2107 | Collections of an Only Child: Seventy Years a Bibliophile, the Library of Justin G. Schiller by Hindman Auctions

COLLECTIONS OF AN ONLY CHILD: Seventy Years a Bibliophile, the Library of Justin G. Schiller

DECEMBER

5, 2024 NEW YORK

COLLECTIONS OF AN ONLY CHILD:

Seventy Years a Bibliophile, the Library of Justin G. Schiller

SALE 2107

December 5, 2024 | New York

10:00am ET | Live Lots 1–267

HIGHLIGHTS PREVIEW

Philadelphia 1600 West Girard Avenue clientservices@freemansauction.com

Monday, November 11 | 10:00am–4:00pm Tuesday, November 12 | 10:00am–4:00pm

Wednesday, November 13 | 10:00am–4:00pm Thursday, November 14 | 10:00am–4:00pm Friday, November 15 | 10:00am–4:00pm

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New York

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New York 32 East 67th Street newyork@hindmanauctions.com

Monday, November 25 | 10:00am–4:00pm

Tuesday, November 26 | 10:00am–4:00pm

Monday, December 2 | 10:00am–4:00pm

Tuesday, December 3 | 10:00am–4:00pm Wednesday, December 4 | 10:00am–4:00pm

Thursday, December 5 | Immediately following sale until 5:00pm Friday, December 6 | 10:00am–4:00pm

Monday, December 9 | 10:00am–4:00pm By appointment | newyork@hindmanauctions.com

Philadelphia 1600 West Girard Avenue

December 11 and thereafter | Monday–Friday | 10:00am–4:00pm By appointment | clientservices@freemansauction.com

All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database

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Collections of an Only Child: Seventy Years a Bibliophile, the Library of Justin G. Schiller

My father was wounded at the Battle of Normandy and spent six months in recovery at an army hospital. My mother wanted a house for his eventual return home, so my childhood was spent in Brooklyn, New York. Both my parents worked and I occupied myself reading my grandfather’s Encyclopedia Britannica (11th edition), its articles newly researched and rewritten although at that point several decades old. All of that reading caused me to have many interests, later stimulated by my majoring in Literature, and it also helped to finance my education by selling old books as a teenager, from second-hand copies of the Oz series to 18th and 19th century titles purchased while roaming the shops along New York’s fabled Fourth Avenue “Book Row” and London’s Charing Cross Road. I had no siblings and was somewhat introverted, so books became my constant companions, and I explored the world of reading into adulthood.

As an octogenarian it is hard to imagine that I have lived in a world of books for seven decades considering my having had such a diversity of interests. I realize it is now time to seriously begin passing along all of these acquisitions so others can enjoy the pleasures I’ve had all my life. During my career, both as a collector and bookseller, I have had a variety of single-owner sales with multiple auction houses: Swann, Christie’s, Sotheby’s, Bloomsbury, and Heritage. Now, Freeman’s | