the doors of the women's room and your bedroom are locked, the furniture is……removed. Oh no, I wasn't telling the truth: he didn't nail the cloth in front of the sideboard - Also - eferydings else is all very well done'), completing the remainder of the letter in English, writing, in part, 'I found Mr. Beals hard at work in the rain, with his decorations. With a ladder he had strung flags around our bedroom balcony & thence around to the porte cochere, which was elaborately flagged - thence all the flags of all nations were suspended from a line which stretched past the green house to the limit of our ground. Against each of the two trees on the mound half-way down to our gate stands a knight in complete armour. Piles of still bundled flags clutter up the ombra (to be put up) also gaudy shields of various shapes (arms of this & other countries); also some huge glittering arches & things, done in gold & silver paper, containing mottoes in big letters. I broke Mr. Beal's heart by persistently & inflexibly annulling & forbidding the biggest & gorgeousest of the arches - it had on it, in all the fines of the rainbow, "The Home of Mark Twain" in letters as big as your head. O, we're going to be decorated sufficient, don't you worry about that, Madam. At least I infer so, from what I have seen of Mr. Beals's hand & what he holds in reserve. I don't know but he is really going to decorate us too much. However, I'm letting him go on…..But wasn't it lucky that I arrived in time to bust up that Mark Twain business? I'm in the study…..& I've got a cheerful wood fire & four gas burners going…..It would be perfect if you were here to help me enjoy it, sweetheart….I hope you are reading & not half as lonesome as you were expecting to be' and concluding by referring to an important principle in the play of the cards during Bridge, 'I've been puzzling over it, and - but you better ask Whitmore, because I want to be certain about it - is it always second hand low, even when you haven't got a high card? - & if you do, what do you infer from it? Or do you infer at all, in that case? It being your partners turn to infer, likely. I wish I had brought the book along; several of those things are not clear to me'. Twain signs off the letter in an affectionate manner, 'Acres of love to you, my best & dearest, & love also to the kids, including Jean', and in a postscript returns to the decoration of their home, 'P.S. I'm going to get Mr. Beals to change that to God Bless Our Home. He said he would have to have a new motto; so that will do first rate for a novelty. It is to go over the front gate'. A letter of excellent content providing a superb glimpse of Mark Twain in his intimacy. VGOlivia Langdon Clemens (1845-1904) Wife of Samuel Langhorne Clemens from 1870. Livy, as she was known, assisted her husband with the editing of his books, articles and lectures and Twain once wrote of her "I am as proud of her brain as her beauty". The couple had three daughters, including Jean who had been born in July 1880.The extensive decorations to their home which Twain makes reference to in the present letter were in preparation of the visit of former United States President Ulysses S. Grant (1822-1885) to Hartford on 16th October 1880. Grant was seeking the Republican presidential nomination for a third term and upon his train arriving in Hartford he found that 'the city was thronged with visitors…..and the streets were lined with decorations, not only along the line of march of the procession, but elsewhere'. Twain gave a welcoming address to Grant in which the writer declared 'Your country loves you. Your country is proud of you. Your country is grateful to you. Her applauses which have been thundering in your ears all these weeks and months, will never cease while the flag you saved continues to wave. Your country stands ready from this day forth to testify her measureless love and pride and gratitude toward you in every conceivable inexpensive way. Welcome to Hartford, great soldier, honoured statesman, unselfish citizen'.
