We found 209236 price guide item(s) matching your search

MACEO Y GRAJALES JOSE ANTONIO: (1845-1896) Guerrilla iconic Leader and second-in-command of the Cuban army of independence. Cubans nicknamed Maceo ''The Bronze Titan'' because of his multiple wounds in battle, while Spanish nicknamed him ''The elder Lion''. Maceo was killed near Punta Brava by Spanish forces after being betrayed by the physician of his headquarters. Rare D.S., `Jose Maceo´, one page, folio, Head Quarters of El Perico, 14th March 1896, in Spanish. The present letter was signed by Maceo six months before being killed. The partially printed document bears a printed coat of arms to the upper left corner and is the appointment of vice-Lieutenant Miguel Fernandez as Lieutenant, and signed by Mateo y Grajales in his capacity as General Major of the Liberation Army of Cuba. Overall important age wear, creasing and staining, with few holes and small tears to edges. Large repairs to the verso. P

SUCRE ANTONIO JOSE DE: (1795-1830) Venezuelan independence Leader and Hero. Statesman and General, also known as the ''Grand Marshal of Ayacucho''. One of Simon Bolivar's closest friends. President of Bolivia 1825-28 and President of Peru 1823. Assassinated. An excellent and rare L.S., `A.J de Sucre´, two pages, 4to, Quito, 13th August 1822, to the Minister of the Superior Court of Justice, in Spanish. The letter bears to the heading the printed text ''Republica de Colombia – Departamento de Quito” (“Republic of Colombia – Quito department”). By the present document Sucre, on behalf of H.E. Simon Bolivar, and the Colombian government, provisionally expel and put on trial a court clerk, Manuel Calixto, accused of suspicious political behaviour, stating in part `Son terminantes los decretos del Gobierno para que ningún empleo público sea desempeñado por los notoriamente desafectos a nuestro Sistema, en cumplimiento del cual, y de las repetidas ordines que me ha comunicado S.E. el Libertador… se servirá disponer con los demás Ministros de la Corte Superior si el escribano Manuel Calixto ha tenido una conducta política sospechosa… sea excluido del oficio que ejerce, procediendo en este punto con arreglo a la ley…´ (Translation: “The Government's decrees are strict so that no public employment is carried out by those notoriously disaffected to our System, in compliance with which, and with the repeated orders that H.E. the Liberator has communicated to me.... It will be necessary to decide with the other Ministers of the Superior Court if the notary Manuel Calixto has had suspicious political behaviour... be excluded from the office that he exercises, proceeding on this point in accordance with the law...”) Sucre before concluding reminds that those who act against the interest of the republic can be sentenced to expulsion from the territory. The letter bears to the left border of the two pages, two hand written annotations by court clerks, the first referring to Calixto´s refusal to recognize and accept the Court that judges him. Overall age wear and staining, with partial repair to edges, none affecting the signature. About G After Colombia had been liberated from the Spanish, Simon Bolivar sent Sucre to the Quito region (at today´s date Ecuador) where he would won on 24th May 1822 the brilliant and key victory of Pichincha near Quito. At Pichincha, patriot forces under Antonio Jose Sucre routed the Spanish royalists and freed the territory that was to become Ecuador.The present letter is dated less than three months after the famous battle of Pichincha.

KHAN ALI-REZA: (1847-1910) Azod-ol-Molk. Iranian politician who acted as regent for Ahmad Shah, the last ruling member of the Qajar (Kadjar) dynasty. A rare, large vintage signed 10.5 x 14.5 photograph, the image depicting Ali-Reza Khan seated in a full-length pose wearing dark clothing and holding a cane in one hand. Photograph by Roussie-Khan and bearing his imprint to the lower mount and verso. Signed by Ali-Reza Khan in black ink to a clear area of the background. Some light overall age wear, minor staining and bumped corners of the photographer’s mount, GPhotographer Mehdi Ivanov (1875-1967) ran a portrait studio in Tehran which operated under the name Roussie-Khan. Ivanov played a significant role in promoting cinema in Iran.

ZEDONG MAO: (1893-1976) Mao Tse-tung. Chairman of the Communist Party of China 1943-76 and Chairman of the People's Republic of China 1954-59. An extremely rare signed colour 5 x 7 photograph, the printed cardstock image depicting Chairman Mao standing in a three-quarter length pose applauding during a conference. With a printed caption in Chinese to the lower border. Signed by Zedong in blue ink with his name alone to the white border. Encapsulated ('slabbed') in clear plastic to an overall size of 6.5 x 10” and certified by PSA with an 'NM7' grade. VG

GANDHI MAHATMA: (1869-1948) Indian political and spiritual leader during the Indian independence movement. A fine, rare vintage signed sepia 6 x 4.5 photograph of Gandhi, the iconic image depicting him seated outdoors, cross-legged in a full-length pose on a rug, wearing his familiar white loin cloth (dhoti) and with a Khadi shawl over his shoulders and arms, accompanied by a number of his disciples who are seated in the immediate background. Photograph by Balvant of Raipur and Ahmedabad, and with his typescript credit and caption ‘Mahatmaji’s latest picture in his characteristic Budhist (sic) posture of sitting’ to the verso. Further dated 13th May 1931 in blue indelible pencil to the verso, which also features the blue ink signature of V. Kalyanam, Gandhi’s personal secretary. Signed (‘M K Gandhi’) by Gandhi in blue fountain pen ink with his name alone to a light area at the base of the image. Signed photographs of Gandhi have always been rare and remain highly desirable. Some very light, minimal age wear and with a couple of very minor, insignificant surface creases. VGOn 15th May 1931, just a matter of days after the present photograph was taken, Gandhi announced that he would attend the second Round Table Conference on Indian independence in London. In all, three Round Table Conferences would be held between 1930-32, with Gandhi only attending the second. Indeed, in December 1929 Gandhi had refused to be present at the London meetings and, in accordance with the law, the Viceroy arrested Gandhi and sent him to prison. However, Gandhi’s presence would prove vital to the success of the peace conferences, and he was the only representative of the Indian National Congress at the second Round Table conference which opened at the St. James Palace in London on 7th September 1931. Kalyanam (1922-2021) Indian freedom fighter who served as Mahatma Gandhi’s personal secretary during the last few years of Gandhi’s life (1943-48). Kalyanam was standing just behind Gandhi when the latter was shot and was the first to inform Jawaharlal Nehru and Vallabhbhai Patel of Gandhi’s death. The presence of Kalyanam’s signature on the present photograph indicates that it originated from his personal archives.

VIGO JEAN: (1905-1934) French film director whose work influenced French New Wave cinema of the late 1950s and early 1960s. A rare A.L.S., Jean Vigo, two pages (written to the first and third sides of the bifolium), 8vo, Font-Romeu, 11th June 1927, to [Pierre de Saint-Prix], (‘Cher ami’), in French. Vigo announces ‘Ce doit etre une loi facile a verifier, a savoir que "toute production croit eu raison directe de l'altitude" O - Oxygene!’ (Translation: ‘It must be an easy law to verify, namely that “all production increases directly due to altitude” O – Oxygen! Font-Romeu: 1800 metres!’) and continues ‘Et puis, et puis, j'y songe vous avez sur place votre editeur Claude Aveline, qui m'avouait un jour n'avoir jamais taut travaille qu'ici son edition de "Deux enfants" m'avait beaucoup plu quand il me fut’ (Translation: ‘And then, and then, I think about it, you have your publisher Claude Aveline on site, who admitted to me one day that he had never worked as much as here, his edition of “Deux enfants” had pleased me a lot when it was presented to me’), further writing ‘Claude Aveline est un etre d'un commerce tres, tres agreable - et son aimable complaisance, ses prevenances vous confondent. La camarade Fernand lui reprocherait peut-etre de n'etre point communiste; mais si tout le monde adherait au Parti qui aurions nous a faire fusiller….’ (Translation: ‘Claude Aveline is a very, very pleasant person – and his amiable complaisance, his attentions confuse you. Comrade Fernand would perhaps reproach him for not being a communist; but if everyone joined the Party then we would have to be shot…..’). In concluding Vigo asks when his friend will definitely arrive, ‘Ce serait pour moi une grande joie, que notre bon Fernand ne refuserait pas de partager......car il y viendra aussi!’ (Translation: ‘It would be a great joy for me, which our good Fernand would not refuse to share….because he will come there too!’). Autograph letters of Vigo are rare as a result of his untimely death at the age of 29. About EX Pierre de Saint-Prix (1901-1994) French journalist, writer and resistance fighter.

BREAKSTON GEORGE: (1920-1973) French-American child actor, later a film producer and director. A rare vintage signed and inscribed 8 x 10 photograph of the young actor standing in a full-length pose in costume as the boy Pip from the first sound version of the film Great Expectations (1934) adapted from the Charles Dickens novel of the same title. Photograph by Roy D. MacLean for Universal Pictures and bearing his credit stamp to the verso. Signed, as a juvenile, by Breakston in black fountain pen ink to a light area at the base of the image. A few light, minor corner creases and one small, insignificant crack to the image, close to, but not affecting the signature. About VG

HARLOW JEAN: (1911-1937) American actress & sex symbol. An exceptionally exquisite vintage signed and inscribed sepia 9.5 x 12 photograph of the platinum blonde in a full-length study, alluringly posing in a figure-hugging plain white gown and with one arm positioned behind her head. Signed in bold, dark fountain pen ink to a light area of the image with an inscription to Clark Gable, incorporating a quote from their film Red Dust, ‘ “E’s” in the port cabin, Just Jean’. Authentic autographs of Harlow are extremely rare in any form and it is hard to imagine a more desirable example than the present photograph, not least in regards to the quality of the image and the association. Some very light, minor thin bands of silvering to the extreme edges of the image, otherwise EX Clark Gable (1901-1960) American actor, Academy Award winner. Jean Harlow starred alongside Gable in a total of six films, including the box office successes Red Dust (1932; Gable also later starring in John Ford’s remake of the film, Mogambo) and Hold Your Man (1933). Gable was Harlow’s co-star in her final film, Saratoga, which was completed using doubles and released on 23rd July 1937, less than two months after her death. It was to be MGM’s most successful film of the year, and the highest-grossing film of Harlow’s career. Provenance: Acquired by the present vendor at Christie’s Entertainment Memorabilia sale in New York on 25th July 2003 (lot 71).

BROOKS LOUISE: (1906-1985) American actress, an icon of the flapper culture of the 1920s and 1930s. A rare T.L.S., Louise, two pages (although curiously written in three numbered parts to the recto and verso of the stationery), 4to, Rochester, New York, 22nd September 1960, to Jan Wahl. Brooks commences her letter by declaring ‘I am not going to New York. Not tomorrow at any rate. In the end, unless I must, I never go anywhere unless I am dragged by the hair. I love being there; but I hate going there’ and continues to write in disparaging terms about various mutual acquaintances including James Card, ‘Jim’s “revenge” is sure but never predictable. After nothing but snarls since I threw Kent out of town, he called me full of love and misunderstanding from New York Tuesday night leading up to telling me that he was taking a 6’2” lesbian whore…..to Europe on the Queen Elizabeth. Not believing because it would cost about $3,000 and where would he get it? I checked with George who had been out with them and he did believe it. Then I checked with Jeanne and she did not believe it. Then I called him back and screamed. That was what he wanted…..That is what inflames me. Being neither wife nor mistress, how he spends his time or money has not concerned me for a long time. But I am concerned with his job and his keeping it (and when he wants money, look out) because, first after I knew the score and Jeanne, my guilt and my desire to make reparation was great (Dear girl, she said she forgave me long ago); then there is so much good in Jim; and then if he hangs himself with the rope of debt and scandal which is dangling for him (for Kodak has a spy system which is its main strength - - genius can count on itself - - office holders not), the Communists will control Eastman House’. Brooks concludes her letter by quoting from the poem To a Friend Whose Work Has Come to Nothing by W. B. Yeats. Accompanied by the original envelope. VGJan Wahl (1931-2019) American film historian and children’s author.James Card (1915-2000) American film preservationist who established the motion picture collection at George Eastman House. In 1955 Card discovered Louise Brooks living as a recluse in New York City and persuaded her to move to Rochester to be near the George Eastman House

NATIONAL VELVET: A good, rare vintage multiple signed and inscribed sepia 10 x 8 photograph by the Academy Award recipients Mickey Rooney (Michael ‘Mi’ Taylor), Elizabeth Taylor (Velvet Brown), Donald Crisp (Herbert Brown) and Anne Revere (Araminty Brown) individually, the image depicting the actors seated around a dining table together at the Brown’s home in Sussex in a scene from the film National Velvet (1944). Signed by each in fountain pen inks to the image. It was for her performance in this film that Anne Revere won her Best Supporting Actress Oscar. Some light overall surface and corner creasing, G

EPSTEIN PHILIP G.: (1909-1952) American screenwriter, best remembered for his screenplay for the film Casablanca (1942). An unusual and intriguing dark fountain pen ink signature and inscription on a page removed from an autograph album, ‘To Claire, I shall describe you minutely to Humphrey Bogart – it may change his whole life – Phil Epstein’. The page features printed decorative border and with a caption at the head, Autographs of my Schoolmates. Rare. A series of small holes and a couple of small tears to the left edge, otherwise VGHumphrey Bogart (1899-1957) American actor, Academy Award winner. One of Bogart’s most famous roles was as Rick Blaine in Casablanca (1942).

THERE'S A GIRL IN MY SOUP: An excellent signed 10 x 8 photograph by both Peter Sellers (Robert Danvers) and Goldie Hawn (Marion) individually, the image depicting them in profile head and shoulders poses as they prepare to kiss one another in a scene from the British romantic comedy film There's a Girl in My Soup (1970). Photograph by John Brown and with the original Shepperton Studios promotional text lightly affixed to the verso. Signed by Sellers in bold blue ink, adding the date June 1970 in his hand, and signed by Hawn in light green ink with her name alone, both to clear areas at the base of the image. Rare in this form. A couple of very light, minor corner creases, otherwise VG

LOVELACE LINDA: (1949-2002) American pornographic film actress, famous for her performance in the film Deep Throat (1972). A rare signed 8 x 10 photograph of Lovelace standing in an erotic full-length topless pose with her jean buttons un-done. Signed in bold blue ink across a light area of the image, ‘XXOO Wish you were here, Love & kisses, Linda, Love Linda Lovelace XO’s’. One small surface crease to the background, otherwise VG

[HENDRIX JIMI]: (1942-1970) American rock guitarist and singer. A pair of funky red corduroy ribbed bell bottom trousers owned and worn by Jimi Hendrix in 1968, with a zip fastener and elasticated waist band, and two small inside pockets, measuring approximately 38” in length and 11” wide at the base. A wonderful and desirable piece of memorabilia associated with one of the most celebrated musicians of the 20th century, who was also noted for his fashion sense, typifying the 1960s and counter-culture movement. Some light age wear, VG Provenance: The present trousers were previously sold by Bonhams in their sale of Film Entertainment and Autographs, Psychedelic and Underground Posters, Rock and Pop, Rare Records on 21st, 22nd & 23rd March 1995 (Lot 2472). Their catalogue, a copy of which is included in the present lot, stated that the trousers were worn by Hendrix ‘in 1968 Civic Auditorium, Bakersfield, California, Oct. 26, seen on camera by Ron Rafaelli, photographer with Jimi at this time’.

BOLAN MARC: (1947-1977) English guitarist, singer and songwriter, a pioneer of the glam rock movement in the early 1970s with his band T. Rex. Autograph Manuscript notes, unsigned (although featuring his name Marc in three places within the text), one page, oblong 8vo, n.p., n.d. (c.1970). On ruled notebook paper, and in various coloured inks, Bolan has penned a series of notes, including deletions, relating to the recording of the song Seagull Women (released as Seagull Woman), in part, 'acustics (sic) mixed down….marc tracked on change down….mixed together lightly play Gibson thru out….Piano on C-C7-F-D7….guitar solo…Fender….drum pounded floor tom tom, deep sound Bass, marc tracked riff voices….on end drums on own, marc little acustic (sic) riff once'. One of the deleted notes, relating to 'deep sound', states 'First try Fuzz Hendrix sound'. An extremely rare Bolan manuscript, particularly considering the musician's tragically early death in a car crash at the age of 29. A single file hole to the right edge, not affecting the text, VGSeagull Woman appeared as track four on the B-side of the album T. Rex which was released on 18th December 1970 and had been recorded at the Trident Studios in London from July - August in the same year. The track represented the first time that Howard Kaylan and Mark Volman ('Flo and Eddie') provided back-up vocals to a T. Rex song. The duo would go on to sing on most of the group's subsequent string of hits.

JOHN ELTON: (1947- ) British singer and pianist, Academy Award winner. A signed Limited Edition United Kingdom box set for Two Rooms (1991), issued to celebrate the songs of Elton John and Bernie Taupin and including a 16-track CD album (with picture sleeve insert) featuring songs performed by the Beach Boys, Jon Bon Jovi, The Who, Eric Clapton, Kate Bush, Sting, Rod Stewart and George Michael, a VHS video featuring Phil Collins, Roger Daltrey, Sinead O’Connor, Tina Turner, Neil Young and others, as well as rare Elton John performance footage, and a hardback edition of Two Rooms by Elton John and Bernie Taupin, First Edition published by Boxtree Ltd., London, 1991, with many illustrations and accompanied by the dust jacket. All are contained in the original illustrated card box signed to the front lid by Elton John with his name alone in black ink to a clear area. Some age wear and minor scuffing to the exterior and with the small original price label affixed to one corner. About VG

BIZET GEORGES: (1838-1875) French Composer. A rare and very fine A.L.S., Georges Bizet, three pages, 8vo, n.p. [Saint Gratien], n.d. [summer 1869], [to Louis-Godefroy Jadin], in French. Bizet sends an unusual and very interesting letter during his honeymoon, and in a poetic way initiates his letter stating in part `Tes lettres sentent le soleil. Ici, nous avons un demi beau temps, un soleil honteux, peureux, un soleil qui a beaucoup de choses sur la conscience. Je voudrais bien pouvoir emporter ma Geneviève mais il faut attendre. Nous sommes toujours et nous serons toujours heureux ici. et enchantés de te faire une place à côté de nous´ ("Your letters smell of the sun. Here we have half good weather, a shameful sun, fearful sun, a sun that has a lot on its conscience. I would like to be able to take my Geneviève with me, but we have to wait. We are always and will always be happy here, and delighted to make room for you next to us") Bizet further refers to his composition works, saying `Je travaille à me crever. Pasdeloup s'est enthousiasmé pour le Noé d'Halévy - il a fallu signer un traité et m'engager à lui remettre l'ouvrage acte par acte, à des époques très rapprochées. - Je n'en dors plus. - Il faut lui donner le 1er acte le 15 7bre - le 2d 30 7bre - le 3me 15 8bre le 4me 31 8bre. - Le 4me est à composer en entier - il y a pas mal à faire dans les autres et le 1er seul est instrumenté par Halévy. - Tu vois quelle charrette !´ ("I am working to exhaustion. Pasdeloup was enthusiastic about Halévy´s Noé - I had to sign a contract agreement and commit myself to handing over the work to him, act by act, at very close intervals. - I can't sleep anymore. - He must be given the 1st act on 15th September - the 2nd 30th September - the 3rd 15 October the 4th 31 October. The 4th is to be composed in full - there is a lot to do in the others and only the 1st is instrumented by Halévy.´ Further again Bizet make fun of Auguste Mermet (1810-1889) a French Opera composer, who is completing his opera Jeanne d´Arc (1876), and also refers to his forthcoming good times saying `…Bref, les affaires vont marcher. Je vais habiter un charmant appartement´ ("…In short, business will work. I will live in a charming apartment") At the conclusion and beneath Bizet´s signature, his wife Genevieve adds fifteen lines of a friendly message. Small overall creasing, otherwise G

BIZET GEORGES: (1838-1875) French Composer. Rare Autograph Musical score by Bizet, four pages, large folio score page, n.p. , n.d., in French, and musical text in Italian. The score corresponds to Charles Gounod´s opera Faust. Bizet has penned 35 bars in two staves, with multiple corrections and words in Italian, being the scene two of the fourth act, almost complete, from `.. Quando a te lieta sorridea la vita... » to « ... io ti sarò fedele amico ognor´, which on the French libretto corresponds to (“Si le bonheur à sourire t'invite... I will remain your faithful friend..”) To the upper edge of the first score page, the editor Antoine de Choudens annotates `Pour remplacer la page 316 - Nouvelle romance de Siebel´, and to a small 8vo note, lightly affixed to the upper right corner Choudens states in French `Deux copies des parties d'orchestre et de la partition depuis l'andante en la jusqu'à fin.. mettre les paroles françaises a prendre dans Marguerite..´ With numerous small tears and chips to the edges and some light blue paper residue to the first page. G Charles Gounod (1818-1893) French Composer. Faust (is an opera in five acts by Charles Gounod. Premiered at the Theatre Lyrique of Paris in March 1859.After Bizet´s return from Rome to Paris, he found a found a supplement of income in work of arrangements, in particular of reductions for piano and songs, and even of copies. He worked especially for the music publisher Antoine de Choudens, who became his friend, and for Charles Gounod, of whom he was close.

HAYDN JOSEPH: (1732-1809) Austrian composer of the Classical period. A bound folio edition of Dr Haydn's VI Original Canzonettas, for the Voice with an Accompaniment for the Piano-Forte, Dedicated to Mrs. John Hunter, the title page further stating 'Printed for the Author, & Sold by him at No.1. Bury Street, St. James's, at Messrs Corri, Dussek & Co., Music Sellers to her Majesty, No. 67 Dean Street, Soho & Bridge Street, Edinburgh', n.d. (c. June 1794). The sheet music comprises The Mermaids Song, Recollection, A Pastoral Song, Despair, Pleasing Pains and Fidelity. Signed ('Haydn', with a paraph) by Haydn in dark ink at the base of the title page. Bound by Kelly of Gower Place in dark red cloth with gilt stamped title to the cover. Rare. Some light foxing and minor overall age wear, about VG Anne Hunter (1742-1821) British poet and salon hostess, wife of the surgeon and anatomist John Hunter. Anne Hunter is chiefly remembered as the author of texts to at least nine of Haydn's fourteen songs in English, including several represented in the present volume. Hunter and her husband entertained the leading Bluestockings at their house.

[SCHUBERT FRANZ]: (1797-1828) Austrian composer. A pair of antique spectacles previously owned and worn by Franz Schubert, featuring oval spherical glass lenses within a silver (?) frame, the bridge composed of symmetrical opposing gentle curves which meet in the centre and measure approximately 3 cm; the hinged library temples approximately 12 cm each in length, both with an exposed loop at the end. Accompanied by a dark brown leather covered green card eyeglasses case. Both are loosely contained in a handsome foam lined dark blue cloth clamshell presentation box with a contemporary magazine engraving of the composer in a head and shoulders pose wearing an identical pair of spectacles. With a gilt stamped leather title to the lid, ‘Brille von Franz Schubert’. Almost always painted or drawn wearing spectacles, eyeglasses remain an iconic part of the composer’s appearance. A rare and unusual keepsake accompanied by excellent provenance. Some expected age wear, particularly to the exterior of the case, otherwise VGProvenance: Accompanied by a handwritten testimony of provenance signed (‘FN’) by the Austrian conductor Franz Xavier Neubacher, a previous custodian of the spectacles, in German, stating that they were gifted by Ferdinand Schubert (1794-1859), brother of Franz and a teacher at the Normal-Hauptschule at St. Anna, to his student Karl Schawerda, the grandfather of Neubacher’s late wife, and that Karl Schawerda’s daughter (the mother-in-law of Neubacher) passed them on to the conductor in 1933 along with a school report issued to Karl Schawerda by Ferdinand Schubert. Also included is the school report of Schawerda signed (‘Ferd. Schubert’) by Ferdinand Schubert, one page, slim folio, St, Anna, Vienna, 6th August 1856, in German. The partially printed document, completed in manuscript, testifies that Karl Schawerda attended his second year at the lower secondary school ‘very diligently’ and that his morals were ‘very good’, and further makes observations regarding his progress in religious doctrine, German, Italian, geography, history (the latter two both ‘very good’), natural history, arithmetic and other subjects, concluding that he is deserving of a place in the first class. Further including an oblong 4to printed announcement of Franz Schubert’s death, issued in the name of the composer’s father, and informing friends and acquaintances that his ‘dearly beloved son….music artist and composer, fell asleep to a better life after a short illness’ on Wednesday afternoon at 3 o’clock. Dated at Vienna, 20th November 1828.

DVORAK ANTONIN: (1841-1904) Czech composer. A good A.L.S., A Dvorak, four pages, 8vo, Prague, 4th August 1886, to 'My dear Friend' (possibly the music publisher Henry Littleton), in English. Dvorak informs his correspondent that he has just returned to Prague and received their letter, continuing to remark 'It is difficult for me to give you any promises in regards to the arranged courtesy in Scotland. I have much to do in Prague…..and I really do not know if I shall be abel (sic) to remain in London as long as you wish. I imagine I must be here in Prague till the end of October to conduct the Ludmila in our National Theatre and after having enjoied (sic) a little rest, I would be compeled (sic) to undertake such a larg (sic) journey to England agin!! (sic). If it would be only another time (March or April) I would certainly come, but in December when the days are getting very short and cold it is much les (sic) agreebel (sic) and tiresome to travel. This is the only reason which prevents me making use of your friendly invitation', and further adding that his wife would be glad to come to London so that she could see the two performances in St. James's Hall and Crystal Palace, and that he himself longs to see the beautiful Scotland of Robert Burns and asking if the trip could be postponed to the following Spring, concluding by asking his correspondent to send him a copy of the newly printed score for Saint Ludmila as soon as possible. A letter of fine content, not least for its references to Saint Ludmila. Rare. One neat split to the lower half of the central vertical fold, otherwise VG Saint Ludmila was Dvorak's third oratorio and was composed for soloists, choir and orchestra between September 1885 and May 1886. The work was commissioned by the publisher Littleton during Dvorak's first visit to England and was intended for the Leeds Music Festival, where Dvorak conducted the first performance on 15th October 1886. It had considerable success with the audience 'in raptures…..the critics praised the music in the warmest terms'. Dvorak made nine invited visits to England during his career, often conducting performances of his own works.

SPONTINI GASPARE: (1774-1851) Italian Composer & Conductor, a favourite of Napoleon Bonaparte. A rare and cleanly written A.L.S., Spontini, one page, 4to, n.p., 11th June 1830, to Monsieur Schlesinger, German musical Editor, in French. Spontini refers to the music that should only be performed in churches, stating in part `Je trouve le plan que Monsieur Schlesinger m´a proposé, très bien conçu, et dont l´exécution pourra être très agréable à S. M. le Roi et à tous les Souverains, à toutes les Cours, aux généraux et aux officiers de toutes les nations. Je désirerais seulement que l´on s´étendit d´avantage sur la musique religieuse, afin de banner des églises l´indécent abus des valses, des contreaanses, des cotillons et même des galoppades, abus indigne et coupable vis à vis de Dieu! L´on doit banner des églises toute espèce de musique de theatre…´ (Translation: “I find the plan that Mr. Schlesinger proposed to me, perfectly conceived, and which performance can be very pleasant to His Majesty the King and to all Sovereigns and Courts, to Generals and Officers from all nations. I only wish that we could expand a bit longer on religious music, in order to banish from churches the indecent abuse of waltzes, contredanses, party favours and even galloping dances, unworthy and guilty abuse with respect to God! Any kind of theatre music must be banned from churches…”) Spontini further accepts taking the charge of the General Direction and composition in part of the work he has been offered by his correspondent. With address leaf, bearing an attractive red wax seal bearing a crowned eagle. With very small area of the address leaf as a result of the opening. Very small minor age wear, otherwise G to VG

PUCCINI GIACOMO: (1858-1924) Italian composer. A highly unusual, large vintage signed and inscribed 13 x 11.5 photograph, the image depicting the maestro lying on a bed, the upper part of his face just visible above the covers, as he returns aboard a motor boat to Torre del Lago the day after his near fatal automobile crash on 25th February 1903. At his side his future wife, Elvira, can be seen seated in a full-length pose and they are accompanied by five other men including Giuseppe Giacosa and Luigi Illica. Signed to a light area at the base of the image, ‘quasi sesse mensi dopo e ancora invalido, G Puccini’ (Translation: ‘almost six months later and still disabled, G Puccini’) and with an inscription, place and date, Torre del Lago, 16th September 1903, in his hand to the lower photographer’s mount. A rare signed image of the composer. Some scuffing and staining to the image, affecting the signature (which remains legible) and with extensive small chips to the edges. About GGiuseppe Giacosa (1847-1906) Italian poet, playwright and librettist who wrote the librettos used by Puccini for La boheme, Tosca and Madama Butterfly in conjunction with Luigi Illica.Luigi Illica (1857-1919) Italian librettist who wrote for Puccini and a number of other composers including Pietro Mascagni and Umberto Giordano. On the night of 23rd February 1903 Puccini, his future wife Elvira and their son Antonio, were being driven from Lucca by their chauffeur after having dined at the home of his friend Alfredo Casselli. It was a wintery, foggy night and about four miles into the journey, in the vicinity of the village of Vignola, the DeDion-Bouton car skidded on a sharp bend, rolled over the embankment, crashed into a field some fifteen yards below and overturned. Elvira and Antonio escaped with minor injuries, whilst the chauffeur, who was flung from the car, sustained a fractured thigh. Puccini could not be found at first, until he was discovered lying under the overturned car, unconscious and nearly asphyxiated by the escaping petrol fumes. Fortunately, a doctor, Dr. Sbragia, who lived close to the scene of the accident, and had heard the crash, hastened to the scene and had Puccini carried to his house. There he diagnosed a fracture of the right shin. The next morning the composer was transported back to Torre del Lago by motorboat, where the fracture was immediately set, yet so badly that after a time it was necessary to break the bone again and reset it, which left Puccini with a permanent limp. All of this occurred at the time Puccini was composing Madama Butterfly and, with his convalescence lasting eight months, the completion of the opera was greatly delayed.

SHOSTAKOVICH DMITRI: (1906-1975) Russian Composer. An excellent and rare signed musical score, with multiple annotations in Shostakovich´s hand, being the score for cello of his work Seven Romances on Poems by Alexander Blok, for soprano, violin, cello and piano, op.127 (1967). Printed paper cover musical score, signed `D. Shostakovich´, in Cyrillic, seven pages, folio, n.p., n.d., with titles in Cyrillic. Signed by the author to the title page, also adding several musical annotations and corrections in his hand, in red ink. Among others, to the fifth page, Shostakovich changes the title of the seventh Romance, replacing The Night by Music. An excellent working musical score. Overall age wear, with one of the sheets reinforced to the edge, otherwise G The premiere of Seven Romances on Poems by Alexander Blok, for soprano, violin, cello and piano took place on 23rd October 1967 at the Moscow Conservatory, and was performed by Galina Vishnevskaya to whom the work was dedicated, as soprano, by Mstislav Rostropovich as cellist, by David Oistrakh as violinist and with the Composer, Shostakovich, playing the piano. The present score provenance is from the collection of Nadejda Yurievna (1933-2006) a well-known Russian singer of Romances and chamber music.

MALIBRAN MARIA: (1808-1836) Spanish Mezzo-Soprano. One of the most best-known opera singers of the 19th century for her dramatic performances and her extraordinary voice. She became a legendary figure after her very early death at the age of 28. Rare and lengthy A.L.S., `M. Malibran´, three pages, 8vo, Brizay, 10th July 1828, to Ludovic Vitet, in Paris, in French. Malibran first refers to a recent performance and states in part `…j´avais chargé Mr. Ateny de remercier les M. Mrs de l´orchestre et leur chef. J´ai remercié tous mes autres compagnons de vive voix, excepté Mr. Bordogni que j´ai à peine apperçu… Mme Naldi será charmée d´apprendre ce qui va se passer pendant les débuts de Mme Catalani, souvenez-vous que vous lui aves promis de lui rendre compte de tout ce qui concernera la débutante…´ (Translation: “I had instructed Mr. Ateny to thank all the Mr. Mrs. of the orchestra and their conductor too. I thanked all my other companions in person, except Mr. Bordogni whom I barely saw... Mrs. Naldi will be delighted to learn what will happen during Mrs. Catalani's debut, remember that you told her that you promised to report to her on everything concerning the debutante…”) Further Malibran in a funny way refers to her correspondent in the third person, and describes herself in a foolish way, saying `J´ai eu Presque envie de me fâcher avec un certain Mr. Ludovic Vitet qui se permettait de supposer que je pouvais oublier les bons Parisiens, mais j´ai réfléchi qu´il l´a peut-être écrit le nez au vent, sans regarder son papier en pensant à autre chose. C´est pourquoi je ne lui cherche pas querelle – Je mange comme un loup, je cours comme un lièvre, je chante alternativement…. Otello, je me porte parfaitement bien, et je dors comme une marmotte. Tout va bien comme cela et j´espère pouvoir remplacer en cas de maladie, Mme Rossi. N´est-ce pas que je dis des bêtises? Oh oui, je m´en aperçois…´ (Translation: “I almost wanted to get angry with a certain Mr. Ludovic Vitet who allowed himself to suppose that I could forget the good Parisians, but I thought about it and considered that he perhaps wrote it with his nose in the wind, without looking at his sheet of paper while thinking of something else. That's why I won't quarrel with him – I eat like a wolf, I run like a hare, I sing alternately…. Otello, I'm perfectly fine, and I sleep like a log. Everything is fine like that and I hope to be able to replace Mrs. Rossi in case of illness. Am I talking non sense? Oh yes, I see it…”) a lengthy and curious letter written by a 20 years old young Malibran. With address leaf, bearing two ink stamps. Overall creasing, otherwise G Marco Bordogni (1789-1856) Italian Tenor of great popularity. In 1825 he created the role of Conte di Libenskof in Rossini's opera Il Viaggio a Reims. He sang for many years at the Theatre des Italiens in Paris. He became a teacher at the Paris Conservatoire in 1823 and continued to teach there until his death. Henriette Sontag (1806-1854) and after her marriage, entitled Henriette, Countess Rossi. German operatic Soprano of great international renown. She moved to Paris in 1828 and married a few months before the present letter was written, the Ambassador of Sardinia to France, Count Rossi. During Sontag´s stay in Paris, her rivalry with María Malibrán, two legends of their time, was notorious. Despite the initial tensions and divisions among the public, both singers became sincere friends. It has been reported that Malibran was one of the few people who knew about Sontag's marriage. During the period in which the marriage was kept secret, Count Rossi tried unsuccessfully to obtain a noble title for the Sontag so that the marriage between them would have the necessary validity in the eyes of the European courts. This wish was never fulfilled and the political pressure exerted on the count led the couple to make their marriage public. Sontag then decided to step aside and retired from the stage in 1830 at only 24 years of age and at the peak of her popularity and artistic possibilities.

NIJINSKY VASLAV: (1889-1950) Russian Ballet Dancer and Choreographer. Nijinsky is widely regarded as the greatest male Dancer of the early 20th century. He could dance “en pointe”, a rare skill among male dancers at the time. An excellent and rare A.L.S., `W. Nijinsky´, a large and bold signature, three pages, 8vo, Paris, 20th May 1914, on the printed stationery of the Hotel Majestic in Paris, to Sebastien Voirol, in French. A very cleanly written early letter by a young Nijinsky, stating in part `Recevez mes remerciements cincères(sic) pour votre amabilité. Ne sachant pas assez le Français, autant que je le voudrais, je vous prie de me laisser un peu de temps pour lire votre oeuvre, à laquelle je porte un grand intérêt. N´étant à Paris que de passage je regrette infiniment de ne pas avoir…´ (Translation: “Please accept my sincere thanks for your kindness. Not knowing enough French, as much as I would like, I ask you to give me a little time to read your work, in which I have a great interest. Being in Paris only passing through, I regret infinitely not having…”) About EX Gustav Henrik Lundqvist (1870-1930) Novelist who published his works under the pen name “Sebastien Voirol”. He published in 1920 a work entitled La Danse (“Dance”) At the time of the present letter Nijinsky is no longer part of the Diaghilev´s Russian Ballets and tries to form his own troupe in England. The announcement a year earlier of his marriage to the young Hungarian Romola de Pulsky had upset so much Diaghilev, his lover, that he dismissed Nijinsky from the company. The couple lived all kind of difficulties during war time even after Nijinsky joined again the Russian Ballets troupe in 1916. At the end of the war, Nijinsky will show the first disturbances of madness, a schizophrenia which will not leave him until his death thirty years later.

CLEMENT XII: (1652-1740) Pope of the Roman Catholic Church 1730-40. Clement XII started the construction of the Trevi Fountain. Rare L.S., `Al Piacere, L.[orenzo] Card.[inale] Corsini´, in his capacity as Cardinal of Santa Susanna 1706-20, one page, 4to, San Pancrazio, 14th May 1712, to Gaetano Galletti of Florence, in Italian. The future Pope states in part `…d'aver lasciati in mano del Signor Marchese, mio nipote, che in maggior somma anca riscosti per frutti a me spettanti di essitto…Non avendo potuto farlo, se non d´una parte, attesa la necessita di dover partire per Fucecchio…´ (Translation: “…having left it in the hands of the Marquis, my nephew, who also received a greater sum due to me…Not having been able to do so, except on one side, waits for the necessary leave for Fucecchio...”) With address leaf, bearing a good blind embossed seal. Overall creasing, otherwise G

PIUS IX: (1792-1878) Pope of the Roman Catholic Church 1846-78. He was the longest-reigning elected pope in the history of the Catholic Church. During his pontificate, he convened the First Vatican Council which decreed papal infallibility. A rare A.L.S., `Card. Ves. D´Imola´, in his capacity as Archbishop of Imola, one page, 4to, Imola, 15th January 1838, to Matteo Chiocca, in Italian. Archbishop Ferretti reports on several matters, and states in part `I candelieri non sono ancor giunti, e scrivo all´Ave Maria di questo giorno… La giustizia dalla giovane donna avrà destato molta inviosità ed energia nel popolo. Spero però che tutto sia andato a finire con tranquilitta. Qui non abbiamo altra nuova che quella che le ho dato, cio è la molta neve...´ (Translation: “The candlesticks have not yet arrived, and I am writing the Ave Maria prayer of today… The justice of the young woman will have aroused much envy and energy in the people. However, I hope that everything ended peacefully. Here we have no news other than what I gave you, which is the amount of snow…”) With address leaf, bearing few ink stamps and a paper seal affixed and a small area of paper loss as a result of the opening of the letter. G

BORROMEO CHARLES: (1538-1584) Italian Cardinal of the Catholic Church who served as Archbishop of Milan 1564-84 and was a leading figure of the Counter-Reformation. Borromeo was canonized as a saint by Pope Paul V in 1610. A rare L.S., `Il Car[dina]le Borromeo´, one page, 4to, Rome, 19th August 1564, to Count Cesare Gonzaga at Mantova, his brother-in-law, in Italian. Borromeo was formally appointed Archbishop of Milan only three months before the present letter was written. The Cardinal responds to his correspondent´s request, stating in part 'Vostra Eccellenza sà con quanto ristritto, et riservationi convenga procedero nei casi di religioni, et di fidi tuttania per il mio continuo desiderio che tengo di servirla…´ (Translation: “Your Excellency knows how strictly and with what reservations it is appropriate to proceed in cases of religions and trusts, however, due to my continuous desire to serve you...”) Further, Borromeo grants the way this matter will be handled saying `…ma vostra Eccellenza, si può assicurare che no gli si farà torto alcuno... altra mira che del servitio di Dio et della giustizia...´ (Translation: “...but I can assure Your Excellency that no harm will be done to him... no other aim that the service of God and justice…”) With blank address leaf, bearing a paper seal affixed in fine condition. Small overall minor age wear and toning, mostly to bottom and right edges, otherwise G Cesare I Gonzaga (1530-1575) Count of Gustalla and Count of Amalfi. Son of the Imperial condottiero Ferrante Gonzaga, Cesare was a member of the House of Gonzaga. In 1558 he was appointed Commander-in-chief of the troops of the King Philip II in Lombardy. He married in 1560 Camilla Borromeo (1536-1583), sister of Charles Borromeo and niece of Giovanni Angelo de´ Medici, elected Pope with the name of Pius IV.

SAINT VINCENT DE PAUL: (1581-1660) French Catholic Priest. Venerated both in the Catholic Church and the Anglican Communion. Canonized in 1737 by Pope Clement XII. Vincent de Paul is known for his humility and for serving the poor. Extremely rare L.S., `Vincent de Paul I.[ndigne] P.[retre] d[e] l[a] M[ission]´, (''Vincent de Paul, Unworthy Priest of the Mission''), three pages, 8vo, Paris, 9th August 1658, to Firmin Get, Superior of the Order at Marseille, in French. Saint Vincent de Paul refers to the sale of the Consulate in Tunis, and expresses his concerns on how will they be able to help the slaves from then on, stating in part `Je suis en grande peine de Mr. Le Vacher de Tunis, n´en ayant reçu aucune nouvelle depuis sa maladie. Si vous en avez appris quelque chose, faites m´en part… Nous ne vous avons pas encore adréssé ce qui nous reste pour les pauvres esclaves, tant a cause des banqueroutes arrivées, qui nous Font tout craindre, que des troubles survenus a la ville de Marseille, qui nous ont fait résoudre d´attendre encore…´ (Translation: "I am in great sorrow for Mr. Le Vacher of Tunis, having received no news from him since his illness. If you have learned anything, let me know… We have not yet sent you what remains for the poor slaves, both because of the bankruptcies that have occurred, which make us fear everything, and the troubles that have occurred in the city. of Marseilles, which made us resolve to wait…") Saint Vincent de Paul further refers to the Duchess of Aiguillon and to the Consulate in Tunis, saying `Madame la Duchesse d´Aiguillon n´étant pas ici pour lui parler de la vente du consulat de Tunis, je ne puis vous résoudre cela, qu´elle ne soit de retour du Havre. Je vous dirai néanmoins par avance que, si l´on vend, il est a craindre que le consul ne veuille souffrir un prêtre aupres de lui et qu´il trouve moyen de s´en défaire pour être plus libre de faire ce qu´il voudra… et qu´ainsi on ne puisse plus assister les pauvres esclaves; or, la privation de ce bien serait un grand mal pour eux… Je suis bien affligé du blocus de Marseille, et je prie N.S. qu´il ne permette pas que ce trouble naissant aille plus Avant, car il ne peut apporter que desolation…´ (Translation: "As the Duchess of Aiguillon is not here to talk to her about the sale of the consulate in Tunis, I cannot solve this for you until she is back from Le Havre. I will nevertheless tell you in advance that, if they sell, it is to be feared that the consul will not want to suffer a priest near him and that he will find a way to get rid of him to be more free to do whatever he wants... and therefore we will no longer be able to attend the poor slaves; and the deprivation of this good would be a great loss for them… I am very distressed by the blockade of Marseilles, and I pray Our Lord that he does not allow this incipient trouble to go further, because it can only bring desolation…") G to VG Firmin Get (1621-1682) Superior of the Mission in Marseille.Vincent de Paul established a mission in Tunisia in 1648, appointing at the head of it Jean le Vacher (1619-1683), and trying to help and assist white Christians held as slaves. Jean le Vacher was appointed French consul and continued Vincent de Paul work after the priest passed away. Le Vacher died tied to a cannon refusing to apostatise when the local Dey obliged him to.Marie Madeleine de Vignerot du Pont de Courlay (1604-1675) Duchess of Aiguillon. She was the daughter of Cardinal Richelieu´s sister. French Aristocrat, remembered for her charitable work and patronage.

BOSCO JOHN: (1815-1888) Don Bosco. Italian Roman Catholic Priest, Educator and Writer. He developed teaching methods based on love rather than punishment, a method known as the Salesian Preventive System. Founder of the Salesians of Don Bosco. Canonized as a saint in 1934. Rare A.L.S., `Obbl.[igatissi]mo Servitore Sac. G. Bosco´, three pages, small 4to, Turin, 15th May 1870, to Countess Callori, in Italian. Bosco thanks his correspondent for her help and charity and refers to his recent trip stating `Benemerita Signora Contessa, la sua lettera mi venne a raggiungere in Mornese che é il Paradiso terrestre della Provincia Acquese - Ella abbonda in bontá e carité ed io la ringrazio. Il mio viaggio fu ottimo. Cessazione dalle ordinarie occupazioni, un po´ piu di riposo, buoni pranzi mi hanno fatto benissimo, al corpo s´intende-…´ (Translation: “Well-deserving Madam Countess, your letter reached me in Mornese which is the earthly paradise of the Acquese Province - You abound in goodness and charity and I thank you. My trip was excellent. Cessation from ordinary occupations, a little more rest, good lunches have done me very well, for the body of course -…”) Saint John Bosco further unusually recommends a relative, saying `Le mando unito un biglietto pel benevolo cav. Giacosa. E´ la prima volta che raccomando un parente; glielo avevo promesso come premio e lo fo perché lo ha guadagnato…´ (Translation: “I am also sending you a note for the kind gentleman Giacosa. It's the first time I've recommended a relative; I promised it to him as a reward and I do it because he deserved it…”) Further again, and before concluding, Bosco explains his near future travelling plan, stating `Se potró andare a Mirabello la preverró e faro certamente una stazione a sua casa – L´altro ieri si tenne seduta a Roma riguardo all chiesa di S. Giovanni della Pigna – il risultato fu per noi: forse dovró fare una corsa a Roma; oggi ho scritto per vedere se posso farne a meno a al meno differire…´ (Translation: “If I can go to Mirabello, I will anticipate it and certainly make a stop at your house - The day before yesterday there was a session in Rome regarding the church of S. Giovanni della Pigna - the result was that perhaps I will have to make a trip to Rome; I wrote today to see if I can cancel it or at least postpone it…”) Overall minor age wear, with a very small hole not affecting the text or signature and few minor foxing stains, otherwise G Countess Carlota Calori di Vignale (1827-1911) one of the most important financial benefactors of Bosco´s projects. Bosco considered Countess Callori as his second-mother.

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

FLECHIER ESPRIT : (1632-1710) French Preacher and Author. Bishop of Nantes 1687-1710. One of the greatest orators of the XVIIº century. Fléchier entered the Academy on 12 January 1673, the same day as Jean Racine. Rare A.L.S., `Esprit Ev[eque] de Nismes´, two pages, 8vo, Montpellier, 22nd January 1700, in French. A cleanly written letter by Fléchier to a friar, stating in part `…les médecins ont conçu quelque espérance de votre guérison. Mais comme vous n'êtes pas sans fièvre, que votre poitrine souffre, et que vous êtes affaibli, dégoûté et presque découragé, je n'ose pas encore me consoler…´ (“…the doctors have some hope on your recovery. But as you are not without fever, your chest aches, and you are weak, disgusted and almost discouraged, I do not yet dare console myself...”) Fléchier advises his correspondent to have faith in God, and further states `… il faut un peu s'aider soi-même, ne pas se laisser accabler par le mal, quoi qu'on en soit abattu, user de remèdes quoique dégoûtants, dont Dieu veut peut-être se servir pour opérer votre guérison…´ (“you have to help yourself a little, not let yourself be overwhelmed by evil, no matter how dejected you are, use remedies, however disgusting, which God may want to use to reach your healing...”) Two water stains to the left border only partially affecting very few words, but not affecting the signature. Accompanied by an original printed engraving of the XIXº century. G

STANISLAVSKI KONSTANTIN: (1863-1938) Russian Theatre Director. Stanislavski was widely recognized as an outstanding actor, and the multiple productions that he directed garnered him a reputation as one of the leading theatre directors of his generation. His principal fame and influence, rests on his system of actor training, preparation, and rehearsal technique. A rare signed and inscribed postcard photograph, `K. Stanislavski´, in Cyrillic, dated in his hand in 1913. The image shows Stanislavski in a head and shoulders pose. Signed and inscribed to Mme. O.I. Sokolova in bold black fountain pen ink. Stamped to the verso. One horizontal light crease and a very small corner crease to the upper left corner. Two small stains not affecting the text or signature. About G

CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. A.L.S., Howard Carter, two pages, slim 4to, Prince’s Gate Court, London, 24th June 1931, to the Secretary of the National Art Collections Fund. Carter’s letter, written in pencil, is his retained draft copy, commencing ‘With regard to the Egyptian figure of a hawk and the head of Rameses the Great which I left with you last year with a view to purchase for the nation through your fund, I trust you will not think me impatient if I ask you to tell me whether any decision has yet been come to’, adding that he would like that the pieces are acquired for the nation, although remarking ‘If, however, you do not find it possible to procure the means for such acquisitions I shall of course understand and in such a case I would like to make the necessary arrangements for their return’. Rare. Some light creasing and a slight paperclip rust stain to the upper and lower edges. About VG Carter acted as a part-time dealer in Egyptian antiquities for both collectors and museums and the source of a number of items in his personal collection is shrouded in controversy. Over a dozen pieces he owned were identified after Carter's death as having been taken by the Egyptologist from Tutankhamun's tomb without authorisation.

CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. A.L.S., with his initials H.C., one page, small 4to, Collingham Gardens, London, n.d. (1930), to Admiral Henry Lindberg, President of the Swedish-British Society in Stockholm. Carter’s letter, written in pencil, is his retained draft copy (with a number of corrections), thanking his correspondent for their letter and details of various engagements, and commenting ‘I would suggest lecturing at Vasteras either on Wednesday 28, or Thursday 29, which ever would be most convenient to them…..with regard to the proposed talk over the radio 7 pm on the 26th, I am agreeable providing it will not interfere with…..arrangements for the second Stockholm lecture on that date’. Rare. VG Carter visited Sweden in the summer of 1930 to deliver a number of lectures on the subject of Tutankhamun’s tomb, which he was still working on at the time.

FORD JOHN: (1894-1973) American film director, Academy Award winner. A rare Autograph Manuscript, unsigned, two pages, 8vo, Hollywood, California, n.d. (1938/39). In dark fountain pen ink Ford has penned a series of six dialogue and scene notes for his classic Western film Stagecoach (1939), in part, 'Lordsburg - Plummers leave Oriental, black cat crosses their path - younger Plummer - hysterically - shoots cat. Luke reproves him “Keep yo nerve” (Plummers = Luke, Matthew & John?)…..Buck: birth of baby - “a baby? How - I mean - why…..Curley - I'll explain it to you sometime…..Buck to Curly: “Suppose I hafter charge half-fare for the kid?”…….Hatsfield = Escape Sequence - “I overheard your conversation. I took the liberty of saddling a horse”, the Kid = Snow Sequence “has blanket - gives to Dallas, apologises “cause it smells of hoss”'. A significant manuscript relating to one of the most influential films in cinema history. Very slightly irregularly torn to the left edge and with a few small staple holes to the upper edge, none of which affect the text, otherwise VG John Ford's Academy Award winning film Stagecoach (1939) starred Claire Trevor as Dallas and John Wayne, in his breakthrough role, as Ringo Kid. Dudley Nichols wrote the screenplay as an adaptation of The Stage to Lordsburg, a short story by Ernest Haycox. The film follows a group of strangers riding on a stagecoach through dangerous Apache territory and has long been recognised as an important work that transcends the Western genre.

DISNEY WALT: (1901-1966) American animator, Academy Award winner. An excellent, original pencil drawing signed by Walt Disney, one page, 4to, n.p. (Burbank. California), n.d. (1940s). Disney has executed a swift, although highly appealing, image of the head of Mickey Mouse, undoubtedly his most famous creation. Boldly signed ('Walt Disney') with a large signature immediately beneath the sketch. Matted in pale brown within an oval aperture alongside a photograph of Disney in a smiling head and shoulders pose and attractively framed and glazed in a modern decorative frame to an overall size of 20.5 x 14.5. A wonderful original drawing, both rare and highly desirable. One light, minor stain to the head of the page, not affecting the image or signature, VGProvenance: Accompanied by a typed letter of provenance signed by Michael Miller, dated 22nd March 2023 and stating, in part, 'My mother, Suzanne (Suzie) Miller started working at Walt Disney Studios in Burbank, California on the 21st of October 1940. She worked there until 1944 in the eight wing animation building, and would work around artists, animators and story men…..Walt's office was also used for conferences with directors, animators, artists and any creative team would share ideas in order to create the next big Disney hit. After a meeting, my mother asked Walt for a signature, and Walt kindly smiled and drew this sketch of Mickey and signed it in pencil. She kept it since the 1940's and was then given to me, Michael Miller (her son)'.

CHURCHILL WINSTON S.: (1874-1965) British Prime Minister 1940-45, 1951-55. Nobel Prize winner for Literature, 1953. A very fine, extremely rare vintage signed colour 10 x 13.5 portrait of Churchill, the image (approx. 8.25 x 10.75”) being a colour transfer print from a 1945 photograph by David Waddington, printed in the United States of America in 1946 and depicting Churchill in a head and shoulders pose wearing the uniform of Air Commodore, Royal Air Force. Signed (‘Winston S. Churchill’) by Churchill in fountain pen ink to the lower border, which also features the facsimile signature of Waddington. Mounted to a contemporary stiff card, presumably for the purposes of framing, and with very slight evidence of a former tear to the lower right area of the image (just touching one letter of the signature) which has been professionally restored to an exceptional standard. A highly attractive signed image of Churchill, and of the utmost rarity. About VG The present image of Great Britain’s wartime Prime Minister is believed to be one of only five signed copies in existence. We have only been able to locate one other example as having previously sold at auction (Sotheby’s, Churchill in Charge – 80th Anniversary auction, New York, 20th May 2020, lot 64, sold for $22,500). David Waddington was serving as an airman with the Royal Air Force when he was released from duty to photograph Churchill in 1945 as part of the RAF colour portrait project. Waddington’s work would be used to raise money for the joint benefit of the United States Army Air Forces Aid Society and Royal Air Force charities. Churchill was so delighted with the results of Waddington’s photographs that he later requested and signed five direct-colour transfer prints for presentation – the present example understood to be one of those five. Near identical transfer prints were produced in large quantities for fundraising purposes with Waddington’s facsimile signature but, of course, without that of Churchill himself.

ANDRUSZKOW TADEUSZ: (1920-1940) Polish fighter pilot of 303 Squadron during World War II who participated in the Battle of Britain. Portion of a D.S., Andruszkow Tadeusz, Sgt., one page, oblong 8vo, n.p. (RAF Northolt), n.d. (August/September 1940). The document was signed by Andruszkow whilst serving with 303 Squadron and originally formed part of a Combat Report, the three lines of typed text stating ‘While returning to Northolt flying as Red 2 with Sgt. Woscieshowski we saw a DO 215 lower and to our right. We both attacked, and watched him fall in flames to the ground’. Autographs of Andruszkow are extremely rare in any form as a result of him being killed in action during the Battle of Britain at the tragically young age of 19. One small tear to the right edge and a couple of light creases, otherwise VG

BEAMISH VICTOR: (1903-1942) Irish Group Captain, a fighter pilot and flying ace of World War II who participated in the Battle of Britain. A rare D.S., F V Beamish, one page, folio, n.p., 18th September 1940. The partially printed document, completed in Beamish’s hand, is a Combat Report (RAF Form 1151, marked Secret) providing details of one of the pilot’s aerial engagements and victories over the Isle of Sheppey during the Battle of Britain, the narrative stating, in part, ‘I took off after 249 Sqdn…..The Sqdn. was then at 21,000…..The 109’s were camouflaged exactly to match our Spitfires & were only noticeable by the square wing tail & the black cross beneath the wings at close range…..I immediately attacked the….109 & got a couple of good bursts into it. Its undercarriage dropped down & it poured out a lot of smoke & lost height rapidly. This was seen by P G Barton (249 Sqdn) from above……& he watched it down to within a few feet from the ground but then had to continue formation with his squadron. I then got another good burst into another 109 and was then set upon by three other 109s. My ammunition was almost gone, & I got out of a hot corner, after a few circles’. Autographs of Beamish are rare in any form as a result of him being killed in action during World War II at the young age of 38. A few small, minor tears to the edges, one only very slightly affecting one word of text, and some light age wear, about VG

MOULIN JEAN: (1899-1943) French civil servant who served as the first President of the National Council of the Resistance during World War II and is remembered as one of the main heroes of the French Resistance. A rare, brief World War II date A.N.S., Jean Moulin, to one side of his printed correspondence card as Prefect of the Eure-et-Loir department, n.p. (Chartres?), 9th January 1940, to a friend, in French. Moulin writes, in full, 'Entendu, cher ami, je fais une nouvelle demarche' (Translation: 'Understood, dear friend, I'm taking a new step'). With a pencil annotation and date in an unidentified hand to the lower left corner. Some light ink brushing to the text and signature and with a paperclip rust stain to the upper left corner, about VG

MUSSOLINI BENITO: (1883-1945) Italian Fascist Dictator of World War II. Executed. An excellent content statement and rare Autograph Letter by Mussolini, one page, 4to, n.p., n.d. [circa 1930], in Italian. The letter is boldly written by Mussolini in black ink, to the front of a 4to printed stationery envelope of the “Il Presidente del Consiglio dei Ministri” (“The President of the Ministers Council”), and contains multiple corrections and amendments with crossed words, being most probably the draft of a text or speech, and stating `Piu forte e solenne la sua parola d´ordine che dev´essere raccolta e obbedita da tutti indistintamente le camicie Nere d´Italia. “Nessun riposo, nessuna sosta, nessuna indulgenza, nessuna transazione, ma assoluta disciplina, vigilanza strenua e instancabile, perfetta fraternità di spiriti, per onorare il raggiunto e per arrivare alle mete ulteriori del Fascismo. Che il Duce mostrerà a che già offriranno …´ (Translation: “The slogan is stronger and more solemn and must be accepted and obeyed by all the Blackshirts of Italy without distinction. “No rest, no pause, no indulgence, no transaction, but absolute discipline, strenuous and tireless vigilance, perfect brotherhood of spirits, to honour what has been achieved and to reach the further goals of Fascism. That the Duce will show that they will already offer…”) An excellent manifesto in the hand of Mussolini, referring to Fascism, to Blackshirts and to himself. Accompanied by an original postcard showing Mussolini in uniform on his white horse. Four small clip holes to the corners, otherwise G to VG

JOYCE WILLIAM: (1900-1946) American-born fascist and Nazi propaganda broadcaster to the United Kingdom during World War II, known as ‘Lord Haw-Haw’. Executed for treason. An extremely rare A.L.S., W B Joyce, three pages (separate leaves), 4to, Onslow Gardens, South Kensington, London, 16th July 1938, to Mrs. John Blair, on the printed stationery of Macnab & Joyce. Joyce states that they have been informed by Messrs. Gabbitas Thring that Blair wishes for her son to receive private tuition for the London Matriculation and continues to inform her, in part, ‘We shall be able to take your son from Monday, August 8thm until Monday, September 12th, the day before the examination. We work from 10 to 1 and 2.30 to 4.30 except on Saturdays and Sundays. We lay heavy emphasis on the value of homework. Should you decide to entrust your son to our care, we shall be able to give him the most concentrated individual attention, as the period is one in which, by reason of the holiday season, our work is normally light. As the course would be short but intense, our fee would be twelve guineas…..we think it best to remind you of the problem arising out of the English prescribed books, for the preparation of which one month is too short a time; accordingly, we would advise that the boy should begin his study of these texts at once, if he has not begun it already. We have considerable experience of this examination; and we should be most interested to secure your son’s success’. VGJohn Macnab (d.1977) was one of Joyce’s closest friends (the latter often calling the former ‘Master’) and the two men met through the British Union of Fascists when they attached themselves to Oswald Mosley. Together they established a private tutoring business offering ‘expert private tuition for university entrance and professional preliminary examinations’ as well as providing English lessons to ‘foreigners of suitable character’ interested in ‘acquiring a knowledge of our speech and customs’. However, not everyone was welcomed, and Joyce refused to teach Black or Asian students, and nor were Jews admitted. On the morning of his execution at Wandsworth prison, Joyce, after having taken holy communion, wrote two letters; one to his wife and the other to Macnab.

JOYCE WILLIAM: (1900-1946) American-born fascist and Nazi propaganda broadcaster to the United Kingdom during World War II, known as ‘Lord Haw-Haw’. Executed for treason. An extremely rare D.S., W B Joyce, two pages (separate leaves), 4to, n.p. (South Kensington, London), 23rd August 1938. The typed document is a report issued to a male student who had received private tuition from Joyce and his friend John MacNab, the business partners providing their assessments of the student’s progress under various subjects comprising English (‘The composition is excellent and should earn high marks. There is also an ability to write good critical answers on the prescribed texts, though in this work the style does not reach the high level attained in the essays…..There is little ground for apprehension on the score of this subject, which is generally thought one of the most difficult’), French (‘The vocabulary might be stronger; but it is somewhat above the average. Occasionally there are lapses in grammar which closer attention to the work in hand would have avoided’), Arithmetic & Algebra (‘Capability is shown, as well as acquaintance with the common rules. The work is generally accurate…….There are some indications that the boy was out of practice; but his intelligent cooperation daily reduces the danger of an unsatisfactory performance in the examination’), Magnetism & Electricity (‘Here can be seen the need for intensive study. This subject is not so strong as we had expected to find it…..In a few short weeks, it is impossible to cover the whole ground in a series of lectures; and it is desirable that the boy should spend what time he can afford in reading the subject matter’), General (‘The boy is easy to teach, zealous in his work, and highly intelligent. His homework is very gratifying’), Latin (‘In composition, after a little more revision, he should also fare well; at present the work has been very fair, but with a few lapses which are unlikely to recur. I have no apprehension of a failure’) and Geometry (‘He was certainly rusty on some of the elementary work….but he has picked it all up very rapidly….Unless he should lose his head in the examination, which seems unlikely enough, there is no reason why this subject should not be a strong rather than a weak one, and a failure would be most surprising’). Signed by Joyce at the foot of the first page and signed by Macnab at the conclusion of the text on the second page. Some very light, extremely minimal age wear, VG John Macnab (d.1977) was one of Joyce’s closest friends (the latter often calling the former ‘Master’) and the two men met through the British Union of Fascists when they attached themselves to Oswald Mosley. Together they established a private tutoring business offering ‘expert private tuition for university entrance and professional preliminary examinations’ as well as providing English lessons to ‘foreigners of suitable character’ interested in ‘acquiring a knowledge of our speech and customs’. However, not everyone was welcomed, and Joyce refused to teach Black or Asian students, and nor were Jews admitted. On the morning of his execution at Wandsworth prison, Joyce, after having taken holy communion, wrote two letters; one to his wife and the other to Macnab.

DIETRICH JOSEF ‘SEPP’: (1892-1966) German politician and SS-Oberst-Gruppenfuhrer and Generaloberst of the Waffen-SS during World War II. Knight’s Cross winner with Diamonds. Dietrich was convicted of war crimes at the Malmedy massacre trial. A rare vintage signed 2.75 x 3.5 deckle edged photograph, the image depicting Dietrich seated in a full-length pose in his cell, reading a newspaper, whilst awaiting sentencing at the Malmedy massacre trial held in the former Dachau concentration camp from May to July 1946. Signed in blue fountain pen ink with his name alone to the base of the image, his surname running across a dark area. One small, light circular stain to the left edge, otherwise VG

DELACROIX EUGENE: (1798-1863) French Romantic Artist. A.L.S., Eug Delacroix, two pages, 8vo, Champrosay, 17th October n.y. (post 1844), to a friend, in French. The artist states that he is not in Paris and cannot begin to tell his friend how much he shares in their grief at the present time, adding that his friend is one of the rare people for whom he feels a deep affection despite the fact that they haven't seen each other for some time, further remarking that the affection is based on the charming remembrances of their intimacy over many years. In concluding Delacroix states that he is not indifferent from anything that affects his correspondent and asks for his regards to be given to his mother on the sad occasion. With blank integral leaf. VG

COURBET GUSTAVE: (1819-1877) French Painter. An innovator who rejected academic convention and leaded the French Realist movement. Courbet was active in politics and was imprisoned in 1871 for his involvement with the Paris Commune, having to live in exile in Switzerland until his death. An excellent content and rare A.L.S., `Gustave Courbet´, two pages, 8vo, Ornans, 15th August, n.y., to Mr, Verveer, in French. Courbet refers in the present letter to four of his well-known paintings Retour de la Conférence, Vénus et Psychée, Les Femmes and one of his masterpieces which brought fame to Courbet L´Enterrement à Ornans (`A Burial at Ornans´). His painting Les Femmes having been refused to be exhibited at the Paris Salon exhibition, Courbet states `Il parait que par souvenir de la Conférence les curés auraient agi de représailles et qu´ils auraient obtenu par l´influence de l´impératrice que soit refusé le tableau de cette année Les Femmes que je vous envoie´ («It seems that by memory of the Conference the priests would have acted in reprisals and that they would have obtained by the influence of the Empress that the painting of this year The Women, which I send to you, be refused ») Courbet further remembers his own actions in Belgium and expects there a different welcome to his works saying `Je me souviens de l´action que j´ai pris à Gand et Bruxelles et à Anvers dans la révolution des libéraux et des catholiques… Je suis en droit de croire que le tableau n´aura pas à Bruxelles le même blâme qu´à l´administration des Beaux-Arts à Paris´ («I remember the action that I took in Ghent and Brussels and in Antwerp during the revolution of the liberals and the Catholics… I have the right to believe that the painting will not have the same blame in Brussels as in the Administration of Fine Arts in Paris »)Before concluding Courbet explains to his correspondent the updated situation of his painting A Burial at Ornans, stating `Quant au tableau de l´enterrement il m´est impossible d´accéder à vos désirs malgré tout mon désir et l´honneur que vous me faites en le désirant. Le cadre est démoli, le chassis a servi, la toile est roulée et en mauvais état par le temps. J´ai donné ordre à mon concierge de délivrer le tableau de Venus et Psychée à Mr. Carpentier et Desforges et de l´avertir qu´il était à sa disposition s´il ne venait pas le chercher avant le temps indiqué par vous. Veuillez m´avertir de ce qui se passsera à propos de ce tableau qui m´intéresse beaucoup´ («As for the burial painting, it is impossible for me to accede to your wishes despite all my wishes and the honour you do me by wishing it. The frame is demolished, the stretcher has resisted, the canvas is rolled up and in poor condition because of the time passing. I instructed my concierge to deliver the painting of Venus and Psychée to Mr. Carpentier and Desforges and to inform him that it was at his disposal if he doesn´t pick it up before the time indicated by you. Please let me know what will happen to this painting as I am very interested in it ») A letter of very interesting artistic and historical content. With blank integral leaf. Small overall age wear and minor creasing. Few extremely small professional repairs to the verso. G Salomon Leonardus Verveer (1813-1876) Dutch Painter, a marine and landscape artist. Verveer was one of the most successful artists of his time. Retour de la Conférence (1862) was a painting by Courbet showing drunk priests. The watercolour was destroyed by fanatics and can only be seen on photographs. Courbet said about this painting `Ce tableau fait rire tout le pays et moi-même en particulier. C'est le tableau plus grotesque qu'on aura jamais vu en peinture. Je n'ose pas vous le dépeindre, seulement c'est un tableau de curés´ ("This painting makes the whole country laugh, and myself in particular. It is the most grotesque painting that we will have ever seen in painting. I dare not depict it to you, only that it is a painting of priests")Courbet refers to Empress Eugénie de Montijo (1826-1920) spouse of Napoléon III. A Burial at Ornans was painted in 1849-50, and is considered one of the major turning points of the French art of the 19th century. Ornans was Courbet´s birthplace and the funeral records his great-uncle funeral. His exhibition at the 1850-51 Paris Salon created an immediate and explosive reaction. The very large scale Painting is displayed at the Musée d´Orsay in Paris. Courbet said `The Burial at Ornans was in fact the burial of Romanticism´. Twenty years later, when Courbet´s political views had changed , he repudiated this work saying that it was `worth nothing´

PASCIN JULES: (1885-1930) Bulgarian artist, known as the 'Prince of Montparnasse'. A rare A.L.S., Pascin, one page, 4to, n.p., n.d. (c.1920), to Robert Laurent, in French. Pascin informs his correspondent, 'J'ai pense debarrasser entierement l'atelier aujourd'hui, mais je me suis leve un peu tard et je dois etre en ville a 6 heures. J'espere que cela ne vous ennui pas trop. L'essentiel est fait et demain, jeudi, je finirai le job. Du reste la noire n'est pas venu aujourd'hui, a causé de la fete. Elle vient vendredi a midi et elle pourra mettre l'atelier en ordre; cela sera plus facile dans la piece débarrassée de mes affaires' (Translation: 'I thought about clearing out the whole workshop today, but I got up a little late and I have to be in town at 6 o'clock. I hope that doesn't bother you too much. The essential is done and tomorrow, Thursday, I will finish the job. Besides, the black one didn't come today, because of the party. She comes Friday at noon and she can put the workshop in order; it will be easier in the room cleared of my things') and continues 'Je vous verrai du reste jeudi matin, j'espere. Les Dudley sisters regretent beaucoup que vous ne puissiez pas venir ce soir avec Mimi [Caraes, Laurent's wife] Il y aura une noire, Clara Smith, qui chante epatament et son accompagnateur. Si cela vous derange que j'aille habiter pour quelques jours la piece dont vous m'avez cause, ne vous genez pas de me le dire. Je ne peux pas habiter 14 Street, parcequ'il y a des visites de Chicago, mais je pourrai facilement prendre une chambre a l'hotel' (Translation: 'I'll see you anyway on Thursday morning, I hope. The Dudley Sisters are very sorry that you cannot come tonight with Mimi [Caraes, Laurent's wife]. There will be a black, Clara Smith, who sings amazingly and her accompanist. If it bothers you that I go and live for a few days in the room you mentioned to me, don't hesitate to tell me. I can't live on 14th Street, because there are tours from Chicago, but I could easily get a room at the hotel'). Together with an unrelated autograph envelope hand addressed by Pascin to Robert Laurent in America, post marked at Paris, 19th August 1928, and signed ('Pascin') in the return address panel to the verso. Autograph letters of Pascin are rare as a result of his suicide at the age of 45 having struggled with depression and alcoholism. Some light overall age wear, otherwise VG, 2 Robert Laurent (1890-1970) French-American modernist figurative sculptor and printmaker. Katharine, Caroline and Dorothy Dudley were American artists and aesthetes. Clara Smith (1894-1935) American classic female blues singer who was billed as the 'Queen of the Moaners'.

MONDRIAN PIET: (1872-1944) Dutch painter, a pioneer of 20th century abstract art. A rare A.L.S., P. Mondrian, two pages, 8vo, n.p., 2nd March 1926, to [Felix] Del Marle, in French. Mondrian thanks his correspondent for their letter which he had received that morning, continuing 'J'avais hier fini mon article que j'ai fais apres votre depart, inspire par ce que nous avions cause et surtout par ce que vous et Madame m'avaient dit a propos de mon atelier' (Translation: 'Yesterday I had finished my article which I wrote after your departure, inspired by what we had discussed and especially by what you and Madame had told me about my studio'), asking for his French to be corrected if necessary ('Ce n'est pas necessaire que ce soit beau francais (au contraire!) mais il faut que ce soit correct'; Translation: 'It doesn't have to be beautiful French (on the contrary!) but it has to be correct'), forwarding two photographs (no longer present), explaining that one has not been previously published and commenting 'Il me semble ce que ce sera tres bien si vous pouriez faire un cliche sur linoleum ou bois; j'ai vu que vous les faites. Un pareil grand cliche sur zinc de deviendra egalement trop cher et moins beau' (Translation: 'It seems to me that it will be very good if you could make a plate on linoleum or wood; I have seen you do them. Such a large plate on zinc will also become too expensive and less beautiful') before concluding 'Il m'interesserai ce que vous dites de mon article; je crois il peut etre utile au mouvement' (Translation: 'I'll be interested in what you say about my article; I believe it can be useful for the movement'). A letter of good association. VGFelix Del Marle (1889-1952) French Futurist painter and artistic director of the avant-garde magazine Vouloir.

