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Ulster Bank Limited, £100, 1 March 1941, serial number 1531, manuscript Niblock signature, a couple of ink spots on reverse, otherwise a superb original uncirculated note, lovely PMI UB 61, Pick 320 £700-£900

North of Scotland Bank Limited, £1, 2 March 1914 (1923), serial number B 0213/0266, two manuscript signatures, red North of Scotland Bank hand stamp on earlier note, original paper, about fine and rare PMS NS 30b £340-£420 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

States of Guernsey, £1, 1 November 1917, serial number C/W 737, two manuscript signatures below, in PMG holder 58 EPQ, choice about uncirculated. Superb paper quality with lovely clean paper, this is the highest grade listed on the PMG population report, it its remarkable that a notes of this size can survive is such condition, truly exceptional Pick 7 £10,000-£12,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Ulster Bank Limited, £20, 1 January 1944, serial number 20282, manuscript Larmour signature, staining, graffiti, fine PMI UB 59, Pick 318 £150-£200 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Maidstone Bank, for Edmeads, Atkins & Tyrrell £1 (2), 10 October 1825, serial number 7974, 1 September 1825, serial number 33110, manuscript signatures, pinholes, fine (2 notes) Outing 1331b £100-£150

Huddersfield Commercial Bank, for Benjamin & Joshua Ingham & Co, 1 Guinea, 17 November 1815, serial number 6180, also £1, 7 May 1816, serial number 2768, manuscript signature low right, very good and fine (2 notes) Outing 1004a £100-£120

Union Bank of Scotland, £1, 12 April 1912, serial number C 281/879, Alexander and one other manuscript signature, original paper, technically good fine, but much better paper quality than the grade might suggest PMS UB 57c, Pick S805c £240-£300

Ulster Bank Limited, £100, 1 January 1943, serial number 2273, manuscript Niblock signature, repair in left margin with small replaced piece, otherwise a very presentable very fine PMI UB 61, Pick 320 £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Belfast Banking Company Limited, £100, 3 May 1923, serial number A.5478, manuscript Smyth signature, faint horizontal fold along upper portion of note, about uncirculated to uncirculated, scarce PMI BB 87, Pick 131a £800-£1,000

National Bank of Scotland Limited, £1, 15 May 1917, serial number J965-041, Samuel and one other manuscript signature, pinholes, original good fine PMS NA 29, Pick 248a £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Bank of Limerick, for George Mausell, John Kennedy and Robert Hedges Mausell, £1, 18 September 1819, serial number 676, manuscript signature of John Kennedy low right, good very fine and scarce in issued format PMI PB 276, Pick 19 £200-£260

Bank of England, Thomas Rippon, £10, London, 31 October 1835, serial number 18416, manuscript Donald signature, a couple of small splits in body of notes, slightly stained mainly on reverse, but overall very clean and with an attractive appearance, lovely paper quality, technically good fine, but an appearance and quality closer to very fine, a truly handsome and extremely rare note EPM B202b £18,000-£22,000

Royal Bank of Scotland, £5, 1 December 1936, serial number E4054/681, Speed and one additional manuscript signature, original good fine to about very fine PMS RB 57e, Pick 317b £80-£100 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Belfast Banking Company Limited, £1, 9 November 1939, serial number E/M 6905, manuscript Keith signature, uncirculated and scarce in this grade PMI BB 65, Pick 126b £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Bank of England, Henry Hase, £2, 25 June 1814, serial number 29938, printed date and serial, manuscript signature, handwritten name and date on reverse, toned spots across note, pinholes, fine and very scarce EPM B201e £3,200-£3,600

Isle of Man Bank Limited, £1, 31 January 1929, serial number Y/1 6823, manuscript Quayle and Cubbon signatures, good fine and very rare IOMPM M275, Pick 4 £500-£700

Katherine Muriel Mason Eadie, RMS, ARBSA (British, 1880-1945)Saint Cecilia, Saint Dorothea, Saint Elizabeth three, each inscribed with title (upper centre)tempera and gold paint, with glass beads on card, laid onto paneleach 80.5 x 31cm (31 11/16 x 12 3/16in). (3)Footnotes:Kate Eadie was a student at the Birmingham School of Art, where she met the painter Sidney Meteyard. Kate sat as model for a number of Meteyard's works, and the two collaborated on stained glass designs. Eadie worked in many media: as an enameller, a jeweller and manuscript illuminator, embracing the Arts and Crafts style. She was the first female member of the Royal Birmingham Society of Artists, becoming an associate in 1915. Late in life, she married Meteyard.Eadie exhibited seven works, mostly enamel panels, at the Royal Academy Summer Show between 1905 and 1915. There is a three-panelled firescreen by Eadie, depicting the Fates, in the collection of the Victoria and Albert Museum. A miniature entitled St. Cecilia was commissioned to hang in the library of Queen Mary's Dolls' House, a Lutyens designed project, built in the 1920s.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AR * Banting (John, 1902-1972). Composite, For Social Service, circa 1933, cynotype in blue, depicting a surreal image a large rams skull atop a monument, two figures in the background, trimmed to edges, 22.6 x 14.5 cm (8 7/8 x 5 3/4 ins), mounted (32.5 x 24.5 cm)QTY: (1)NOTE:Provenance: Purchased by the current vendor from Alexander Postan in 1973.John Banting was a London born artist initially connected to the Bloomsbury circle. In 1930 he went to Paris where he came in contact with André Breton and the Surrealist movement. Upon his return to London, he started experimenting with a new printing method called the cyanotype process. Banting produced a large number of blueprints from which two main groups can be distinguished: an album of twelve blueprints made in 1931 and a manuscript album entitled For Social Service which included twenty-three blueprints, of which only ten copies were apparently produced in 1933. In 1946, this album was published in facsimile under the title A Blue Book of Coversation.

AR * Wesson (Edward, 1910-1983). Winter Water, 1970, oil on board, signed lower right, mount aperture 27 x 39 cm (10 5/8 x 15 3/8 ins), framed and glazed (46 x 57 cm), verso with ink manuscript inscription by the artist: Edward Wesson R.I. R.B.A. R.S.M.A., 32/1970 "Winter Water"QTY: (1)

* Furse (Charles Wellington, 1868-1904). A small archive of works by or relating to the artist, including a number of works by Charles Wellington Furse: a pencil study of the upper back and arms of a male nude on grey textured laid paper, signed in pencil lower right, upper right corner slightly creased, sheet size 27.3 x 39.1 cm (10 3/4 x 15 3/8 ins); a pen and ink drawing of Cecil Rhodes, dated 1896, with folds and a few edge-tears (one with loss to lower edge), sheet size 20.3 x 16.5 cm (8 x 6 1/2 ins), laid down on card (26.9 x 21.4 cm); and 13 small juvenile sketches of horses, figures, and dogs, mostly annotated 'Charlie' and dated 1873, some laid down on paper (adhesive show-through in places), 11.5 x 18 cm (4 1/2 x 7 ins) and smaller, and a collection of works by other hands, including a signed pen & ink head and shoulders sketch of a woman by Pietro Annigoni, dated 1954, a sketchbook belonging to Charles's brother the sculptor J.H.M. Furse, containing approximately 25 leaves of drawings, mostly head studies in pencil (some crossed through in pencil), but also a drawing of a greyhound in sanguine, a few sketches of other animals, several of festoons of fruit, 1 or 2 drapery studies, and a couple of landscapes in coloured chalks, sheet size 30.5 x 24.5 cm (12 x 9 3/4 ins), page block becoming loose in original cloth, large 4to, and a scrap album containing a variety of drawings, engravings, and manuscript writings, including a number of pen & ink or pencil caricatures and a scissor cut silhouette of a child, original gilt and blind decorated red calf, worn, 4toQTY: (a folder)NOTE:Charles Wellington Furse studied at the Slade School in London and the Académie Julian in Paris. He is known to have developed a talent for drawing at an early age, and this is borne out by some of the sketches offered here which were executed at the age of just six. Furse is particularly known for his portraiture, which demonstrates a novel sense of immediacy in direct contrast to much for the staid studio portraiture which had gone before. His sitters are often painted engaged in a sport or pastime, unconscious of being observed, giving the appearance of a snapshot in time. One such example is the impressive oil of four children on horseback entitled 'With the York and Ainsty - The Children of Mr Edward Lycett Green', a work conveying movement and colour, light and energy.

* Carpi (Ugo da, circa 1470-1532). The Deposition, after Raphael, circa 1520, chiaroscuro woodcut printed from three blocks in dark brown, ochre, and black on laid paper, with thick black printed outer border to top and right hand sides only, central horizontal crease, generally a good impression with margins, 367 x 300 mm mount aperture (14 1/2 x 11 7/8 ins), framed and glazed, with manuscript notes to verso by Michael JaffeQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.Bartsch XII, 43, 22. Illustrated Bartsch volume 48 (Chiaroscuro Woodcuts V), 22.

AR * Brangwyn (Frank, 1867-1956). L'Ombre de la Croix, 1931, 73 etchings, a complete set of artist's proofs, on cream Japan paper, 11 signed and one initialled in pencil to lower margin, all but one with pencilled page number to lower margin, all with wide margins, sheet sizes 393 x 280 mm and smaller, all but one tipped (top corners only) into individual window mounts, the whole contained in two near contemporary handmade cardboard slipcases (some wear), each with ink manuscript labels on spineQTY: (1)NOTE:Provenance: From the Brangwyn family estate in Belgium. Apparently this was Brangwyn's own personal copy for proof checking and annotating with the relevant page numbers.In 1931 Brangwyn produced 73 etchings for the book L’Ombre de la Croix (The Shadow of the Cross) by Jérôme & Jean Tharaud. The book described the lives of Jewish people in contemporary Europe, with many illustrations based around the town of Belz in Poland. Brangwyn seems to have etched a majority of the plates from photographs.

* Deyrolle (Théophile Louis, 1844-1923). Young Breton woman in an Orchard, oil on canvas, portraying a girl in Breton costume carrying a basket of apples, signed lower left, relined, 35.5 x 25 cm (14 x 10 ins), moulded gilt frame (49.5 x 39 cm), remnant label on verso with ink manuscript initials H.P.?.QTY: (1)

* Welch (Denton, 1915-1948). Portrait of Noel Cousins, circa 1940s, ink and wash on buff paper, a characterful sketch of the semi-nude sitter reclining in a deckchair, his left arm drawn across his torso, with the use of light pink wash to highlight his lips, nipples and thumb nail, unsigned, remnants of another work in ink to verso, the lower half of two nude male figures and a Faun, with a conch shell and scabious-like flower at their feet, and a small area of repeated patterning to the lower left corner, even mount staining to recto, roughly trimmed edges, three very small closed tears to two margins, a few old creases, remnants of old adhesive to verso, sheet size approx. 32.5 x 21 cm (12 3/4 x 8 1/4 ins), window mounted, together with another sketch by the same artist, Reclining Male, 1943, pencil on laid paper, a recumbent semi-nude male leaning on his left arm, inscribed 'Noel Adeney' and 'July 30 1943' in pencil to left of image, with a manuscript note 'sketch by Denton Welch bought from Henry Boxer 39, Kew Road, Richmond Dec. 1984’, remnants of another sketch in pencil and ink to verso of a partially dressed figure, mount staining to recto, a few small stains, some spotting and remnants of old tape to verso, sheet size 17.5 x 24.5 cm (7 x 9 3/4 ins).QTY: (2)NOTE:“Noel Cousins who frequently went out painting with Denton Welch in the Hadlow Road years, remembers that DW did not have a very clear idea what the finished picture would be like.’’ James Methuen-Campbell interviewing Cousins for his biography Denton Welch: Writer and Artist (1984). Noel Cousins was a painter who was active from 1957 to 1965.Noël Gilford Adeney (1890-1978) was a British artist, known for her landscape and still life paintings and a member of The London Group. She is known to have drawn a portrait of Welch which sold at Sotheby's in 1997. Welch also appears as "Merton Hughes" in Adeney's 1956 novel No Coward Soul.

AR * Wesson (Edward, 1910-1983). Summer Pond near Guildford, November 1966, watercolour on paper, signed lower left, mount aperture 32 x 50 cm (12 5/8 x 19 3/4 ins), framed and glazed (52.5 x 70 cm), verso with ink manuscript title, date and artist's name and with ink stamp of The Gordon Gallery, 67 High Street, Wimbledon Village, LondonQTY: (1)

* Downes (Thomas Price, active 1835-1887). Portrait of Mrs Henry Back, circa 1851, oil on canvas, half-length portrait of a young woman with flower sprigs in her swept-back brown hair, wearing a lace-trimmed black gown, a brooch, and gold link and enamel bracelets, and carrying a folding fan, against a backdrop of sky, re-lined, contemporary manuscript label on stretcher with name of sitter and artist (latter indistinct), 91.5 x 71 cm (36 x 28 ins), period gilt moulded frame with elaborate strapwork and volute pattern (119.5 x 99 cm)QTY: (1)NOTE:Fanny Lamprière (born 1830) was courted by the artist John Everett Millas (1829-1926), although she later married land-owning magistrate Henry Back (born 1811), on 7th July 1851, in Ewell, Surrey. The Lamprières were a Jersey family, and Millais had strong connections to the island, having lived there for the first nine years of his life. Later he spent a lot of time at Rozel Manor, St Martin, Jersey, home of Philip Raoul Lemprière, the brother of Fanny's father Captain William Charles Lamprière. It is said that Raoul (as he was known), gave the artist his first paintbox, and when Millais went to London to continue his training as a painter, he was befriended by Arthur and Harry Lemprière, two of Fanny's brothers. 'We always called him Johnny', said Arthur, 'and he constantly spent the holidays with us at our home in Ewell, Surrey. He always seemed to be sitting indoors, to have a pen, pencil, or brush in his hand, rattling off some amusing caricature or other drawing'. Indeed, Millais made a number of informal sketches of the Lamprière family, and Arthur later sat for one of Millais’ most famous paintings The Huguenot in 1852. In 1846 Millais sent two painted Valentines to Fanny, but we can only guess at subsequent events; just five years later there is a somewhat sad mention of her - the married lady - in the only diary the painter kept. He was staying near to Ewell, and had chanced upon his 'old flame' as she returned from church: "I wished myself anywhere but there; all seemed so horribly changed, the girl I knew so well calling me ‘Mr Millais’ instead of ‘John’, and I addressing ‘Fanny’ as ‘Mrs B’. She married a man old enough to be her father; he trying to look the young man, with a light cane in his hand … an apparently stupid man, plain and bald, perfectly stupefied at Mrs B asking me to make a little sketch of her ugly old husband. They left, she making a bungling expression of gladness at having met me."

* Cole (George, 1810-1883). Portrait of Jane Baker Lambert and her daughter Alice Jane in the Conservatory, oil on canvas, relined, some small areas of retouching (mainly to black dress), faint surface crack and two tiny flakes of loss to left pillar, 92 x 71 cm (36 1/4 x 28 ins), magnificent period gilt frame (124.5 x 104 cm), verso with circular label bearing ink manuscript number 31735, the number repeated on a more recent label with artist's nameNOTE:Provenance: Skinner, April 1 1995 lot 618A (sold as a pair with the matching portrait of Henry Thomas Lambert, signed and dated 1858); Christie's, November 9 1995 lot 29; collection of David and Sarah Battie.

* English School. An album of watercolour views, early 19th century, comprising 23 watercolour drawings (one leaf detached), 14 tipped-in watercolour drawings (a few detached), and 3 leaves of pencil sketches (rectos only), most captioned, few dated (1831, 1843 & similar), views include many scenes in the Gardens of Versailles, several scenes in and around Ryde, the crater of Vesuvius, The Man Face Rock on the coast of Malabar, A View taken from Mount Ephraim Tunbridge Wells (1824) by Colonel Caldwell, and other scenes (named and unnamed), rear pastedown with booksellers ticket: Muller, Rue de l'Orangerie, no.57, a Versailles, half green vellum (worn, spine repaired), slim oblong 4to, together with an album of pencil sketches by Mary Thing, early 19th century, 34 tipped-in pencil sketches, 3 tipped-in watercolour drawings, 2 on board the remainder on paper, all of picturesque scenery, including old buildings and street scenes, rustic landscapes, ruins, castles, cottages, etc., few detached, dusty, variable spotting and toning, various sizes (26.5 x 37 cm and smaller), front pastedown with contemporary ink manuscript inscription: This book of Mary Thing's drawings belongs to her Uncle & Aunt Wood Broadwater but is lent to her for a time, July 20 1827, half red-brown morocco, hinges broken, worn, oblong folioQTY: (2)

* Croome (J.D., active 1839-1852). Croome's Collection, 1851, an album of figure studies, 28pp. of pen & ink sketches, few with watercolour, a few with humorous captions, including dancers, country scenes, horse-riding and horse studies, street scenes, circus, character and face studies, musicians, military, at the barber, romantic scenes, some initialled, one signed, each recto with ink manuscript number to upper outer corner (some apparently missing), some light toning and offsetting, front free endpaper with ink manuscript title and date, and with artist's signature and ink manuscript presentation inscription: To George Gibson Esqr from the author, rear pastedown with 'Finis' in humorous pen and ink figures, stitching broken, original black quarter morocco, worn, adhesive tape to spine, small slim oblong 4toQTY: (1)NOTE:J.D. Croome was a London painter of historical and other figure subjects. He exhibited at the Royal Academy, the British Institute and the Society of British Artists, and was also the headmaster of Waterford School of Art during its first brief existence, as well as teaching art in Belfast.

* Blake (Frederick Donald, 1908-1997). Movement, coloured inks and watercolour on paper, with varnish, signed lower left, mount aperture 34 x 47.5 cm (13 3/8 x 18 3/4 ins), framed and glazed (53 x 65.5 cm), verso with ink manuscript title label, together with Composition, coloured inks and watercolour on paper, with varnish, signed lower right, mount aperture 34 x 21.3 cm (13 3/8 x 8 3/8 ins), framed and glazed (48.5 x 34.5 cm)QTY: (2)

* Churchill (Winston Spencer, 1874-1965). Portrait of Winston Churchill by G. Harrington, circa 1930, coloured chalk on buff laid paper, signed to right of image, manuscript inscription to verso by artist 'This sketch must not be reproduced', sheet size 56 x 36.5 cm (22 x 14 1/2 ins), secured to mount with tape, framed and glazed (74 x 54 cm)QTY: (1)NOTE:The National Archives, Kew holds a similar portrait of Winston Churchill by G. Harrington. Reference INF 3/64.

* Frökenberg (Bengt, 1776-1845). An album of original watercolours and drawings, 57 leaves, drawn on rectos only, comprising: 15 full page grisaille watercolour genre scenes, classical & biblical figures; 7 leaves of grisaille watercolour figure studies; 12 pen & brown or black ink classical and biblical figures; and 23 pen & brown or black ink classical and biblical figure and anatomical studies, many with number to lower right corner, many sheets with either Pro Patria watermark (similar in appearance to Churchill 135 - a Dutch watermark of 1755), or with GR crown watermark, dusty, some spotting (few leaves heavily so) and old repaired edge tears, some finger-soiling, several with ink manuscript (artist's?) inscription to verso (with dates 1791-1798), most sheets 32 x 19.9 cm (12 1/2 x 7 3/4 ins), a few smaller, loosely contained in old half calf binding (worn), ink manuscript ownership inscriptions (in Swedish) to front pastedown, dated 1834 & 1866QTY: (1)NOTE:Bengt Frökenberg was a Swedish councillor and decorative painter. He lived in Linköping, and several churches in the area have alterpieces and other decorative items painted by Frökenberg. Apparently many of his works were after and inspired by Pehr Hörberg.