SEUSS DR: (1904-1991) Theodor Seuss Geisel. American children's author and cartoonist. Signed First Day Cover commemorating Christmas and featuring a colour image of snowy fields and with two different postage stamps, postmarked December 1986. Signed ('Dr. Seuss') in black ink to a clear area, the author also adding a small ink and light orange pencil drawing of a fish alongside his signature. About EX
PYNCHON THOMAS: (1937- ) American novelist. An extremely rare book signed and inscribed, being a soft cover edition of The Secret Integration, First Edition published by Aloes Books, London, 1980, one of a limited edition of 2,500 copies, with a cover collage and frontispiece illustration by Joe Tilson. Signed and inscribed by Pynchon ('For Irving - Thomas Pynchon') to the inside front cover. Some very minimal, light age wear and a few minor stains to the back cover, otherwise VG
VERLAINE PAUL: (1844-1896) French poet. A.L.S., with his initials PV, one page (with a postscript to the upper third of the second page), 12mo, n.p., n.d. ('La Toussaint'; All Saints' Day), to Paterne Berrichon, in French. Verlain urges Berrichon to pay attention to the pagination of a book, remarking 'Qu'au moins ca commence par l'ouverture et finisse par Morale en raccourci. D'ailleurs je m'en fie absolument a vous pour tout, ordre et gout' (Translation: 'That at least it starts with the opening and ends with Morale in short. Besides, I absolutely rely on you for everything, order and taste') and continues to state 'Je veux faire des chansons, mais je crains que le premier essai ci-joint ne soit encore des vers. Qu'en dites vous? Le sonnet sur Amours irait peut-etre a Valere Gille?....... Trouvez moi donc autre chose que “caresses” au 5 couplet de la chanson C'est si fade!' (Translation: 'I want to make songs, but I'm afraid the attached first essay is still verses. What do you think? The sonnet on Love would perhaps go to Valere Gille?.......So find me something other than “caresses” in the 5th verse of the song. It's so bland!). In a postscript to the second page Verlaine writes 'On pourrait aussi parler a K[istemaeckers] d'un bouquin mien qui s'appellerait quelque chose comme "le mie prigione" illustre par “moi”. Enfin d'Invectives et de peut etre l'ultime bouquin.....' (Translation: 'We could also talk to K[istemaeckers] about a book of mine called something like “le mie prigione” illustrated by “me”. Finally Invectives and perhaps the ultimate book….'). With blank integral leaf. A letter of good content and association. VGPaterne Berrichon (1855-1922) Pierre-Eugene Dufour. French poet, painter, sculptor and designer, the brother-in-law and publisher of Arthur Rimbaud (1854-1891) French poet who had a sometimes-violent romantic relationship with Verlaine. Valere Gille (1867-1950) Belgian poet associated with the periodical La Jeune Belgique.Henry Kistemaeckers (1851-1934) Belgian publisher and father of the playwright Henry Kistemaeckers (1872-1938).
PREVERT JACQUES: (1900-1977) French poet and screenwriter. A large (11.5 x 9"; 29 x 22.5 cm) autograph envelope signed by the poet, addressed in his hand in dark fountain pen ink to Albert Mermoud in Lausanne, Switzerland, the Expres envelope bearing eight postage stamps post marked at Saint-Paul-de-Vence, 26th October 1951, with two red and black printed Expres labels affixed to the front, and further 'illustrated' by Prevert to the verso with the addition of a vintage Victorian/Edwardian scrap of a colourful finch resting on a branch. Signed ('Prevert') in the return address to the verso. With a large ink blot to the first half of the signature and some light overall creasing and a few minor tears, GAlbert Mermoud (1905-1997) Swiss entrepreneur, co-founder and then president of the Cinematheque Suisse and founder of the publishing house La Guilde du Livre.
ROLLAND ROMAIN: (1866-1944) French Dramatist & Novelist, Nobel Prize winner for Literature, 1915. A very fine A.L.S., Romain Rolland, two pages, written to the first and third page, 8vo, Villeneuve - Vaud, Villa Olga, 11th March 1927, in French. Rolland responds to his correspondent´s letter, and relates to his photographic portraits, stating in part `Je vous remercie de votre aimable lettre, et de la proposition de faire addresser mon portrait aux grandes universités américaines. Malheureusement il m´est impossible de me faire photographier par Mr M. Manuel, car j´habite en Suisse, et je n´ai pas occasion de venir à Paris, ces mois-cis´ (Translation: `Thank you for your kind letter, and for the proposal to have my portrait sent to major American universities. Unfortunately it is impossible for me to have it photographed by Mr. Manuel, because I live in Switzerland, and I have no occasion to come to Paris these months´) Rolland further suggests two photographers he considers among the best, M. Rod. Schlemmer in Montreux and M. Hay Wrightson in London, both of them holding excellent and recent photographs of himself. To a post-scriptum, Rolland refers to Beethoven, saying `Je dois vous avertir que je pars, dans une huitaine, pour Vienne, où je dois participer à la Commemoration de Beethoven, et que je resterai sans doute absent quelques semaines´ (Translation: `I must warn you that I am leaving, in a week, for Vienna, where I must take part in the Commemoration of Beethoven, and that I will no doubt remain absent for a few weeks´) Paper with watermark. EX Rolland refers to the Commemoration of Beethoven, because two weeks after, on 26th March, was the Centenary of Beethoven´s death. Romain Rolland was also a musicologist who wrote Vie de Beethoven (“Life of Beethoven”) a biography of the German Composer published in 1903.