GOYA FRANCISCO JOSE DE: (1746-1828) Spanish Painter. Goya is considered the most important Spanish Painter of the late 18th and early 19th centuries and is regarded as the last of the Old Masters and the first of the moderns. A precursor of the Expressionism. His masterpiece portrayal of a naked woman, La Maja Desnuda ("The Naked Maja"), now in the Museo del Prado in Madrid, was a remarkably daring nude for the time, renowned for the unashamed gaze of the model towards the viewer without negative connotations. An exceptionally rare L.S., `Fran[cis]co de Goya´, three pages, 4to, Bordeaux, 30th November 1824, to the Duchess of San Fernando, in Spanish. Goya apologies for his hasty departure from Paris preventing him from saying goodbye to her himself, stating in part `Cuando salí de Paris para venir a esta [ciudad], dispuse atropelladamente mi viaje; el tiempo urgía, me hallaba sin dinero, y admití la oferta de unos amigos que me anticiparon los gastos del camino…´ (Translation: `When I left Paris to come to this [city], I hastily organized my trip; time was urgent, I was without money, and I accepted the offer of some friends who anticipated the expenses of the trip…") Goya is still not sure about his near future and explains that his has requested to the King of Spain an extension of his permission to leave his court painter obligations, saying `Aqui estoy, sin saber lo que debo hacer de mi. He pedido una prórroga, siquiera para poder pasar el invierno al calor de la chimenea, y no se si S[u] M[ajestad] tendrá a bien de concedérmela…´ (Translation: "Here I am, not knowing what I should make of myself. I have asked for an extension, at least that I can spend the winter in the warmth before a fireplace, and I don't know if H[is] M[ajesty] will be good enough to grant it to me…") Further again, Goya explains in full detail what the present he has sent to his correspondent is, being some drafts, drawings and figurines of three dwarfs, stating in part `Me tomo la libertad de remitir a V.E. esos tres comisionados, a quienes doy el encargo especial de asegurarla cuan agradecido estoy a la memoria que conserva de mi, y cuanto deseo complacerla y servirla. Son tres enanos que se presentaron en la feria de Burdeos dos meses hace, y me pareció conveniente sacar un tanteo de sus caras y sus figurillas. El de los pantaloncitos tiene 18 pulgadas, de los otros dos (que son marido y mujer) ella tiene 21 pulgadas y el esposo 20. Celebraré que cumplan su comisión, según los deseos del invalido que los envia´ (Translation: `I take the liberty of sending to Y.E. those three commissioners [referring to his three dwarfs figurines], to whom I give the special charge of assuring you how grateful I am to the memory you keep of me, and how much I wish to please and serve you. They are three dwarfs who appeared at the Bordeaux fair two months ago, and I thought it convenient to make a test of their faces and their figurines. The one with the short trousers is 18 inches, and the other two (who are husband and wife) she is 21 inches and the husband is 20. I will celebrate that they fulfil their commission, according to the wishes of the invalid who sends them" [Goya refers here to himself]) Goya has a lengthy list of important portraits paintings of dwarfs. An exceptional document, with very interesting content related to Goya´s last years, short after his arrival to France, and referring to his work on three dwarves he met at a fair in Bordeaux. A letter in very fine condition. VG Goya became a court painter to the Spanish Crown in 1786 and this early part of his career is marked by portraits of the Spanish aristocracy. In 1793 an illness left him deaf, after which his work became progressively darker. In 1799 Goya became the First Court Painter, the highest rank for a Spanish court Painter, under King Charles IV of Spain. During the Peninsular War and Napoleon´s invasion of Spain, Goya remained in Madrid, and his series of paintings Disasters of War, or his painting The Second of May 1808, show how much this war affected him deeply, fearing for his country´s fate. He also painted important portraits of the Royal Spanish family and of Lord Wellington.His late period is marked by the Black Paintings, on the plaster walls of his own house "La Quinta del Sordo" ("The House of the Deaf Man") where disillusioned by political and religious corruption, and by social developments in Spain, he lived near isolation. He also painted dwarves, and persons with insanity or in mental asylums, as well as themes related with witches and fantastical creatures. Goya abandoned Spain in 1824, the year of the present letter, to retire to the French city of Bordeaux from where the present letter is written. He was accompanied by his maid and companion Leocadia Weiss, 42 years younger than him, although it remains unclear if she was or not his lover.It was at that time and in Bordeaux where Goya completed his well-known series of paintings La Tauromaquia, depicting bullfighting scenes. Goya died and was buried in Bordeaux, but was later re-interred in the Royal Hermitage of San Antonio de la Florida in Madrid. Famously, the skull was missing, and the Spanish consul to Bordeaux reported so to his superiors in Madrid, who wired back "Send Goya, with or without head". The present letter is most probably in the hand of Leandro Fernández de Moratín (1760-1828) Spanish Dramatist, Poet, and translator of works of Moliere and Shakespeare into Spanish. Goya made his friend´s portrait in his late years in Bordeaux. Fernandez de Moratin lived his late years in exile in France and died in Paris only two months after Goya passed away in Bordeaux. The present letter is written to Maria Luisa of Bourbon and Villabriga (1783-1846) Duchess of San Fernando de Quiroga. She was directly related to several Kings of Spain, being the grand-daughter of Philip V, the niece of Charles III, and cousin of Charles IV. Maria Luisa and her husband, first duke of San Fernando, went into exile in 1823 to Paris.

FREUD LUCIAN: (1922-2011) British painter. A good, rare A.L.S., with his initial L, two pages, 8vo, Rue de Seine, Paris, n.d. (1953), to Ann [Fleming], on the printed stationery of the Hotel La Louisiane. Freud announces ‘In spite of Doc. Leadinghams (sic) warning “Life is cruel, my dear!” we are very well’ and explains that Caroline [Blackwood] will be coming to London for two days on the 18th, ‘so could you please make a date for her with leadface for the 19th?’, further writing of his upcoming marriage, ‘I think a Paris wedding would perhaps be best as one needs no documents except my divorce papers but where-ever it takes place do please be my best man! The main advantage of being married here is that it can be done at dusk so that one can emerge, spliced, into the Paris night’. Freud also makes a reference to Ann’s husband, Ian Fleming, stating ‘I am becoming rather like Ian in so much so that a number of subjects can not safely be mentioned in my presence’. A letter of good content and association. Some very light, extremely minor creasing, otherwise VGAnn Fleming (1913-1981) British socialite whose third husband, from 1952, was Ian Fleming (1908-1964) British writer of the James Bond series of spy novels. Ann Fleming’s friends included the artists Francis Bacon and Lucian Freud, the latter of whom painted her portrait.Lady Caroline Blackwood (1931-1996) English writer, socialite and dilettante. Blackwood, the Guinness heiress, was depicted in Freud’s painting Girl in Bed (1952) as well as the autobiographical Hotel Bedroom (1954), the latter also featuring Freud himself and painted at a time when his relationship with Blackwood was beginning to unravel. Both paintings were executed at the Hotel La Louisiane, from where the present letter was written. Ann Fleming had introduced Blackwood to Freud and in December 1952 the two lovers eloped to Paris. Freud’s marriage to his first wife, Kitty Garman, was formally dissolved on 27th November 1953 and two weeks later, on 9th December, Freud and Blackwood were married in a civil ceremony at the Chelsea Register Office in London.

HARING KEITH: (1958-1990) American artist. A good, rare illustrated A.L.S., Keith, and again K. Haring, one page, 4to, Broadway, New York, 1988, to Mike. Haring writes, in full, 'Thanks for your letter and the gift. It was very kind and most generous of you. I do appreciate your support and kind words. I have enclosed some small drawings for you, I hope you like them'. At the foot of the page Haring has drawn three of his trademark dancing figures, adding a second signature and the date immediately beneath. Illustrated autograph letters signed by Haring are rare and desirable as a result of the artist's tragically young death at the age of 31. About EX

DAGUERRE LOUIS: (1787-1851) French photographer and artist, inventor of the daguerreotype process of photography. A rare A.L.S., Daguerre, one page, 8vo, Paris, 11th February 1828, to a Count, on the printed stationery of the Diorama, in French. Daguerre sends his correspondent a letter confirming the details which he had provided previously and comments 'De votre reponse dependra le succes etant dans l'intention de la presenter a S.A.R. Madame la Dauphine' (Translation: 'Your answer will depend on the success, with the intention of presenting it to H.R.H. Madame la Dauphine'). With blank integral leaf, some light age toning and a few small holes to the lower edge, not affecting the text or signature. About VG

VOLTAIRE: (1694-1778) French Enlightenment Writer and Philosopher. Voltaire is a pseudonym, his name being François-Marie Arouet. Voltaire is known for his attacks on Catholic Church, and his advocacy of freedom of religion and expression, and separation of church and state. A rare fully autograph lengthy letter with excellent content, A.L.S., `Voltaire´, three pages, 4to, Luneville, 19th November 1748, to a Dutch Editor and Librarian, in French. Voltaire returned in 1748 to Luneville after his mistress asked him to do so, and was kindly welcomed by King Stanislas. He devoted himself mainly to the theatre and performed his own plays at the castle stage. Voltaire starts urging his correspondent to send a preface he has since long and thanks him also for a present he intends to send to him, stating in part `…je n´ai point reçu la preface qui doit être mise au devant de l´édition et qu´on vous envoya il y a près d´un an. Je vous prie de la mettre dans le paquet adressé à Lunéville en Lorraine... J´ai vu une lettre que vous écrivez à un homme a moi, par laquelle vous lui mandez que vous voulez m´envoyer un service de porcelain de Saxe. Je vous suis très reconnaissant d´une pareille attention et je vous en fais des remerciements très sincères. Je vois que vous n´avez pas les sentiments d´un libraire Hollandais, et votre procédé renouvelle encore l´envie que j´ai de vous être utile´ (Translation: “… I have not received the preface which must be placed at the front of the edition and which was sent to you almost a year ago. Please put it in the package addressed to Lunéville in Lorraine... I saw a letter that you wrote to one of my close men, in which you tell him that you want to send me a porcelain set from Saxony. I am very grateful to you for such attention and I send you my very sincere thanks. I see that you do not have the feelings of a Dutch bookseller, and your way of working renews the wish that I have to be useful to you”) Voltaire thanks his correspondent´s aim but politely dismisses the present, and announces that he is about to finish a work that he will forward to the Dutch Editor, saying in part `Je vous destine l´histoire de la guerre présente que j´aurai achevée dans quelques mois… Je recevrai avec plaisir quelques exemplaires de votre edition, cést bien assez et si vous m´envoyez autre chose je vous avertis que je vous renverrai votre présent. Vous aves assez fait de dépense pour votre édition. Encore une fois, des exemplaires sont tout ce qu´il me faut et tout ce que je veux´ (Translation: “I am sending you the history of the present war which I will have completed in a few months... I will receive with pleasure a few copies of your edition, that is quite enough and if you send me anything else I will warn you that I will send you back your present. You have spent enough on your edition. Once again, copies of your edition are all I need and want”) Further again, and before concluding, Voltaire refers to the only accurate edition including all his works which he personally approves, saying `Je vous ai écrit par la voie de Mr. l´Ambassadeur de France… Vous aurez Semiramis certainement mais je ne peux vous dire dans quel temps. Je me flatte que vous pourrez faire un jour une edition plus complete et plus correcte et je vous aiderai de tout mon pouvoir, mais comme la votre avec toutes ses fautes est assurément la meilleure, ou plutôt la seule bonne que nous ayons, je vous conseille et je vous prie de l´annoncer dans tous les journaux comme la seule edition fidèle qui soit en Europe de tous mes ouvrages, et la seule que j´approuve´ (Translation: “I wrote to you through Mr. the French Ambassador… You will certainly have Semiramis but I cannot tell you when. I flatter myself that one day you will be able to produce a more complete and more correct edition and I will help you with all my strength, but as yours with all its faults is undoubtedly the best, or rather the only good one that we have, I advise you and I ask you to announce it in all the newspapers as the only faithful edition in Europe of all my works, and the only one that I approve”) Accompanied by a full transcription in French of the letter. In excellent condition, EX

DIDEROT DENIS: (1713-1784) French philosopher, art critic and writer, a significant figure during the Age of Enlightenment. An extremely rare and important autograph manuscript, unsigned, seven pages, 8vo, n.p., n.d (c.1771), in French. The manuscript, written in Diderot’s small, neat hand, is entitled Satyre contre le luxe a la mainiere de Perse (‘Satire against luxury in the Persian style’) and takes the form of a dialogue between two characters, the first a sceptic of the times, not far removed from Jean-Jacques Rousseau, radical in his rejection of luxury and what it represents, and the second character one who judges that all is not so bad in the world as it is. ‘Vous jetez sur les diverses societes de l'espece humaine un regard si chargin, que je ne connais plus guere qu'un moyen de vous contenter: c'est de ramener l'age d'or’  begins the second, and with spartan austerity, the former rejects all sweetness of life, ‘Vous vous trompez. Une vie consumee a soupirer aux pieds d'une bergere n'est point de tout mon fait. Je veux que l'homme travaille. Je veux qu'il souffre. Sous en etat de nature qui irait au-devant de tous ses voeux, ou la branche se courberait pour approcher le fruit de sa main, il serait faineant; et n'en deplaise aux poetes, qui dit faineant dit mechant’ , and Rousseau’s name is naturally introduced, ‘Depouillez-vous donc; suivez le conseil de Jean-Jacques, et faites-vous sauvage’ before the interlocutor sweeps aside the Voltairean irony and gives the subject a political twist, ‘Ce serait bien le mieux. La, du moins, il n'ya a d'inegalite que celle qu'il a plu a la nature de mettre entre ses enfants; et les forets ne retentissent pas de cette variete de plaintes, que des maux sans nombre arrachent a l'homme dans ce bienheureux etat de la societe’  the other attempts moderation and advocates a form of resignation to the order of things as it is, ‘Mon ami, aimons notre paitre; aimons nos contemporains; soumettons-nous a un ordre de choses qui pourrait par hasard etre meilleur ou plus mauvais; jouissons des avantages de notre condition. Si nous y voyons des defauts, et il y en a sans doute, attendons-en le remede de l'experience et de la sagesse de nos maitres; et restons ici’  and then the other launces into a violent diatribe against corrupting money, ‘Rester ici, moi! moi! y reste celui qui peut voir avec patience un peuple qui se pretend civilise, et le plus civilise de la terre, mettre a l'encan l'exercise des fonctions civiles; mon coeur se gonfle, et un jour de ma vie, non, un jour de ma vie, je ne le passe pas sans charger d'imprecations celui qui rendit les charges venales. Car c'est de la, oui. c'est de la et de la situation des grands exacteurs que sont decoules tous nos maux. Au moment ou l'on put arriver a tout avec de l'or, on voulut avoir de l'or; et le merite, qui ne conduisait a rien, ne fut rien. Il n'y eut plus aucune emulation honnete. L'educatin resta sans aucune base solide’ , further describing the deleterious effects of the race for wealth, the desire to possess more and more that leads humanity to its ruin, ‘L'elephant se gonfla pour accroitre sa taille, la boeuf imita l'elephant; la grenouille eut la meme manie, qui remonta d'elle a l'elephant; et, dans ce mouvement reciproque, les trois animaux perirent: triste, mais image reelle d'une nation abandonnee a un luxe, symbole de la richesse des uns, et masque de la misere generale du reste’ , as well as the corruption of the morals, the contempt for study, the disappearance of all decency being the consequences, ‘On rampa, on s'avilit, on se prostitua dans toutes les conditions. Il n'y eut plus de distinction entre les moyens d'acquerir. Honnetes, malhonnetes, tous furent bons’ , the other then advances the argument that this luxury engenders the development of art and industry, ‘Mais ne vous rejouissez-vous pas de voir la debauche, la dissipation, le faste, ecrouler ces masses enormes d'or? C'est par ce ,oyen qu'on nous restitue goutte a goutte ce sang dont nous sommes epuises. Il nous revient par une foule de mains occupees. Ce luxe, contre lequel vous vous recriez, n'est-ce pas lui qui soutient le ciseau dans la main du statuaire, la palette au puce du peintre, la navette?’, but art is nothing if not compared by virtue, and again Rousseau’s austerity is expressed in its purest form, ‘Oui, beaucoup d'ouvrages, et beaucoup d'ouvrages mediocres. Si les moeurs sont corrompues, croyez-vous que le gout puisse reste pur? Non, non, cela ne se peut; et si vous le croyez, c'est que vous ignorez l'effet de la vertu sur les beaux-arts. Et que m'importent vos Praxitele et vos Phidas? Que m'importent vos Apelle? Que m'importent vos poemes divins? Que m'importent vos riches etoffes? Si vous etes mechants, si vous etes indigents, si vous etes corrompus’ and this race for wealth goes so far as to call into question the survival of mankind, ‘O luxe funeste, enfant de la richesse! Tu detruis tout, et le gout et les moeurs; tu arretes la pente la plus douce de la nature. Le riche craint de multiplier ses enfants. Le pauvre craint de multiplier les malheureux. Les villes se depeuplent. On laisse languir sa fille dans le celibat. Il faudrait sacrifier a sa dot un equipage, une table somptueuse’ . Shaken by such a tirade, the former again attempts conciliation, ‘Voila, sans doute, un luxe pernicieux, et contre lequel je vous permets a vous et a nos philosophes de se recrier. Mais n'en est-il pas un autre qui se concilierait avec les moeurs, la richesse, l'aisance, la splendeur et la force d'une nation?’ and the other pays lip service to it, and launches into an eulogy of agriculture, the basis of everything, via his goddess Ceres, and consequently into a social demand for the fate of peasants, ‘Ceres, les peintres, les poetes, les statuaires, les tapisseries, les porcelaines, et ces magots meme, gout ridicule, peuvent s'elever d'entre tes epis. Maitres des nations, tendez la main a Ceres; relevez ses autels. Ceres est la mere commune de tout. Maitres des nations, faites que vos campagnes soient fertiles; soulagez l'agriculteur du poids qui l'ecrase. Que celui qui vous nourrit puisse vivre; que celui qui donne du lait a vos enfants ait du pain; que celui qui vous vetit ne soit pas nu’ . At the conclusion of the text he sketches out a possible synthesis in which luxury and virtue could be reconciled, ‘Ce luxe sera le signe d'une opulence generale, et non le masque d'une misere commune. Maitres des nations, otez a l'or son caractere representatif de tout merite. Abolissez la venalite des charges. Que celui qui a de l'or puisse avoir des palais, des jardins, des tableaux, des statutes, des vins delicieux, de belles femmes; mais qu'il ne puisse pretendre sans merite a aucune fonction honorable dans l'Etat; et vous aurez des citoyens eclaires, des sujets vertueux’ . Diderot concludes on a pessimistic note, ‘Ou irai-je donc? Ou trouverai-je un etat de bonheir constant? Ici, un luxe qui masque la misere; la, un luxe qui, ne de l'abondance, ne produit qu'une felicite passagere. Ou faut-il que je naisse ou que je vive? Ou est la demeure qui me promette et a ma posterite un bonheur durable?’, and the first dismisses posterity, with resigned fatalism, as a preoccupation,  Manuscripts of such important 18th century texts are of exceptional rarity and seldom appear on the market. Some light age wear and a couple of small, holes caused by dark singing to some pages, only very slightly affecting a few words of text. About VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.  

RACINE JEAN: (1639-1669) French dramatist, one of the three great playwrights of 17th century France. An extremely rare ownership signature ('Racine') to the base of a slim 8vo title page (3 x 6"; 8 x 15.5 cm) removed from a second edition of Histoire de l'état présent de l'empire Ottoman, contenant le maximes politiques des Turcs, les principaux points de la religion Mahométane, ses sectes, ses hérésies, & ses diverses sortes de religieux; leur discipline militaire, avec une supputation exacte de leurs forces par mer & par terre, & du revenu de l'Etat, translated from the English of [Paul] Rycaut by Monsieur Briot, published by Sebastien Mabre-Cramoisy, Paris, 1670. Neatly inlaid and with some extremely minor, light age wear, about VG Provenance: From the celebrated collection of Robert de Flers (1872-1927) French playwright, opera librettist and journalist. The manuscripts amassed by de Flers were dispersed in 2014 at an auction in Paris conducted by Beaussant Lefevre.

SADE MARQUIS DE: (1740-1814) Donatien Alphonse François de Sade. French Writer and Philosopher. Rare A.L.S., `Sade´, one page, small 4to, Charenton, 14th August 1809, in French. Sade acknowledges receipt stating `Je reconnais avoir reçu de Monsieur de Coulmier directeur de la maison de Charenton, Cinq Cordes de bois à moi fournies en detail dans l´hiver de mil huit cent huit à mil huit cent neuf à Charenton ce 14 août mil huit cent neuf´ ("I acknowledge having received from Mr. de Coulmier, director of the house of Charenton, five bags of wood provided to me in the winter of one thousand eight hundred and eight to one thousand eight hundred and nine at Charenton, August 14th, one thousand eight hundred and nine") Small overall minor age wear, with a small hole to the lower border, not affecting the text or signature. G François-Simonet des Coulmiers (1741-1818) Des Coulmiers was the last abbot of the French National Constituent Assembly and the first Director of the national house, or nursing house, of Charenton. He had a very good and friendly relationship with Sade. Sade always expressed a boundless passion for the theatre, and Des Coulmiers built a theatre in the nursing home. The bleachers were intended to receive about forty mental patients, chosen among the least agitated. The rest of the room could accommodate about two hundred spectators, exclusively recruited by invitation. Sade wrote plays for the theatre and directed rehearsals.

GERMAINE DE STAEL: (1766-1817) Also known as Madame de Stael, her real name being Anne Louise Germaine de Stael-Holstein. French leading Salonniere, a woman of letters and political Theorist. She was the daughter of Banker and French Minister Jacques Necker. A voice of moderation during the French Revolution, her intellectual collaboration with Benjamin Constant between 1794 and 1810 made them one of the most celebrated intellectual couples of their time. She lived many years in exile, first during the Reign of Terror and later escaping from Napoleon´s persecution. Rare A.L., one page, 8vo, n.p., n.d., `this Friday´, to Mr. Mackintosh, in French. Germaine de Stael states in part `Vous me manquez beaucoup, my dear Sir, vous êtes pour moi la belle Angleterre, celle de l´esprit et de l´âme. N´oubliez pas que j´attends vous et Lady Mackintosh demain a diner, vous me donnez mes jours de fête….´ ("I miss you very much my dear Sir, you are for me the image of the beautiful England with spirit and soul. Don´t forget that I am waiting for you and Lady Mackintosh tomorrow for dinner, you bring me my happy days..") Further ´referring to her son, very emotionally saying `Je vais diner lundi chez Lady Liverpool, voudriez-vous être de la partie? Il y a de bien grandes Nouvelles, ah mon pauvre fils eut été bien heureux de se battre a présent, cela me serre le coeur jusqu´au point de le briser.. ´ ("I am going to have dinner on Monday at Lady Liverpool´s home. Would you like to join us? There are great news, alas my poor son would have been very happy to be fighting right now. That constricts my heart to breaking point..") One stain, only affecting one word, otherwise G

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).