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Lot 2
A Syrian/Arabic 21 carat yellow gold wide articulated chain link panel bracelet set with turquoise paste cabochons. The sliding bar and pin clasp with a filigree scrolling wirework design. The safety chain has a gold acorn charm attached. Stamped to the back with Syrian hallmarks. Gross weight 30g.
Lot 380
Rod Massey (American, b. 1949). Oil on panel painting titled "Between Houses, Spring" depicting two white homes, 2000. Likely depicting houses in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. Signed, dated, and titled along the frame along the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Private Minnesota collection.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Unframed; height: 10 in x width: 12 1/4 in. Framed; height: 15 in x width: 17 1/4 in.Condition: The colors are bold and bright and the surface is stable. There are no cracks, losses, or restorations when inspected under UV light. Some soiling (paint) along the verso, likely original to the artistic process. Light wear to the frame.
Lot 442
Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.Condition: The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.
Lot 379
Rod Massey (American, b. 1949). Oil on panel painting titled "Blue House Behind Trees" depicting a bright blue home and a line of trees, 2006. Likely depicting a home in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. The leafless trees and green grass give the impression of late fall or early spring. Signed, titled, and dated on a card affixed to the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Private Minnesota Collection.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Unframed; height: 49 in x width: 38 in. Framed; height: 50 1/4 in x width: 39 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 351
Willem Bodeman (Dutch, 1806-1880). Oil on panel painting titled "Sunset" depicting the sun setting on a watery landscape with two figures in a boat. Signed along the lower right. Housed within a giltwood and plaster frame.Sight; height: 7 in x width: 9 1/2 in. Framed; height: 12 3/4 in x width: 15 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 344
After Hans Holbein (German, 1497-1543). Oil on panel portrait of Margaret Roper. Inscribed "Margaret Rooper (sic), Daughter unto Sir Thomas More" along the upper right.Provenance: Possibly Galerie Moderne, Brussels, Belgium in the 1970s; Private Collection, Minnesota.Lot Essay:Margaret Roper (1505-1544) was the eldest and favorite daughter of Sir Thomas More. Extremely well educated for a woman of her time, she was particularly well-known for her knowledge of Latin and Greek. Her translation into English of "Precatio Dominica" by the Dutch humanist Desiderius Erasmus, a close family friend, was one of the earliest translations ever published by a British woman, and was very well-received. She was her father’s closest confidante in his later years, and his writings about her make it clear that he saw her as an intellectual equal. After his execution in 1535 for his refusal to accept Henry VIII’s departure from Catholicism, she and her lawyer husband, William Roper, were the people who ensured that his story did not die with him. Along with rescuing and preserving his head, Margaret carefully collected and protected More’s writings, particularly his letters from prison. Her diligence ensured the survival of the narrative of More’s martyrdom, likely leading to his eventual sainthood, conferred in 1933.This portrait is a copy by a well-trained artist of part of an original portrait by Hans Holbein the Younger. Holbein, often seen as the greatest portrait painter of his generation, first came to England in 1526 with a letter of recommendation to Sir Thomas More from Erasmus, who he had painted previously. Along with painting his now-famous portrait of More, Holbein also painted a group portrait of More with his family. This painting was destroyed by a fire in the 18th century, and now survives only through copies. Copying paintings was a common practice in the 16th century, and Holbein’s works were in high demand. His portraits were extremely popular during his lifetime, and after he died, no other portrait painters initially stepped up to take his place. As a result, the market for copies of his portraits boomed in the century after his death, as collectors clamored for Holbeins of their own. The majority of these were created within a century of his death, a fact backed up for several pieces by dendrochronology. Research even suggests that many copies were created using Holbein’s own drawings and patterns, which had come into the possession of Henry VIII following Holbein’s death. This portrait is most likely one of those early copies.There was evidently some desire to own portraits of Margaret, since multiple portraits of her alone copied from Holbein’s Sir Thomas More with his Family and Household are extant, including one in the National Trust in Knole, Kent. This was likely due to her influential status and fame as a model woman of letters. This painting is generally consistent with the other surviving copies; however, Roper’s bodice is here depicted as solid black and does not include a red panel as in other versions. The details of her costume are carefully rendered, with layers of mordant creating a low relief forming the gold decorations and chains in her garments. This painting includes Margaret Roper’s arms, which consist of her husband’s impaling her own, made up of Thomas More’s quartering her mother’s.Unframed; height: 26 1/2 in x width: 19 3/4. Framed; height: 34 in x 27 1/2 in.Condition: The panel has slightly warped, notably along the left and right edges, which are slightly convex. The surface is in good condition; some light cracks along the figure’s face, with a thick varnish layer. There are two straight vertical lines visible on the surface, due to a repair to straighten the panel. There is inpainting visible under UV light along these lines. Under UV, it is difficult to discern other areas that have been restored due to the thick layer of varnish. The verso has some inset glued joints with buttons. The frame likely early 20th century, and exhibits some wear.
Lot 433
Terence David La Noue (American, b. 1941). Mixed media on board painting titled " Ancient and Lost Rivers: Seville" depicting an abstract composition in red, yellow, green, blue, white, and black, 1996-2000. Signed, titled, and dated along the verso.Unframed; height: 24 in x width: 21 in. Framed; height: 30 3/4 in x width: 27 1/4 in.Condition: The colors are bold and bright and the surface is stable. No visible losses, breaks, or restorations. The artwork is mounted to a panel. Due to the nature of the mounting and framing, the verso has not been inspected. Light wear to the frame.
Lot 401
Joyce Macrorie (American, 1931-2021). Oil and wax on panel painting titled "Looking Through a Glass Brightly" depicting a street as seen through a window. Signed along the lower right. Further signed and titled along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 20 in x width: 17 1/2 in. Framed; height: 20 3/4 in x width: 18 1/4 in.Condition: The colors are bold and bright and the surface is stable. No losses or restorations. Light wear along the verso. There is tape along all four edges. There are a few spots of sticker residue along the verso. Light wear to the frame.
Lot 378
Rod Massey (American, b. 1949). Oil on panel painting titled "East Diamond Lake Road, Winter" depicting the home at 209 E. Diamond Lake Road in Minneapolis, MN, 2002. The snow-filled landscape with the pale, cloudy sky is iconic of Minnesota's long winters. Signed, dated, and titled along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Height: 17 in x width: 13 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 296
ROSSINI GIOACHINO: (1792-1868) Italian composer of operas. A.L.S., Gioachino Rossini, one page, 4to, Bologna, 2nd August 1847, to his friend and lawyer Filippo Santocanale, in Italian. Rossini writes, in part, 'The fear of bothering you is what keeps me from writing to you more often. Since I am tormented by the heirs of my late wife, I must now write to you begging you, entreating you, pleading that you sell the estate in question. In your last letter you suggested that I buy out the heirs. It would be a great solution if I had the money to do so, and thirty years less on my shoulders. I currently spend all the income coming from this estate, and I cannot afford such a purchase. On the other hand, I am too old to wait for a more propitious time to sell with profit. Even if I have to lose one third of the value, it is necessary to sell now and make the sacrifice. Moreover, the heirs of my late wife are requesting only 8000 ducats, and since they are in great need, the sooner a deal is made, the better. In view of the above, please send me a statement showing income and expenses for the year 1846. I hope you can do this so that I can inform the claimants here in Bologna and eventually pay them…..I tremble at the idea of taking time away from your many affairs and commitments, and from your family; but dear God, what else can I do?? May Pope Pius IX bless you and inspire you to a happy completion of my request' and in a lengthy postscript to the left margin further adds 'I forgot to tell you that a certain Chiponti, who is the husband of the singer, Liparini, whom you must have heard some years ago in Palermo, came here to Bologna two years ago to carry out a sale on behalf of his wife. Through the agency of a certain Petrella Avalsevo, Chiponti was put in touch with Francesco Paolo Orlando, a solicitor in Palermo. Everyone was pleased with the way Mr. Orlando completed the deal. Upon his return to Bologna, Chiponti apprised me of the various business cases he is handling and suggested that I use Orlando's services. However, I answered that you are in charge of my affairs and would not consider anyone else. I am writing all this for your information, and if you think that this solicitor is an honest man, contact him and see what he has to offer'. With address panel in Rossini's hand to the verso. Laid down to card with an aperture to the centre to view the address panel. A few small tears and minor areas of paper loss to the edges, G Isabella Colbran (1785-1845) Spanish soprano and composer, the muse and first wife of Rossini.
Lot 819
BURKE EDMUND: (1729-1797) Irish Statesman, Orator, Political Theorist and Philosopher. Signed Free Front envelope panel, addressed in his hand to Miss Noble at Sutton, Abington and dated Bristol, 12th October 1792. Signed ('Free Edm. Burke') to the lower left corner. Slightly irregularly trimmed and neatly laid down to a page removed from an album and with a collector's annotations neatly laid down beneath. Some light creasing and age wear, G
Lot 600
GINSBERG ALLEN: (1926-1997) American poet and writer associated with the Beat Generation. A.L.S., Allen Ginsberg, one page, 4to, New York, 20th January 1990, to Roberto Vargas. Ginsberg writes a letter of introduction for a fellow writer, stating, in part, 'Here's Istvan Eorsi from Hungary, we've stayed in each others' houses, he's a poet & playwright, trusty man & friend - please help him find his way in Managua & elsewhere'. Accompanied by the original envelope hand addressed by Ginsberg and signed ('Allen Ginsberg') by him above the printed return address panel. VG Roberto Vargas (1941- ) Nicaraguan poet and political activist. Istvan Eorsi (1931-2005) Hungarian writer, novelist, political essayist, poet and literature translator.
Lot 783
ANNE: (1665-1714) Queen of England, Scotland and Ireland 1702-07. A fine L.S., Anna R, with a holograph subscription, three pages, folio, Palace at Windsor, 3rd July 1709, to Franz Ludwig, Count Palatine, Bishop of Worms, and Johann Wilhelm, Count Palatine on the Rhine, Elector of Bavaria, in Latin. The Queen writes, in part, 'Most illustrious and excellent Prince, dearest cousin and friend, as well as most serene Prince, dearest brother, cousin, and friend, the new peace negotiation by the French, which is too little sincere, has no doubt already been made known [and] it would be superfluous to explain to Your Excellency and Your Electoral Excellency with how much unworthiness the most Christian King not only refused to have several preliminary articles concluded in The Hague confirmed, & after their having been approved by his plenipotentiaries, but also in contempt of all his allies, he has abused [them] through insinuations he has thought up to enrage the spirits of his subjects. We hope indeed that the long since renowned skills will remove the anger from all hearts and that the allies will all be of the same mind as We that there will in no way at all be a just, honest, stable, comprehensive peace until the arrogant common enemy, who has out of weakness so violently brought on war from all sides, withdraws, that he must by necessity or unwillingly desist. These things may already speak for themselves. We nonetheless, from Our concern for the public weal, deemed it to be not unseemly to appeal with Our exhortation to Your Excellency and Your Electoral Excellency to urge and cause everyone of authority in the region of the Upper Rhine by most grave admonishments to support it, as well as to provide a share of fighting forces, of soldiers and funds, and also at this moment, by which the moments of the greatest causes turn to Our example and that of the order of the general domains of the Belgian Federation, to send men and funds & thus expand the German combat army on the Upper Rhine and fortify it by means of the things needed for war, so that not only the boundaries of the Empire are protected, but also the provinces broken off at the time can be reintegrated. This sole hope of a war to be completed with glory and a peace to be maintained with security. To this be added the hope for divine grace, which will not be rejected as unseemly, health, liberty, and event the indignation at such an enemy. We thus humbly appeal to Your Excellency and Your Electoral Excellency to take active part in the cause, for haste is necessary so that this best occasion not slip from our hands…..' Countersigned at the foot by Henry Boyle (1669-1725) 1st Baron Carleton, Anglo-Irish politician who served as Chancellor of the Exchequer 1701-08, Northern Secretary 1708-10 and Lord President of the Council 1721-25. With integral address panel bearing a blind embossed paper seal (neatly split). Annotated in ink at the head of the first page to record that the letter was received at Erfurt on 29th July 1709. A letter of interesting content and association written during the Spanish War of Succession (1701-14), the European great power conflict which arose from the death of the childless King Charles II of Spain in November 1700 and led to a struggle for control of the Spanish Empire between his heirs, Philip of Anjou and Charles of Austria, and their respective supporters, among them Spain, Austria, France, the Dutch Republic, Savoy and Great Britain. Some very light, extremely minor age wear, VG Franz Ludwig of Palatinate-Neuburg (1664-1732) Prince-Elector of the Holy Roman Empire, Prince-Bishop of Worms 1694-1732. Johann Wilhem II (1658-1716) Elector Palatine 1690-1716, brother of Franz Ludwig.