SHAW GEORGE BERNARD: (1856-1950) Irish playwright, Nobel Prize winner for Literature, 1925. An exceptional A.L.S., G. Bernard Shaw, two pages, 8vo, written to the first and last pages, Fitzroy Square, London, 1st February 1895, to [William] Heinemann. Shaw commences his interesting letter stating 'You have no doubt seen how ruthlessly I have used you and [Sydney] Olivier & your play & his play to feed the flame that must eventually consume the censor. Why on earth did you suddenly drop bang into a mere kodaking of blackguardism? You can't have started with that idea' and continues to observe 'However, you were in a certain way right; for in those scenes in the last two acts your imaginative grip closed unmistakeably on your material & realized it forcibly. But I protest against the honors of tragedy being given to a squalid little business like that. Why not compress these three acts into one act - or rather prologue - positing the problem of a young woman who has married a man whom she believes to be a genius and is left disillusioned at the end with life before her - that is, with the play before her? That is what you have really struck out, and this calling the first step of it "a dramatic moment", and stitching it up in green covers at [John] Lane's is all nonsense - a selling of your birthright. What the audience want to know is how the woman got out of it - what the solution of the problem is', further offering his typically forthright advice, 'It is not enough for you to cut a slice of life - anyone can do that who can write or imagine at all - you must eat the slice, digest it, & build it up into a living organism. That's the meaning of creation in art. If you doubt me, ask "her whose interest & enthusiasm inspired this effort", and if she is the right sort of woman, as I hope with all my heart for your sake she is, she will say yes and tell you that you must follow The First Step to the end of the journey. Outside the most lighthearted comedy, there must be no happy endings; but there must be no unhappy endings at all: there must be great endings, or hopeful, or right endings; but happiness & unhappiness are the positive & negative ends of life only with fools. Plenty of people are giving up the happy ending only to substitute the negative for the positive form of it & offer unhappy endings, which are equally unconvincing & much less pleasant'. Shaw concludes his letter making a reference to his own work, 'My play is not typed yet. When it is, you shall read it if I can get a copy disengaged before it reaches the stage, concerning which, by the way, nothing is yet settled'. A letter of magnificent literary content in which Shaw provides a masterful lesson in writing and offers his opinions on the difference between a true playwright and a gifted amateur. Some light overall age toning and a few light, minor creases, about VGWilliam Heinemann (1863-1920) English publisher, the founder of the Heinemann publishing house in London which represented authors including H. G. Wells, Robert Louis Stevenson and Rudyard Kipling. Heinemann's 'modern' play The First Step: A Dramatic Moment, discussed in the present letter, was published by John Lane in 1895 and in a note within the publication the author observes that it was not his objective to write anything that 'would satisfy the usual requirements of a stage play….but simply to snatch one dramatic moment out of a story of today'. From 1895-98 Shaw was the theatre critic for The Saturday Review and the opening lines of the present letter evidently refer to a review of The First Step which Shaw had published.Sydney Olivier (1859-1943) 1st Baron Olivier. British civil servant, a Fabian and member of the Labour Party. Olivier was recognised as one of the 'Big Four' within the Fabian movement in London, alongside Shaw, Sidney Webb and Graham Wallas. The uncle of actor Laurence Olivier, Sydney Olivier was a writer throughout his life, attempting poetry although faring better with a few plays, which were first performed at the Fabian Society, and a Fabian paper on Emile Zola (1890).Shaw was working on two plays in 1895, The Man of Destiny, set in Italy during the early career of Napoleon, and the four-act play You Never Can Tell, although neither were performed or published until several years later.
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