* Motley Group. Costume Design for The Innocents, circa 1950, pencil and watercolour on buff paper, heightened with white, signed 'Motley. 60' in pencil bottom left, a design for the character Miss Giddens, with pencil annotations detailing character, costume and fabric 'Miss Giddens / Blouse - picking roses. Pale pink muslin', some toning to top of paper, sheet size approx. 29 x 23 cm (11 1/2 ins x 9 ins), framed and glazed (35 x 29 cm) QTY: (1)NOTE:The Motley Group consisted of Margaret Harris, her sister Sophia Harris, and Elizabeth Montgomery. Between 1932 and 1976 they designed sets and costumes for numerous plays, opera, ballet, and films. Their designs were used in productions in the West End and on Broadway, and also by the RSC, English National Opera, and at the Metropolitan Opera in New York. The University of Illinois' Rare Book and Manuscript Library holds the largest collection of works relating to the group: the Motley Collection of Theatre and Costume Design. The collection comprises over 5,000 items from more than 150 productions. This includes five similar designs for the character of Miss Giddens (Inventory Numbers 520703-001 to 005 respectively). The Innocents is a play written by William Archibald, based on Henry James' 1898 novella The Turn of the Screw. The original production opened on Broadway at the Playhouse Theatre on February 1, 1950, and subsequently opened in the West End at Her Majesty's Theatre on July 3, 1952.

IN THE MOUTH OF MADNESS (1994) - Sutter Cane's (Jurgen Prochnow) In the Mouth of Madness Hardback Book - Sutter Cane's (Jurgen Prochnow) In the Mouth of Madness hardback book from John Carpenter's In the Mouth of Madness. Trent (Sam Neill) discovered that Cane's final manuscript had not been destroyed, but had been delivered earlier, was on sale for weeks, and was already adapted into a film.This lot consists of a hardback copy of Double Standards: The Secret History of Canadian Immigration by Reginald Whitaker sheathed in a production-made cover for Cane's novel In the Mouth of Madness. The cover features Neill's likeness, and the back cover features a summary and "I can see" reviews. The cover exhibits scuffing and frayed edges near the spine. Dimensions: 6.5" x 9.5" x 1.5" (16.5 cm x 24.25 cm x 4 cm)Estimate: $1,000 - 2,000Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

LOUIS XV: (1710-1774) King of France 1715-74. A rare and interesting full manuscript letter in the hand of the King, A.L.S. `Louis´, one page, 4to, Compiegne, 21st September 1766, to Ferdinand Duke of Parma, in French. The King states `Mon petit fils, est-il vrai que le Prince de Brunville ressemble à votre pauvre père, je le croirais assez par ses portraits, et par tout ce qu´on m´en a dit. J´ai encore eu un bon rhume, mais il va mieux depuis que j´ai pris du petit lait pendant deux jours... L´été nous est revenu, et j´ai eu plus chaud hier à la chasse que je n´en avais encore eu de cette année, cela fera grand bien à la vendange´ (Translation: "My grandson, is it true that the Prince de Brunville resembles your poor father, I would believe it from his portraits, and from everything that I have been told about him. I had a bad cold again, but it's better since I took whey for two days...Summer has returned to us, and I was suffering the heat yesterday while hunting more than I have been earlier this year, it will do a lot of good for the harvest...") Further Louis XV announces his immediate travelling plans, saying `Nous partons tous d´ici dans le courant de cette semaine, ainsi ma précieuse lettre sera datée de Versailles...´ (Translation: "We are all leaving here during this week, so my precious letter will be dated from Versailles...") To a postscriptum at the base of the letter Louis XV states `Nous eumes hier une belle cérémonie qui est celle de l´ordination qui fut faite par l´év[êque] de Soissons dans la chapelle, il y avait vingt-neuf ordinants´ (Translation: "Yesterday we had a beautiful ceremony which was that of the ordination which was carried out by the Bishop of Soissons in the chapel, there were twenty-nine ordinants") With blank integral leaf. Bearing to the verso the addressee in the King´s hand `A mon frere, et petit fils Ferdinand infant d´Espagne, duc de Parme et de Plaisance´, also bearing a very attractive royal crowned red wax seal in fine condition. VG Ferdinand I (1751-1802) Duke of Parma and Piacenza 1765-1802. Grandson of King of Spain Philip V

PIO OF PIETRELCINA: (1887-1968) Italian Priest & Mystic, famous for bearing the stigmata for most of his life, causing much controversy. Padre Pio was canonized in 2002. A very rare Autograph Letter by Padre Pio of Pietrelcina, A.L.S., `P. [adre] Pio´, to both sides of a 4 x 3 card, small writing with dense content, also written oblong to the verso left border, San Giovanni Rotondo, 8th January 1922, to a young woman, in Italian. Bearing to the front a purple ink stamp from the “Convento dei Cappuccini” in Foggia. Padre Pio writes to a young woman, in a deep existential and religious crisis, reassuring her, and stating in part `Mia carissima figliuola, ho letto la tua lettera consegnatami varii giorni addietro ed ho risposto al margine dell atua stessa lettera alle dimande fattemi… Stai tranquilla dunque fai tutto e non temere dimentie, tiene per fermo che ti ho voluto e te ne vorró sempre bene in Gesù. Il discorso tenutoti da quella buona figliuola è propio secondo Dio. Seguilo e non ti lasciare vincere dai timori… Ti benedico con fraterno affetto…´ (Translation: “My dearest young daughter, I read your letter given to me several days ago and I responded to the questions asked in the margin of your letter... Don't worry, so do everything and don't fear forgetfulness, keep in mind that I have loved you and will always love you in Jesus. The speech given to you by that good daughter is truly according to God. Follow it and do not let yourself be overcome by fears... I bless you with brotherly affection…”) A very rare fully manuscript letter by Padre Pio. VG The present letter is one of the last Padre Pio wrote short before receiving the order to no longer respond to his faithful

CLEAVER ELDRIDGE: (1935-1998) American political activist and writer, an early leader and prominent member of the Black Panther Party. A scarce T.L.S., Eldridge Cleaver, one page, 4to, Rue Jacob, Paris, 7th March 1975, to Tom Maschler. Cleaver writes, in full, 'I am writing to confirm the message that you received yesterday that I am putting my manuscript in the hands of Anthony Sheil. Please make sure that it is delivered to him.'. A pencil note in an unidentified hand indicates that Cleaver's request had been actioned. Some light creasing and a few very minor, small tears to the edges, about VGTom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

[BATTLE OF BRITAIN]: DOWN JOHN K.: (1917-2008) British Flight Lieutenant, a fighter pilot of the RAF during World War II who participated in the Battle of Britain. Portion of a manuscript D.S., J K Down, one page, oblong 8vo, n.p., n.d. The document originally formed part of a Combat Report, the manuscript text stating, in part, 'I was on patrol with F/O Hart when.....we were told of E/A which was approaching Dover.......so we flew towards Dover, when over Deal I sighted E/A.....and flew at full boost towards it......F/O Hart & myself were both overhauling it but when we were about 1/2 mile behind E/A went into cloud. I continued on previous course and went under cloud which E/A entered. I saw E/A reappear on the other side......I pulled my nose up and gave it a long burst from underneath, the E/A went into shallow dive which brought me dead astern, at about 200 yds I gave it two more bursts which expended all my ammunition and I saw a black object come away from the port side. The E/A continued to dive and went into another cloud. I did not see it again'. The last three lines and signature of the document have at one stage been neatly cut away from the main body of text and the two are now lightly laid down together. One small file hole and some light age wear, G

TRUFFAUT FRANÇOIS: (1932-1984) French film Director. One of the main figures of the French New Wave and an icon of the French film industry. An excellent set including an A.L.S., accompanied by a Truffaut´s manuscript, being a working draft on his film La Nuit Américaine ("Day for night"), 1973. A.L.S., `François Truffaut´, one page, 4to, n.p., 17th September 1973, on his personal printed stationery with his printed full name to the upper left corner, to Madame Colette Monceau, in French. Truffaut has just presented his new film La Nuit Américaine ("Day for night"), and states `Voici donc une page d´écriture spontanée, un morceau de la nuit americ[aine]. Merci pour ce que vous me dites à propos de mon travail, le texte n´est pas daté mails il s´agit d´Octobre 1972...´ (Translation: "Here is a page of spontaneous writing, a piece of the American night. Thank you for what you tell me about my work, the text is not dated but it is October 1972...") Truffaut refers to the manuscript draft in his hand which he encloses to the letter, of two pages, 4to, being a dialogue between Bertrand, Fernand and Alphonse, with additions, crossed words, annotations and corrections for his film La Nuit Américaine ("Day for night"), Stating in part `Bertrand rentre loge (Nom sur la loge...) - Bertrand: Ah, qu´est.ce que vous pensez de la loge de votre vedette? - Fernand: elle est très bien...vraiment... il ne manque que des fleurs... - Bertrand: mais c´est prévu... vous savez cette Julie Baker, moi je l´admire autant que vous, bon, vous l´avez voulue, nous l´avons, mais si elle ne termine pas le film, on sera tous chocolats - Fernand: comment ça? - Bertrand: elle a passé la visite et le docteur des assurances a refusé de l´assurer; il l´a trouvée encore trop nerveuse, il aurait voulu qu´on retarde le tournage... - Fernand: et qu´est-ce que disent les américains? - Bertrand: heureusement ils sont plus souples que les français sur ces questions là, ils acceptent de courir le risque avec nous, mais si elle craque...´ A very interesting manuscript draft in the hand of Truffaut, written in September 1972 as he reports himself, while he was working on the film dialogues. Also including a T.L., unsigned, one page, 4to, Paris, 11th September 1973, on his personal printed stationery with his printed full name to the upper left corner, to Madame Colette Monceau, in French. The present T.L., was sent by Truffaut to his correspondent before sending her the manuscript, stating `Je n´ai pas répondu à votre lettre, parce que j´étais absent de Paris, mais aussi et surtout parce que je dois vous avouer mon ignorance: je ne commprends pas exactement que signifie l´expression "écriture spontanée". Je n´ai aucune objection à figurer dans votre ouvrage, au contraire, mais j´ai préalablement besoin de vos éclaicissements´ (Translation: "I did not respond to your letter, because I was absent from Paris, but also and above all because I must confess my ignorance: I do not understand exactly what the expression "spontaneous writing" means. I have no objection to appearing in your work, on the contrary, but I first need your clarification") Also including a 9.5 x 7 photograph, unsigned, the image showing Trufauut alongside Jacqueline Bisset and Jean-Pierre Leaud, during a filming scene of La Nuit Américaine ("Day for night"), Accompanied by the two original envelopes sent by Truffaut to his correspondent, one of them addressed in his own hand. VG, 3 ​La Nuit Américaine ("Day for Night), 1973, is a romantic comedy-drama film by Truffaut. The metafictional and self-reflexive film chronicles the troubled production of a melodrama, and the various personal and professional challenges of the cast and crew. The film premiered out of competition at the 1973 Cannes Film Festival. A year after the film won the Academy Award for Best Foreign Language Film. At the 1975 Oscars, the film was nominated for Best Director, Best original Screenplay and Best Supporting Actress. The film also won three BAFTA Awards. Retrospective reviews have appraised Day for Night as one of Truffaut's best films, and one of the greatest films of all time.

FLAUBERT GUSTAVE: (1821-1880) French Novelist. Widely considered the leading exponent of the literary realism. Best-known for his debut novel Madame Bovary (1857). A very good A.L.S., `Gus.Flaubert´, two pages, 8vo, written to the first and third page, n.p., Thursday morning, in French. Flaubert is very upset and concerned regarding his manuscript retained by the censorship, and states `Cher ami, lundi dernier, Mr. Hallays, Mr. de Beauplan et moi, nous sommes convenus des corrections censurales, au chevet même du lit de Mr. de Beauplan. Je devais r´avoir mon m[anu]s[crit] le lendemain mardi. Jusqu´à present rien encore. Je me suis adressé pour cela, hier à Mr. De Beauplan qui m´a répondu de m´adresser moi-même à Mr. Hallays… Voyez-le je vous prie, et demandez-lui pouquoi mon m[anu]s[crit] n´est pas rendu au théatre´ (Translation: “Dear friend, last Monday, Mr. Hallays, Mr. de Beauplan and I agreed on censorship corrections, at the very bedside of Mr. de Beauplan's bedside. I was supposed to get my manuscript back the next day, Tuesday. So far nothing yet. For this, I spoke to Mr. De Beauplan yesterday, who told me to address myself to Mr. Hallays… Please see him, and ask him why my manuscript is not returned to the theatre”) Flaubert further insists in his manuscript and shows his indignation, stating `Le retard prolongé de la censure (voila sept semaines qu´elle détient mon m[anu]s[critº]) rend ma position intolérable près des administrateurs du Vaudeville! … Notez que jamais de la vie on ne garde un m[anu]s[crit] si longtemps – et que de l´aveu des censures il n´y a rien de reprehensible dans ma pièce! Alors pourquoi?´ (Translation: “The prolonged delay in censorship (they have held my manuscript for seven weeks) makes my position intolerable with the Vaudeville administrators! … Note that never in life a manuscript is kept for so long – and that according to censors there is nothing reprehensible in my work! So why?”) Extremely small corner clipped to the upper right corner of the second leaf, otherwise about VG

MARCEAU FRANCOIS SEVERIN: (1769-1796) French General who served in the French Revolutionary Wars and was immortalised in Lord Byron's Childe Harold's Pilgrimage. An extremely rare manuscript D.S., F Marceau, one page, oblong 8vo, Headquarters at Fontaine-l'Eveque, 20th May 1794, in French. Marceau heads the document with the words Egalite, Liberte, Revolution and continues to provide an order, in full, 'Il est ordonne au garde-magasin de ramasser autant de fourrage qu'il se pourra pour le distribuer aux troupes de la Republique. Il voudra bien designer le lieu ou il aura etabli ce magasin et en faire part au general Bardy' (Translation: 'The storekeeper is ordered to collect as much fodder as possible to distribute it to the troops of the Republic. He will be kind enough to designate the place where he will have established this store and to inform General Bardy of it'). Autographs of Marceau are extremely rare in any form as a result of his untimely death at the age of 27 having received a mortal wound during the Battle of Limburg. Some light age wear and a few minor tears to the slightly uneven edges. About VG

DUMAS ALEXANDRE Pere: (1802-1870) French Writer whose works include The Three Musketeers. A very interesting A.L.S., `Al. D´, two pages, 8vo, n.p., 26th december, [1850], to Charles-Louis Billion, in French. A boldly written letter by Dumas addressed to Billion, Director of the Theatre National in Paris, referring to his playwrights which will be performed in the next-future and to the amounts Dumas has to receive, mentionning his well-known work The Three Musketeers, and stating in part `Mille francs de prime en signant – mille francs sur l’autre ouvrage en remettant le manuscrit de celui-ci, c’est-à-dire de Clichy [Pièce La Barrière de Clichy], le 5 février au plus tard et plus tôt s´il convient à Mr. Dumas - Cinq cents francs à M. Maquet pour les ouvrages dont il sera. Ces 500 fr. sont payables à toutes les 30 représentations de chaque ouvrage…´ (Translation: "One thousand francs bonus for signing – one thousand francs for the other work by handing in the manuscript of this one, that is to say from Clichy [referring to his work "La Barrière de Clichy"], February 5th at the latest or sooner if it suits Mr. Dumas - Five hundred francs to Mr. Maquet for the works of which it will be. These 500 fr are payable for every and each of the 30 performances of each work…") Further Dumas continues with the conditions of the deal and to his rights, saying `Trois manuscrits sur quatre livrables dans l’année – Barrière Clichy, Montecristo, Napoléon en Egypte. Le quatrième sera débattu entre M. Billon et moi – Je désirerai des Croisades…´ (Translation: "Three manuscripts out of four delivered during the year – Barrière Clichy, Montecristo, Napoleon in Egypt. The fourth will be debated between Mr. Billon and me – I would like Crusades…") Before concluding Dumas includes few conditions to be added related to his mistress and actress Isabelle Constant, stating in part `Isabelle engagée.... un petit cabinet de travail pour moi, qui servira en même temps de loge pour Isabelle´ (Translation: "Isabelle hired.... a small study for me, which will also serve as a dressing room for Isabelle") Small overall age wear, mostly to very slightly timmed edges, otherwise G

MAURICE. PRINCE OF ORANGE: (1567-1625) also known as Maurice of Nassau. Maurice was “Stadtholder” of the Dutch Republic 1585-1625. L.S. `Votre bien affectionné ami a vous faire service´, one page, folio, Arnhem, 30th December 1602, to Sieur de Roybourg, in old French. Maurice acknowledges receipt of his correspondent´s letter and states in part `Monsieur le capitaine Baptiste porteur de cette [sic] m’a donné vos lettres avec l’instruction et modèle que vous lui aviez donnés charge de me présenter ici à Arnhem. J’ai assez connu tant par vos dites lettres comme aussi par le rapport dudit capitaine la bonne volonté laquelle vous continuez de porter tant à cet Etat comme à moi dont je vous en remercie bien affectueusement, et d’autant que le sujet duquel vous m’avez écrit est d’importance, j’ai trouvé nécessaire de le communiquer avec les Etats Généraux aussitôt que je serai de retour à La Haye. Et vous ferai savoir leur résolution…´ (Translation: “Captain Baptiste, bearer of this letter, gave me your letters with the instructions that you had given him in charge of presenting to me here in Arnhem. I have known enough, both through your said letters and also through the report of the said Captain the good will which you continue to bring supporting both this State and my person, for which I thank you very affectionately, and especially as the subject of which you have written is of importance, I found it necessary to communicate it with the General States as soon as I return to The Hague. And will let you know their resolution…”) Accompanied by a folded contemporary manuscript letter in the hand of a secretary, saying ` Ici est une lettre de monsieur le Prince Maurice de Nassau, que je me contenterai de présenter seule (en ayant beaucoup d’autres de lui, et de plusieurs seigneurs et princes étrangers) qui témoignent, toutes de plus en plus, comme le sieur de Roybourg pour avoir été toute sa vie passionnément serviteur du feu roi. Et pour l´avoir fidèlement servi, en toutes bonnes et grandes occasions, il a acquis l’amitié de tous les dits princes et seigneurs étrangers avec lesquels il a pratiqué et a eu des affaires pour le service dudit feu sieur roi´ (Transcription: “Here is a letter from Prince Maurice of Nassau, which I will be satisfied to present personally (having many others from him, and from several foreign Lords and Princes) which testify, all of them and more and more, like the Sieur de Roybourg, for having been a passionate servant of the late King all his life. And for having faithfully served him, on all good and great occasions, he acquired the friendship of all the said Princes and foreign Lords with whom he practiced and had business for the service of the said late King”) With address leaf. G,2

LISZT FRANZ: (1811-1886) Hungarian composer, pianist and conductor of the Romantic period. A good A.M.Q.S., F Liszt, one page (green printed manuscript paper with a decorative blind embossed border), oblong 4to, Brussels, 15th February 1851 (?). In bold black fountain pen ink Liszt has penned four bars of music, across two staves each, which he identifies as being from Les preludes. Signed and dated immediately beneath the quotation. With a further A.M.Q.S. to the verso by Auguste Franchomme (1808-1884) French cellist and composer. Franchomme has penned eight bars of music across several staves which he marks with the tempo allegro moderato at the head. Signed ('Augte. Franchomme') at the conclusion and dated at Paris, 9th April 1841, in his hand. Some very light, extremely minor age wear, VGLes preludes (S.97) is the third of Franz Liszt's thirteen symphonic poems and the music was composed between 1845-54, initially intended as an overture to his choral cycle Les quatre elemens.Provenance: From the collection of Charles de Try (1819-1887) Belgian cellist, and his daughter Elisa de Try (1846-1922), also a cellist, who was a pupil of Franchomme.