Lot 654
LAENNEC RENE: (1781-1826) French physician who invented the stethoscope in 1816 and pioneered its use in diagnosing various chest conditions. A rare A.L.S., Laennec, two pages, small 4to, n.p., 12th January 1811, to his father ('Mon cher papa'), in French. Laennec acknowledges that he has received his father's latest letter and box, declaring 'Je vous fais mille remerciements, vous ne pouviez me faire un present plus agreable que celui la' (Translation: 'I give you a thousand thanks, you could not give me a more pleasant present than this one'), further adding that he will have a crucifix repaired and remarking 'Cela serait deja fait sans les occupations et les embarras ou je me trouve depuis trois semaines et qui m'ont empeche egalement de vous offrir plutot les voeux que je fais pour que cette nouvelle annee soit plus heureuse pour vous et par conseequent pour nous tous que celle qui vient de s'ecouler' (Translation: 'This would already have been done without the occupations and the discomfitures in which I have been for three weeks and which have also prevented me from offering you the wishes that I am making so that this New Year will be more happy for you and consequently for all of us than the one that has just passed'), and continuing to write 'Le principal de ces embarras est le depart prochain du Cardinal pour Rennes. Il m'a propose de m'emmener avec lui jusques la. Ce projet me plait beaucoup. Je serais fort aise d'aller voir un peu s'il n'y a pas moyen de faire finir promptement l'etat de gene dans lequel je me trouve et qui m'empeche de faire mes voeux ce que je desirerais. Mais mille raisons trop longues a deduire me retiennent ici. La plus forte est la difficulte d'arracher a ceux qui me doivent de quoi faire ce voyage. Si je puis lever celle la, je romprai toutes les autres entraves. Ainsi il n'est pas impossible que j'aye sous peu le plaisir de vous embrasser. Je vous embrasse dans cette esperance et je finis promptement: car quoique je ne sache encore pas si je partirai, je fais toutes mes dispositions comme si j'en etais sur et je n'ai pas de temps a perdre.' (Translation: 'The principal of these discomfitures is the imminent departure of the Cardinal for Rennes. He offered to take me with him there….I would be very happy to go and see if there is not a way of quickly ending the state of embarrassment in which I find myself and which prevent me from fulfilling the wishes that I would like. But a thousand reasons too long to deduce keep me here. The strongest is the difficulty of snatching from those who owe me money to make this trip. If I can lift this one, I will break all the other shackles. So it is not impossible that I will shortly have the pleasure of kissing you. I embrace you in this hope….for although I do not yet know if I will leave, I am making all my arrangements as if I were sure of it and I have no time to lose'). With address panel in Laennec's hand. Autograph letters of Laennec are rare as a result of his untimely death from tuberculosis at the age of 45. A couple of very light, small circular stains (caused by the original seal) only very slightly affecting a few words of text which remain perfectly legible, otherwise VGLaennec was intensely religious and was a devout Catholic all of his life, and has been described as a sincere Christian who adhered to his religion and was a man of the greatest probity, habitually observant of his religious and social duties; all qualities which are illustrated in the present letter.
Lot 733
MARGUERITE DE NAVARRE: (1492-1549) French Princess, Queen consort of Navarre 1527-49 by her second marriage to King Henry II of Navarre. L.S., La tout evo[tr]e Marguerite de france, one page, oblong 8vo, Argentan, 25th August n.y. (c.1515), to Jean de Selve, Vice Chancellor of Milan, in Middle French. Marguerite writes to inform her correspondent that the King [her brother, Francis I] is sending Gilbert Jarrel, bearer of the letter, 'pour executer loffice de contrerolleur general de ses finances' (Translation: 'to perform the office of comptroller general of his finances') and 'ensuyvant une lectre et declaracion quy luy a octroyees et veult et entend quil demeure et Reside pdela Et pource q comme je vous ay autreffoys escript led Jarrel est de mes serviteurs lequel adit au Roy la bonne volunte q vous aves en ses affaires et le desir et bonne affection que vous avez envers moy dont je vous en mercie Et vous prie que pour amour de moy le vueilles avoir tousiours pour Recnance En luy faisant toute ladresse et aide que congnoistrez estre necessaire pour le fait de sa charge' (Translation: 'by ensuing a letter and declaration which he granted to him and wants and intends that he remains and resides beyond. And for what as I wrote to you formerly, said Jarrel is one of my servants who has told the King of the good will you have in his affairs and the desire and good affection you have towards me for which I thank you, and beg you that for the love of me please show him gratitude always by giving him all the address and help that you will know to be necessary for the fact of his charge'). With address panel to the verso and small seal affixed (causing a small stain to the recto, only very slightly affecting Marguerite's signature). With a series of very small, minor holes to the left edge and a small area of paper loss to the lower right corner, otherwise VGJean de Selve (1475-1529) French diplomat, appointed by King Francis I as Vice Chancellor of Milan following the conquer of Milan by the monarch in 1515.
Lot 317
CAGE JOHN: (1912-1992) American avant-garde composer who was also instrumental in the development of modern dance through his association with the choreographer Merce Cunningham. A.L.S., John Cage, one page, 4to, Amsterdam, 16th June 1978, to Vladimir Hofmann. Cage states that he cannot comply with his correspondent's requests for lists and continues to add 'I have worked for 35 years (plus) with Merce Cunningham & continue to do so. My catalog is available through my music publisher, C. F. Peters, I suggest you write to David Vaughan, Cunningham Dance Foundation…..He has at hand all the materials suitable to your progress'. Accompanied by the original envelope hand addressed by Cage and signed ('J. Cage') by him in the return address panel. Together with a small selection of other A.Ls.S. by the dancers, choreographers and teachers Betty Jones (2), Fritz Ludin etc., discussing the writing of an article on modern dance, sending corrections, referring to accompanying photographs etc. Generally VG, 5
Lot 416
Oppenheimer, ‘father of the atomic bomb’, gives his most evocative and accurate assessment ever of the evolution of nuclear weapons, illustrating incredible foresight for the future use of the weapon he created that could ultimately destroy the world and human race -‘If they are ever used again, it may well be by the thousand or perhaps by the tens of thousands; their method of delivery may well be different and may reflect new possibilities of interception and the strategy of their use may well be different from what it was against an essentially defeated enemy. But it is a weapon for aggressors and the element of surprise and of terror are as intrinsic to it as are the fissionable nuclei.’ OPPENHEIMER J. ROBERT: (1904-1967) American theoretical physicist, credited as 'the father of the atomic bomb', The director of the Manhattan Project's Los Alamos Laboratory during World War II, Oppenheimer is the inspiration for the film Oppenheimer (2023) in which he is portrayed by actor Cillian Murphy. An important and significant T.L.S., Oppie, one page, 4to, Princeton, New Jersey, 16th April 1952, to Stephen White of Look magazine, on the printed stationery of the Institute for Advanced Study. Oppenheimer writes to his friend, journalist Stephen White, to thank him for having sent the proof of his article, Russia's Newest Threat: A-Bomb Supremacy, evidently following discussions the two man had engaged in, 'As you say, it is quite along the lines that you discussed with me…..I think that you probably pull the dangers up a little too close in time; and many of the things you say, I do not myself believe to be strictly true. But, like all your friends, I add a “print it”, with the general feeling that you are talking about real things and talking about them in a reasonable way, and that this desperately needs to be done', the physicist continuing to add 'There are a number of reasons - - some developed since I saw you - - why I am reluctant to appear to be a part of just this story. I want to be very sure that I cry no wolves that are not genuine wolves' and further offering White a shrewd quotation that could incorporated into his article, 'I have thought that I wrote something long ago which you can perhaps use. This was in the autumn of 1945 in Philadelphia…..It was published in No. 1 of Vol. 90 of the Proceedings of the American Philosophical Society. The sentence that I think you might wish to quote is “If they are ever used again it may well be by the thousands, or perhaps by tens of thousands”. The rest of the paragraph is: “their method of delivery may well be different and may reflect new possibilities of interception, and the strategy of their use may well be different from what it was against an essentially defeated enemy. But it is a weapon for aggressors, and the elements of surprise and of terror are as intrinsic to it as are the fissionable nuclei.”, concluding 'I do not know whether this will help; but it is meant to be helpful'. A letter of truly remarkable content in which Oppenheimer demonstrates extraordinary foresight for the future use of the atomic bomb. VG Stephen White's article Russia's Newest Threat: A-Bomb Supremacy appeared in the 3rd June 1952 issue of Look magazine. It was deemed important enough by the American House of Representatives that Melvin Price, representative from Illinois from 1945-88, and later chairman of the Joint Committee on Atomic Energy, had the full article contained in the Congressional Records in order to substantiate, and provide additional support to, Henry M. Jackson's address to the House of Representatives 'on the urgent question of maintaining [America's] atomic supremacy and of holding Russian aggression in check'. White's competently argued article, written in private consultation with Oppenheimer and others, warns of the grave problem facing America from Russia ('the weapon is being turned against us') and informs the reader that 'This reporter has asked blunt questions about the new state of affairs. He asked them even though he knew that no responsible official would give him a direct answer. The law forbids talking for the record. But there was one significant comment each time. When he described the story he planned to write, he was invariably told grimly, “Print it”.' In August 1949, earlier than the Americans had anticipated, the Soviet Union carried out their first atomic bomb test. At this time Oppenheimer was chairman of the General Advisory Committee to the Atomic Energy Commission (created in 1947), a post he would remain in until August 1952, just months after writing the present letter. As chairman of the GAC Oppenheimer argued against the development of a more powerful nuclear fusion-based hydrogen bomb, warning of the enormous human casualties that would result from its use. Nevertheless, American president Harry S. Truman made the decision, in January 1950, to proceed with the development of the weapon, a decision which Oppenheimer officially acceded to despite his views on the hydrogen bomb being well known. After leaving the General Advisory Committee in 1952, Oppenheimer chaired the State Department Panel of Consultants on Disarmament which urged that the United States postpone its planned first test of the hydrogen bomb and seek a thermonuclear test ban with the Soviet Union, on the grounds that avoiding a test might forestall the development of a catastrophic new weapon and open the way for new arms agreements between the two nations.
Lot 421
ZUMBACH JAN: (1915-1986) Polish-Swiss fighter ace of World War II who participated in the Battle of Britain. A.L.S., J Zumbach, one page, 4to, Bonnieres, 29th May 1974, to Mr. Francis. Zumbach thanks his correspondent for their letter and returns his signature, with his war squadron and rank appended as requested, as well as 'A B[attle] of B[ritain] story written by myself and printed…..on the 25th Anniversary of the said event. It was printed in French & English. I do hope it will be of interest to you'. Together with a second A.L., signed ('J. Zumbach') in the address panel to the upper left corner, one page, oblong 8vo, Bonnieres, 16th August 1974, to Mr. Francis, sending a story 'of a flight on Sept 9th 1940' and remarking 'the story in my handwriting was ready since a few months but I forgot to post it'. None of the enclosures mentioned in the letters are still present. Some creasing and a few small tears to the edges of the first letter, G to VG, 2
Lot 736
HENRY IV: (1553-1610) King of France 1589-1610. Assassinated. L.S., Henry, one page, folio, Fontainebleau, 30th April 1604, to Cardinal [Alfonso] Visconti ('Mon Cousin'), in Middle French. The King informs his correspondent that he has instructed Cardinal de Givry 'qui s'en va par dela de vous visiter de ma part Et vous tesmoigner la bonne volonté que Je vous porte Dequoy Je desire qu'il s'acquicte a mon contentement et au Vre et que vous me continuyez aussi Vre affection au bien de mes affaires' (Translation: 'who goes beyond visiting you on my behalf and showing you the good will that I have for you, which I want him to fulfil to my satisfaction and yours and that you also continue your affection for the good of my business'). Countersigned at the foot by Nicolas de Neufville, seigneur de Villeroy (1543-1617) French secretary of state under four Kings of France, Minister of Foreign Affairs 1567-88, 1594-1616. With address panel to the verso, bearing the remnants of a blind embossed paper seal. A few minor, light stains, the largest at the head of the page only very slightly affecting a few words of text, and with a few light creases and tears to the edges, about VGAlfonso Visconti (1552-1608) Italian Roman Catholic cardinal and diplomat who served as Bishop of Spoleto 1604-07 as Cardinal Protector for the Austrian hereditary lands.Anne d'Escars de Givry (1546-1612) French Benedictine churchman and cardinal, a supporter of the Ligue.
Lot 251
CINEMA: Selection of signed pieces and cards by various film actors and actresses, a few film directors etc., including James Coco (scarce), Brenda Blethyn, Peggy Wood, Mackenzie Crook, William Gargan, Betty Compson, Eva Le Gallienne, Erich von Stroheim (ink signature in a return address panel, neatly clipped from an envelope), Jean Renoir etc. G to generally VG, 10
Lot 808
Flori VAN ACKER (1858-1940) 'Fête de beguinage de Bruges, 1925'A painting of the Bruges Beguinage, oil on panelSigned, titled and dated lower right. On the reverse with a plaque: Herinnering aan de geschiedkundige feesten van het prinselijk begijnhof van Brugge, Augustus 1925, door Flori Van Acker. Dimensions:(W:80 x H:48 cm)
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