DUNN NELL: (1936- ) English playwright, screenwriter and author, remembered for her novel Poor Cow (1967) which was adapted into a film of the same title starring Carol White and Terence Stamp. A pair of Autograph Manuscripts, one signed ('Nell Dunn') at the head, each two pages, 4to (written to the rectos only), n.p., n.d. (1971), being inserts to her novel The Incurable, published by Jonathan Cape Ltd., replacing pages 62 and 65 of the original manuscript, in part, 'Maro looked at Timmy's small serious face - I'm making him anxious she thought - he's trying to look after me. I'm infecting them like a leper sucking them into my spiralling terror. I must leave them for a bit - their grandmother would have them. She would calm them. She would kiss their foreheads instead of their lips'. Some very light, minor age wear, VG, 2The Incurable tells the story of a young mother of three children who must learn to cope with life when her husband is stricken with multiple sclerosis.Provenance: From the papers of Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

[BATTLE OF BRITAIN]: CZERWINSKI TADEUSZ: (1910-1942) Polish fighter pilot with the RAF during World War II who participated in the Battle of Britain. Portion of a manuscript D.S., Czerwinski, one page, oblong 8vo, n.p., n.d. The document originally formed part of a Combat Report, the manuscript text, in Polish, stating, in part, 'at 12 noon we attacked the front of the enemy's formation, having an altitude and speed advantage.....I fired 2 short series......I didn't see the impact of my attack, as I went immediately down to the left. Pulling the plane back up again, I saw a single Do 17 ahead......I attacked it from the rear, firing three rounds......the E/A's left engine caught on fire I went a bit left and saw the enemy's plane diving. Then our other three planes attacked the same target'. Autographs of Czerwinski are extremely rare in any form as a result of the pilot being killed in action on 22nd August 1942. VG

GENET JEAN: (1910-1986) French Novelist, Playwright, and political Activist. An unusual manuscript sentence in the hand of Genet, being the beginning of a letter he intended to address, but which was never finished nor sent, one page, lined paper, folio, n.p., 5th October, n.y., to Edmonde, in French. Genet stats in full `Le 5 Octobre – Chère Edmonde, Dîner en tête à tête avec vous mais ce sera une joie´ (Translation: “October 5th – Dear Edmonde, dinner for two, face to face you and me, but it will be a joy”). Together with an A.L.S., `Laurent Boyer´, two pages, folio, Paris, 18th January 1997, on the Editions Gallimard printed stationery, to Edmonde Charles-Roux, in French. Boyer states in part `Chère Madame, A la retraite depuis deux mois, mais ayant fort à faire pour classer et archiver les dossiers accumulés au cours de 38 ans de travail chez Gallimard, j´ai mis en ordre les papiers que Jean Genet venait deposer dans mon bureau quand il venait à Paris. Ces quelques mots de sa main sur une page de son bloc, étaient peut-être le debut d´une lettre qui vous était destinée? Peut-être vous évoquent-ils un souvenir? A tout hasard je vous transmets ce message d´outre-tombe, puisque Genet m´avait désigné comme son exécuteur testamentaire chargé de la gestion de son oeuvre…´ (Translation: “Dear Madam, Retired as I am since two months ago, but having a lot to do classifying and archiving the files accumulated during 38 years of work at Gallimard, I put in order the papers that Jean Genet came to leave in my office when he was coming to Paris. These few words in his handwriting on a page in his pad, were perhaps the beginning of a letter intended for you? Maybe they evoke a memory for you? By any chance I am sending you this message from beyond the grave, since Genet had designated me as his executor responsible for the management of his work…”) Also including a copy of the typed letter, unsigned, sent by Edmonde Charles-Roux to Laurent Boyer, responding to his letter, and stating in part `Cher Laurent Boyer, Le début d´une lettre jamais achevée et qu´avait l´intention de m´adresser Jean Genet m´a infiniment touché et je vous remercie très sincèrement de me l´avoir envoyée´ (Translation: “Dear Laurent Boyer, the beginning of a letter never finished and which Jean Genet intended to send to me has deeply touched me and I thank you very sincerely for having sent it to me”) Accompanied by an 8 x 8 photograph of Genet, unsigned, showing the French artist seated in a head and shoulders pose in his late years. VG, 4 Edmonde Charles-Roux (1920-2016) French Writer

FLAUBERT GUSTAVE: (1821-1880) French novelist. A significant autograph manuscript, unsigned, three pages, folio, n.p., n.d. (c.1857), in French. Flaubert's extensive manuscript notes are entitled Un repas de noces - Lettre d'Hyppolochus a Lincée ('A wedding meal - Letter from Hyppolochus to Lincée') and were prepared by the novelist as research notes for chapter one ('The Feast') of his historical novel Salammbo. The text states, in part, (translated) 'Caranus making a nuptial feast in Macedonia invited twenty parasites there. As soon as they were seated at table each of them was given a bottle of silver. They had each received before entering the room a gold band estimated at five gold Ecus….. For us happy for the rest of our days, with what we took from the feast of Caranus, we seek goods, country houses, slaves to buy, with the presents with which he has showered us'. Rare in this form. Some very light, extremely minor age wear, VG Hippolochus was a Macedonian writer and student of Theophrastus, who addressed in a letter to his fellow student Lynceus of Samos a description of a wedding feast in Macedon in the early 3rd century BC. The bridegroom was a certain Caranus, most likely a relative of the Caranus who had been a companion of Alexander the Great. Flaubert's Salammbo is a historical novel which was published in 1862. Enormously popular in its day, the novel opens with a feast to celebrate the victory of the battle of Eryx, won against Rome, and was praised for its style and story. Provenance: It is believed that the present manuscript was originally included with a series of other research notes made by Flaubert, totaling some 26 pages, and entitled Letters of Alciphron. As well as including extracts relating to a wedding feast, the manuscript also featured observations relating to courtesans and the manners of the people of Greece (see Les Amis de Flaubert, bulletin 12, 1958).

LIVERPOOL EARL OF: (1770-1828) British Prime Minister 1812-27. A good, large D.S., Liverpool, one page (vellum), large oblong folio, n.p., 13th September 1809. The partially printed document, completed in manuscript, is a Deputy Lieutenant's Commission addressed to Francis William Cobb and states, in part, 'His Majesty's Lieutenants are thereby authorized and impowered to appoint Deputy Lieutenants for their respective counties, and the Warden of the Cinque Ports, Two Ancient Towns and their Members.......And whereas by one other Act of Parliament made in the 48th Year of the Reign of his said present Majesty, intituled "An Act for enabling His Majesty to establish a permanent Local Militia Force, under certain Restrictions, for the Defence of the Realm". amongst other Things the Mayors, Jurats or other Magistrates. for the Time being........shall and may Act as Deputy Lieutenants for the Purposes of this Act, and the said Warden was thereby authorized to appoint any other Persons qualified in the Manner directed by the said first recited Act, to act in like Manner as Deputy Lieutenants......In pursuance therefore of the said recited Acts, I the said Robert Earl of Liverpool, with His Majesty's Approbation, have nominated, constituted, and deputed, and by these Presents, DO nominate, constitute and depute you the said Francis William Cobb to be one of my Deputy Lieutenants.....you having delivered into the Clerk of the Peace. of the Town and Port of Dovor a specific Description, in writing, signed by yourself. of a sufficient Qualification for holding this Commission......to act, do, execute and perform, all and every Act and Acts, Powers, Matters and Things, in the said Acts of Parliament contained, which on the Parts and Behalfs of Deputy Lieutenants.....may or ought to be done, acted, executed, and performed, and that in all Things according to the true Intent and Meaning of the same'. Signed by the Earl of Liverpool at the foot alongside a good red wax seal. With a further affixed small blind embossed paper seal and blue revenue stamp. A few minor folds and light age wear, otherwise VGFrancis William Cobb (1781-1871) English brewer, banker, shipping agent, coal merchant; the third member of his family to serve as Deputy Lieutenant of Dover.

ROUSSEAU JEAN-JACQUES: (1712-1778) French Writer and Philosopher. A good content autograph manuscript, one page, 4to, n.p., n.d. [1745-48], in French. Rousseau writes a short text, being related to the history of women, and includes a decidedly feminist statement, stating `Nous croyons donc non seulement par les faits historiques que nous avons cités et les réflexions historiques que nous y ajoutons, avoir donné des preuves de notre opinion de l´égalité qui a longtemps subsisté entre les hommes et les femmes, mais que chacun de ceux qui voudront s´instruire des vérités historiques et en tirer des conséquences ira aisément encore plus loin que nous dans la persuasion que les femmes ont très différemment figuré dans le monde qu´on ne le pense généralement aujourd´hui´ (Translation: "We therefore believe not only because of the historical facts that we have cited and the historical considerations that we add to them, to have given proof of our opinion of the equality which has long existed between men and women, but that each of those who will want to learn about historical truths and draw conclusions from them will easily go even further than us in the persuasion that women have figured very differently in the world than is generally thought today") Large crease across the page, only affecting few words. Overall age wear, mostly to borders, with uneven left and lower edge. About G The present text corresponds to Rousseau´s work about the history of women, written between 1745 and 1751 for his benefactress Mrs Louise Marie Madeleine Dupin, and which would never be published

BARLOW JOEL: (1754-1812) American poet, diplomat and politician who supported the French Revolution and was an ardent Jeffersonian republican. A rare series of manuscript notes, unsigned, in the hand of Barlow, one page, 4to, n.p., n.d. (c.1795-1800). The notes are headed Polysophic Society and are divided into four sections, the first labelled Literature and including 'philosophy, Government Legislation.....Law of nations. History. Georgraphy', the second labelled Physics, Geology, Medicine and featuring 'Mathematics, Astronomy.....Optics, Agriculture, Anatomy.......Mechanics, Zoology, Botany', the third labelled Arts & Trades, featuring 'Architecture.......drawing, Painting, Engraving, Engineering' and the final section named Normal School alongside which Barlow writes, 'In which will be taught languages & the elements of all the arts & sciences contemplated in the establishment of the P.S. This branch of the Institution is to be considered as an university, & is to be established on a more extensive & useful plan than has yet been realised in any part of the world. It is intended to be made the centre of instruction for the people of the United States'. With an autograph statement at the foot of the page signed by Samuel Olmstead of New York, a previous custodian of the manuscript notes, 'I certify that the above is the writing of Joel Barlow'. Together with an A.L.S., Samuel G. Olmstead, three pages, 4to, New York, n.d. (c.1855-60), to a gentleman, providing a testimony and biographical details for Joel Barlow, in part, 'Mr. Barlow was a remarkable man. He was considered as the best poet of his time.......Seven years before the adoption of our Federal Constitution he advoacted its formation & predicted that it will be adopted throughout the world, thus forming one great Brotherhood.......He described in most graphic language the Electrical Telegraph 36 years before Morse who invented it thought of it. He predicted the improvements in Arts & Science......with all the vividness & accuracy of the Historian. He was a Democrat in politics of the same school with Jefferson.......Such in short was Joel Barlow. One of the best men.......which this country has produced.' A few small ink blots and a small scorch hole to Barlow's manuscript, not significantly affecting the text, otherwise VG, 2By 1800 Barlow had come to view education as the most eligible way to protect America from the corruption and cynicism he saw subverting the Revolution in France and urged that a national institute similar to the one France had created with the Constitution of 1795 be established. Barlow’s proposed ‘Polysophic Society’ would serve four functions: expanding scientific knowledge, exploring the resources of the United States, teaching people how to communicate this knowledge to others, and furnishing schools with trained teachers by paying part of their salaries.

CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. An excellent group of three typescript manuscripts, unsigned, by Howard Carter, with many annotations, additions and corrections in his hand, being the text for three lectures (two on the discovery of Tutankhamun's tomb and a third on the subject of colour), forty-eight pages (total), small 4to, n.p. (London?), n.d. (c.1924, 1930 & 1934). The first typescript manuscript commences 'We had almost given up in dispair (sic), and would have done, were it not for the fact that in nearing the tomb of Ramses VI (sic) we found a very intriguing buried heap of flint boulders which suggested the proximity of a tomb. Why had they been placed there?......They were of a kind usually selected by the Ancient Egyptians for filling in the entrance of a tomb, but there was nothing of the kind underneath them......In October, 1922, I returned to Luxor to make this final effort.....I set my Egyptian staff to work, about 120 men and boys in all.....When in four days we made the discovery which surpassed our wildest hopes. How well I remember that fourth day. I arrived early in the morning on the scene of the action......the work of clearing continued feverishly throughout the rest of the day......then, with ill-suppressed excitement, I watched the descending steps, one by one, as they were revealed, Our work progressed, and at the level of the twelfth step there was disclosed the upper part of a doorway, blocked, plastered and sealed. It was a thrilling moment for an excavator, alone, save for his native workmen, after years of unproductive labour, on the threshold of what might prove to be a magnificent discovery. Amything, literally anything, might lie beyond that sealed door and it needed all my self control to keep from breaking down the blocking of that doorway, and investigating then and there......I sent a runner into Luxor with a cable telling Lord Carnarvon, then in London, the good news. Little knowing that had I gone a few centimetres deeper in that excavation, the name of Tut.ankh.Amen upon the seals of that doorway would have told me the secret - that almost ephemeral king, Tut.ankh.Amen......had made his grave in the Valley of the Tombs of the Kings' and continues 'The decisive moment had arrived. With almost trembling hands I made a tiny breech in the upper left hand corner.....A lighted candle was then applied, the ever necessary test and precaution against possible foul gasses, and then, widening the hole a little, I inserted the candle and peered in.......gradually ones eyes became accustomed to the dim light, details of the room within emerged slowly, strange animals, statues and gold - everywhere the glint of gold. For the moment - an eternity it must have seemed to others standing by - I was amazed, when Lord Carnarvon, unable to stand the suspense any longer, inquired anxiously, "Can you see anything?" it was [all] I could do to answer, "Yes, wonderful things"'. The second typescript manuscript is entitled The Royal Burial and Innermost Treasury and dated May 1930, and states, in part, 'Our work in the Antechamber was finished.....We were ready at last to penetrate the mystery of the sealed door.....When a hole sufficiently large was made to see in, an astonishing sight was revealed, for there, within a metre of the doorway, stretching as far as one could see, and blocking the entrance of the chamber, stood what to all appearances was a wall of gold. We were at the entrance of the actual Burial Chamber of the King, and that which barred our way was the side of an immense gilt shrine, built to cover and protect the sarcophagus......before us, was one of the Great Golden Shrines beneath which Kings of Egypt were laid.......a surprise awaited us, for an open door, leading eastwards from the Burial Chamber, led to yet another chamber......this proved to be the Innermost Treasury. From where we stood, a glance sufficed to tell us that there within this small chamber lay perhaps the greatest treasures of the tomb'. Interspersed between the text of both manuscripts are a number of pages detailing the slides which Carter used to illustrate his lectures, including images of the Valley of the Tombs of the Kings, the excavations, the discovery of the tomb, the more important objects found in the antechamber (including a painting of a hunting scene, Carter noting in his own hand that 'Such scenes are naturally the works of a Court painter - doing homage to the young monarch. For such a slender youth, un-armed, save for the bow and arrow, to attack a group of fierce lions & lionesses, is hardly tenable'), the coffins, the raising of the lid of the sarcophagus, and much more. The final, third typescript manuscript is for a lecture entitled Colour which Carter delivered at the Victoria and Albert Museum on 17th October 1934 and commences 'The normal visual apparatus of the eye enables us to distinguish not only differences of form of objects looked upon, but difference in character of the light received from them, which we name colour. Form is intellectual; colour emotional. Colour is the property of form, that is to say, only decorative. Colour does not define an object, but it instils a sensation and a feeling. Thus, in art and ornamental design, form is perhaps more important than colour, but excellence in both is the most important' and continues with a fascinating discussion of colour from artistic and scientific perspectives, also making a reference to the Valley of the Kings, and quoting Sir Joshua Reynolds. The manuscripts are contained together within a limp bound ring leaf binder and a few of the pages are loose. A wonderful series of manuscript lectures, particularly for their first-hand accounts of the most famous discovery in the history of Egyptology. Some light staining and minor age wear, otherwise generally VGIn 1924 Howard Carter made a tour of Great Britain, France, Spain and the United States of America, delivering a series of illustrated lectures on the excavation of Tutankhamun's tomb. In New York and other American cities Carter's meetings were attended by large and enthusiastic audiences, sparking American Egyptomania, and President Calvin Coolidge requested a private lecture.

GAUGUIN PAUL: (1848-1903) French Post-Impressionist painter. A rare and very interesting lengthy Autograph Manuscript draft article by Gauguin, four pages, folio, n.p., n.d. [late 1889], in French. The draft article is untiltled, although would later be published as "Huysmans et Redon". Gauguin responds in this article to Huysmans's writing on visual arts, stating in part `Huysmans est un artiste, son mouvement d´impulsion se traduit dans une expulsion en littérature. Beaucoup de peintres voudraient être musiciens ou litérateurs. Lui voudrait être peintre. Il l´aime la peinture. A différentes époques des critiques ont paru de lui.... Depuis il s´est fait un grand changement en lui car il a soif d´art et ne craint pas de marcher sur ses erreurs. Nous l´en félicitons´ (Translation"Huysmans is an artist, his impulse movement translates into an expulsion in literature. Many painters would like to be musicians or men of letters. Huysmans would like to be a painter. He loves painting. At different times critics have appeared about him... Since then a big change has taken place in himself because he is thirsty of art and do not fear to walk on his own errors. we do congratulate him for this") Further Gauguin criticises the terms on which Huysmans has written about Odilon Redon and disputing Huysmans's understanding of other artists ancient and modern including Francesco Bianchi, and referring to Rembrandt and Rapahel, states in part `Je ne vois pas en quoi Odilon Redon fait des monstres - Ce sont des êtres imaginaires. C´est un rêveur, un imaginatif.... Voyez l´oeuvre de Rembrandt de Raphael et quelle relation intime entre tous ses modèles femmes et hommes et son portrait...´ (Translation: "I don't see how you can say that Odilon Redon makes monsters - They are imaginary beings. He is a dreamer, an imaginative.... See the work of Rembrandt, Raphael, and what an intimate relationship between all his female and male models and his portrait..."). Further again, Gauguin refers extensively to Gustave Moreau `...Son mouvement d´impulsion est bienloin du coeur, aussi il aime la richesse des biens matériels...´ (Translation "...His impulsive movement is very far from his heart and he loves the richness of material wealth..." and refers also to Puvis de Chavanne with some unconnected notes at the end `Coco de mer - Coco a deux parties qui s´entrouvent comme le sexe femelle d´où sort un énorme fallus qui va se piquer en terre pour germer. Les habitants l´ont considéré lontemps comme le fruit défendu de l´arbre de la science du mal et du bien´ (Translation "...Coconut in two parts which open like the female genitalia, from which emerges an enormous phallus which embeds itself in the earth to germinate. The inhabitants have long considered it as the forbidden fruit of the tree of the knowledge of good and evil") An extremely interesting thoughts by Gauguin, saying in differents parts of his manuscript `...Je veux dire par là que le peintre ne opeut illustrer un livre et vice versa. Il peut décorer son livre oui, y ajouter d´autres sensations qui s´y rattachent... De la laideur - Question brûlante et qui est la pierre de touche de notre art moderne et de la critique.... D´un volcan vous en refroidissez la lave et d´un sang bouillonant vous en faites une pierre. Fût-elle un rubis ...mais on veut des rubis et on les vend aux trafiquants de diamants! En somme Gustave Moreau est un beau ciseleur. En revanche Puvis de Chavannes ne vous sourit pas... La simplicité la noblesse ne sont plus d´époque. Que voulez-vous éminent critique d´art, ces gens là seront un jour de leur époque....´ (Translation: "By this I mean that the painter cannot illustrate a book and vice versa. He can decorate his book yes, add other sensations attached to it... Of ugliness - A burning question and which is the touchstone of our modern art and criticism.... Of a volcano you cool the lava and from boiling blood you make a stone. Was it a ruby...but we want rubies and we sell them to diamond traffickers! In short, Gustave Moreau is a great engraver. On the other hand, Puvis de Chavannes does not smile at you... Simplicity and nobility are no longer of the times. What do you want, eminent art critic, these people will one day be of their time...") A letter of excellent contant and association. Extremely small tears to the bottom edge of the second page, otherwise G to VGIn the present letter, Gauguin criticises the art criticism of the "decadent" critic Karl-Joris Huysmans. These typically combative notes, attacking the taste of the great literary champion of the Impressionists, were written when Gauguin was back in Paris after his fraught sojourn with Van Gogh in Arles, and was beginning to turn his mind to Tahiti. At the heart of his argument is the figure of Odilon Redon, who was in fact a friend of both men. Huysmans had written some of the first positive reviews of Redon's art, which had played a vital role in establishing him in the art world. Both Redon and Gauguin had exhibited in the 8th Impressionist exhibition of 1886, and by the late 1880s Redon was one of the few artistic contemporaries of whom Gauguin spoke with unambiguous respect. Gauguin is responding to a chapter of Huysmans's "Certains" on Redon entitled "Le Monstre" (1889). To Huysmans, Redon was an artist of fantasy, creating distorted monsters to express modernity - a visual equivalent of contemporary decadent and symbolist literature. Gauguin refutes this, claiming that Redon's imagination is an expression of nature. This article was dated by Guérin, who notes that it was first published in Les Nouvelles littéraires, 7th May 1953. Interestingly, the manuscript shows significant differences from the published text, with a number of important sentences silently omitted or re-ordered. Karl-Joris Huysmans (1848-1907) French Novelist and art Critic. A founding member of the Academy Goncourt and an early advocate of Impressionism.Odilon Redon (1840-1916) French Painter. Best known for his Dreamlike works inspired by Japanese art.Gustave Moreau (1826-1898) French artist, an important figure in the Symbolist movement.Pierre Puvis de Chavannes (1824-1898) French painter.

BAILEY PAUL: (1937- ) British novelist. Small correspondence collection of three A.Ls.S. and two T.Ls.S., Paul, thirteen pages (total), various sizes (4to and smaller), various places (including 'The Barge' and Florence), 1960s, all to Tom Maschler. Bailey writes a series of somewhat eccentric letters, stating, in part, 'At night time I am deeply excited by [Hermann Hesse's] Demian, which speaks to me of so much possible goodness within.....No reality exists beyond us and this I knew, Tom, I did, but I hadn't the courage to insist. I knew my fantasies were my reality and all outside was false......Today I could not bear it any longer and came up to London to find more of Hesse, and I did and read 1/4 of one volume in a shop until I was dazed' (n.d.),'I am going through a revolution since Hesse, I am exploding and I am subsiding wonderfully after the bangs. I cannot, I really cannot & never will be able to tell you what you have done for me artistically. The book will be a thousand times better than it was.....I live and write now for to justify myself, prove something far deeper than being "a writer"' (n.d. 'Wednesday'), 'Many thanks for your letter, with its welcome news about 'The Frontispiece'. I think it's about time I joined the blockbuster boys. Seriously - you ask about my new book. Well, I'll finish it for sure when I get back to London early in December: I wrote 100 or so pages at top speed before I left England and then the old glooms came down on me......It would take pages to list the number of things in Italy that make me vomit - you must know of them, anyway. The English indifference is, of course, legendary - I'm surprised that so few people have written about the Italian variety. Perhaps my most eye-opening experience was a trip to St, Peter's in Rome - to me one of the most depressing buildings in the world - followed by a walk round the Roman slums.....nausea isn't too strong a word to describe what I felt.....I also met Eric Linder.....I liked him.....but found him a trifle off-putting. He took me out to lunch and it got to the stage where I was frightened of even making an observation about the weather, because I was sure he would say 'And what, exactly, is the foundation for that remark?' (Florence, 15th November n.y,) 'The manuscript was called for, and another part of it was brought for you. In cardboard file on your dressing table. I really would like to come back again in the morning, at about 10.30, if the tide [sic] is clear. It's marvellous working like this, Tom.....You're very good to me' (n.d.). 'You will see that you have created an effect. It may amuse you; it could bore you, I can see this, and it just has not to matter. You are very much you, and no part of anyone else. My own mind is intrigued sufficiently for you to dwell in it a great deal, not only when I am working again and again on this book of mine. (This re-writing, this re-calling up the emotions which have long since dried is a painful, wearying process, and I fear to spoil the explosive urge that was within it)'. (n.d., 'Sunday morning'). Also including one carbon typed copy of a letter from Maschler to Bailey (also referring to Erich Linder). Some very light, minor age wear, VG, 6Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

NAPOLEON I: (1769-1821) Emperor of France 1804-14, 1815. An exceediling rare early autograph manuscript by Napoleon Bonaparte, one page, folio, n.p. [Nice], n.d. [February-March 1794], in French. Napoleon, recently appointed General of Brigade, plans a military expedition to Corsica, trying to organize the military defence of his native island in order to face the threat of the English navy forces under Horatio Nelson. In an unusually lengthy text in Napoleon´s hand, eleven lines, Napoleon in his usual unclean writing, including few corrections and words crossed, states `Les représ[entants] arrêtent que le général d´artillerie faira préparer un équipage de campagne pour 10000 hommes pour passer en Corse avec les bouches à feu nécessaires pour mettre Saint Florent à l´abri de toute entreprise de la part de l´escadre anglaise. Met pour cet effet cinquante mille francs (a sa disposition) que le payeur de la guerre (mettera) tiendra à sa disposition´ (Translation: "The representatives have decided that the artillery General will prepare a military crew for the transport of 10,000 men to pass into Corsica with the necessary cannons to protect Saint Florent from any attempt military from the part of the English squadron . Allowing for this purpose fifty thousand francs (at his disposal) which the payer of the war deprtment (will put) at his disposal") An excellent historical document related to Napoleon and Corsica which would end up short time later with the occupation of Corsica by the English forces. With blank integral leaf. Right edge very slightly trimmed, not affecting the text. GIn March 1794, the young Bonaparte, just appointed General of brigade, settled in Nice, where the staff commanding the artillery of the Army of Italy was established. He stays with Count Laurenti, route de Villefranche. It was there that he prepared a planned expedition to Corsica at the beginning of 1794. His native island is in the hands of Paoli and has gained independence from the French Republic, but the English fleet in the Mediterranean threatens to take control of it and offers protection to the independent insurgents. We know from a letter dated 24th March 1794 that Saliceti, the representative of the people had instructed General Buonaparte to go to Nice in order to prepare this mission. This expedition did not take place and the English forces led by Horatio Nelson occupied Corsica a few weeks later. This was the birth of the Anglo-Corsican Kingdom. The attempt to take back Bastia led by Bonaparte before his arrest failed and it was not until 1796 that the triumphant General Bonaparte returned victorious to his native land.

ISABELLA I: (1451-1504) Isabella the Catholic. Queen of Castile 1474-1504 and Queen consort of Aragon 1479-1504 as the wife of King Ferdinand II of Aragon. A fine D.S., yo la Reyna, one page, folio, 17th May 1501, in Spanish. The boldly penned manuscript document is an order by the Queen for her chamberlain, Sancho de Paredes, to pay the sum of 530 maravedis, or two florins, to the silversmith Anton de Carrion for the work that he has undertaken on a mirror. With a receipt from the silversmith and a summary of the document at the foot. Two very neat slits to the centre of the document, only very slightly affecting the text and signature, and with some very slight, minor traces of former mounting to the upper edge of the verso. VG

DUMAS ALEXANDRE Pere: (1802-1870) French Writer whose works include The Three Musketeers. A very fine Autograph Manuscript signed twice `Al Dumas´, in bold ink and unusually cleanly written, six pages, to six sheets, folio, blue paper, n.p., n.d., in French. The present manuscript is part of a series of articles published in the Neapolitan journal L´Indipendente (“The Independent”), under the title Dell´origine del brigantaggio, delle cause della sua esistenza, e del modo di distruggerio (“On the origin of brigandage, causes of its existence, and method to destroy it”) Dumas starts the manuscript explaining `En verité nous avons Presque honte de revenir sans cesse sur le même sujet mais c´est que ce sujet es tune question de vie et de mort non seulement pour les provinces napolitaines, mais pour l´unité de l´Italie…´ (Translation: “To be fair, we are almost ashamed of constantly returning to the same matter, but this matter is a question of life and death not only for the Neapolitan provinces, but for the unity of Italy…”) A lengthy and interesting manifesto against brigandage, where Dumas opens subscriptions so that his readers can adhere to the cause. Before concluding this open letter against brigandage, and before signing to the fourth page, Dumas states `Les mauvais Italiens ne donnent que leur or. Les bons donnent leur or et leur sang´ (“The bad Italians only give their gold. The good ones give their gold and their blood”) To the sixth page, signed at the base, Dumas shows his literary style, stating in part `Il semble en verité que nous vivons au temps de Suétone, à l´époque où le secretaire d´Avicen racontait qque Néron avait fait tuer sa mère et était revenue après sa mort la regarder nue pour savoir si elle était aussi bien faite qu´on le disait… sans s´indigner ni du parricide ni de l´impiété, et comme s´il racontait la chose du monde la plus simple. Et bien nous l´avouons, nous, si nous nous taisons sur de pareils sujets… c´est que nous ne trouvons pas assez de paroles flétrissantes pour en fouetter sur la place publique, pour en marquer au front des fonctionnaires qui tendent la main aux brigands, non pour leur donner du pain, mais pour recevoir une poignee d´or. Oh plus que jamais monstres, monstres!´ (Translation: “It really seems that we live in the time of Suetonius, at the time when the secretary of Avicenus said that Nero had had his mother killed and returned after her death to look at her naked to find out if she was as well made as it was said... without being indignant at either the parricide or the impiety, and as if he was telling the simplest thing in the world. Well, we admit it, if we remain silent on such matters... it is because we do not find enough withering words to lash out in the public square, to mark the foreheads of the officials who deal with the bandits, not to give them bread, but to receive a handful of gold. Oh more than ever monsters, monsters!...”) Very small age tone to the edges, otherwise G to VG

DIDEROT DENIS: (1713-1784) French philosopher, art critic and writer, a significant figure during the Age of Enlightenment. An extremely rare and important autograph manuscript, unsigned, seven pages, 8vo, n.p., n.d (c.1771), in French. The manuscript, written in Diderot’s small, neat hand, is entitled Satyre contre le luxe a la mainiere de Perse (‘Satire against luxury in the Persian style’) and takes the form of a dialogue between two characters, the first a sceptic of the times, not far removed from Jean-Jacques Rousseau, radical in his rejection of luxury and what it represents, and the second character one who judges that all is not so bad in the world as it is. ‘Vous jetez sur les diverses societes de l'espece humaine un regard si chargin, que je ne connais plus guere qu'un moyen de vous contenter: c'est de ramener l'age d'or’ (Translation: ‘You look at the various societies of the human race with such a distrustful eye that I can think of only one way of satisfying you: that is to bring back the golden age’) begins the second, and with spartan austerity, the former rejects all sweetness of life, ‘Vous vous trompez. Une vie consumee a soupirer aux pieds d'une bergere n'est point de tout mon fait. Je veux que l'homme travaille. Je veux qu'il souffre. Sous en etat de nature qui irait au-devant de tous ses voeux, ou la branche se courberait pour approcher le fruit de sa main, il serait faineant; et n'en deplaise aux poetes, qui dit faineant dit mechant’ (Translation: ‘You're wrong. A life spent sighing at the feet of a shepherdess is not entirely my doing. I want man to work. I want him to suffer. Under a state of nature which would fulfil all his wishes, or the branch would bend to bring the fruit nearer to his hand, he would be a faineant; and, with all due respect to the poets, who says faineant says villain’), and Rousseau’s name is naturally introduced, ‘Depouillez-vous donc; suivez le conseil de Jean-Jacques, et faites-vous sauvage’ (Translation: ‘Take off your clothes; follow Jean-Jacques' advice, and make yourself wild’) before the interlocutor sweeps aside the Voltairean irony and gives the subject a political twist, ‘Ce serait bien le mieux. La, du moins, il n'ya a d'inegalite que celle qu'il a plu a la nature de mettre entre ses enfants; et les forets ne retentissent pas de cette variete de plaintes, que des maux sans nombre arrachent a l'homme dans ce bienheureux etat de la societe’ (Translation: ‘That would be the best. Here, at least, there is no inequality except that which it has pleased nature to place between her children; and the forests do not resound with that variety of complaints, which countless evils wring from man in this blessed state of society’), the other attempts moderation and advocates a form of resignation to the order of things as it is, ‘Mon ami, aimons notre paitre; aimons nos contemporains; soumettons-nous a un ordre de choses qui pourrait par hasard etre meilleur ou plus mauvais; jouissons des avantages de notre condition. Si nous y voyons des defauts, et il y en a sans doute, attendons-en le remede de l'experience et de la sagesse de nos maitres; et restons ici’ (Translation: ‘My friend, let us love our pasture; let us love our contemporaries; let us submit to an order of things which might by chance be better or worse; let us enjoy the advantages of our condition. If we see any faults in it, and there undoubtedly are, let us await the remedy of the experience and wisdom of our masters; and let us remain here’), and then the other launces into a violent diatribe against corrupting money, ‘Rester ici, moi! moi! y reste celui qui peut voir avec patience un peuple qui se pretend civilise, et le plus civilise de la terre, mettre a l'encan l'exercise des fonctions civiles; mon coeur se gonfle, et un jour de ma vie, non, un jour de ma vie, je ne le passe pas sans charger d'imprecations celui qui rendit les charges venales. Car c'est de la, oui. c'est de la et de la situation des grands exacteurs que sont decoules tous nos maux. Au moment ou l'on put arriver a tout avec de l'or, on voulut avoir de l'or; et le merite, qui ne conduisait a rien, ne fut rien. Il n'y eut plus aucune emulation honnete. L'educatin resta sans aucune base solide’ (Translation: ‘To remain here, me! me! to remain here is to be the one who can patiently watch a people who claim to be civilised, and the most civilised on earth, auction off the exercise of civil functions; my heart swells, and one day of my life, no, one day of my life, I will not spend it without charging with imprecations the one who made the offices venal. For it is from this, yes. it is from this and from the situation of the great tax collectors that all our ills have arisen. At the moment when one could achieve everything with gold, one wanted to have gold; and merit, which led to nothing, became nothing. There was no longer any honest emulation. Education remained without any solid foundation’), further describing the deleterious effects of the race for wealth, the desire to possess more and more that leads humanity to its ruin, ‘L'elephant se gonfla pour accroitre sa taille, la boeuf imita l'elephant; la grenouille eut la meme manie, qui remonta d'elle a l'elephant; et, dans ce mouvement reciproque, les trois animaux perirent: triste, mais image reelle d'une nation abandonnee a un luxe, symbole de la richesse des uns, et masque de la misere generale du reste’ (Translation: ‘The elephant inflated itself to increase its size, the ox imitated the elephant; the frog had the same mania, which went up from it to the elephant; and, in this reciprocal movement, the three animals lost: sad, but a real image of a nation abandoned to a luxury, symbol of the wealth of some, and mask of the general misery of the rest’), as well as the corruption of the morals, the contempt for study, the disappearance of all decency being the consequences, ‘On rampa, on s'avilit, on se prostitua dans toutes les conditions. Il n'y eut plus de distinction entre les moyens d'acquerir. Honnetes, malhonnetes, tous furent bons’ (Translation: ‘We crawled, we debased ourselves, we prostituted ourselves in all conditions. There was no longer any distinction between the means of acquisition. Honest, dishonest, all were good’), the other then advances the argument that this luxury engenders the development of art and industry, ‘Mais ne vous rejouissez-vous pas de voir la debauche, la dissipation, le faste, ecrouler ces masses enormes d'or? C'est par ce ,oyen qu'on nous restitue goutte a goutte ce sang dont nous sommes epuises. Il nous revient par une foule de mains occupees. Ce luxe, contre lequel vous vous recriez, n'est-ce pas lui qui soutient le ciseau dans la main du statuaire, la palette au puce du peintre, la navette?’ (Translation: ‘But don't you rejoice to see debauchery, dissipation and splendour crush these huge masses of gold? It is by this means that we are given back drop by drop the blood from which we are exhausted. It comes back to us through a host of busy hands. This luxury, against which you recoil, is it not that which sustains the chisel in the hand of the statuary, the palette on the chip of the painter, the shuttle?’), OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. Please contact IAA Europe directly for further information. 

STALIN JOSEPH: (1878-1953) Soviet politician and revolutionary who led the Soviet Union from 1924-53 as General Secretary of the Communist Party of the Soviet Union (1922-52) and Chairman of the Council of Ministers of the Soviet Union (1941-53). A good D.S., J. Stalin, in Cyrillic, with two lines of holograph text, in bold red indelible pencil, one page, 4to, Moscow, 25th December 1941, in Cyrillic. The typed classified document is an order (number 0508) issued by the Stavka of the Supreme High Command and states, ‘1. In view of the particularly important tasks assigned to the 27th Army, it should be transformed into the 4th Shock Army. 2. The 3rd, 33rd, 332nd, 334th, 249th, 257th, 358th, 360th rifle divisions should be included in the 4th Shock Army. 3. From 1st January 1942, all the commanding staff (higher, senior, middle, junior) of the 4th Shock Army should be paid one and a half times the salary, and to the rank and file, two times the salary as it is established for the Guards divisions’. Stalin adds a fourth instruction to the order in his hand, ‘4. The order is to be adopted in all units of the 4th Shock Army’. Countersigned at the foot by Boris Shaposhnikov (1882-1945) Soviet Colonel and Marshal of the Soviet Union, one of the foremost military theorists of the Stalin-era who served as Chief of the Staff of the Red Army 1928-31, 1937-40 and 1941-42. The verso of the document bears various typed and manuscript (in ink and pencil) administrative notes including a list of over twenty individuals who were to receive a copy of the order in cipher. A few tears and small areas of paper loss to the left edge, not affecting the text or signatures, and some light staining. About VG The 4th Shock Army was a combined arms army of the Soviet Armed Forces which participated in the Toropets-Kholm Offensive between January and February 1942 and also saw action on the Kalinin Front and 1st Baltic Front during World War II.

JEFFERSON THOMAS: (1743-1826) American President 1801-09, a Founding Father of the United States of America and the primary author of the Declaration of Independence. A good, large D.S., Th: Jefferson, as President, one page (vellum), large folio, Washington, 27th March 1806. The partially printed document, completed in manuscript, is a military commission appointing Alexander Macomb to be a Captain in the Corps of Engineers in the service of the United States and 'to take Rank as such from the Eleventh day of June One Thousand Eight Hundred and five', further stating that 'He is therefore carefully and diligently to discharge the duty of Captain by doing and performing all manner of things thereunto belonging.......And he is to observe and follow such Orders and Directions, from time to time, as he shall receive from me, or the future President of the United States of America or the General or other superior Officers set over him, according to the Rules and Discipline of War'. Countersigned at the foot by Henry Dearborn (1751-1829) American Colonel who fought in the War of Independence, served with George Washington's Continental Army and was present at the British surrender at Yorktown. Secretary of War 1801-09. With a circular blind embossed seal affixed at the head alongside an engraving by John Draper of a large eagle and shield and with another fine engraving at the foot, also by Draper, depicting cannon, crossed flags, drums, weapons and other symbolic militaria. A handsome signed document with good association. The manuscript text is a touch light, although remains perfectly legible. Some light age wear at the folds, one of which runs across Jefferson's signature, although to very little detriment. VGAlexander Macomb (1782-1841) American Major General, Commanding General of the United States Army 1828-41. Macomb received a Congressional Gold Medal for his stunning victory as the field commander at the Battle of Plattsburgh during the War of 1812.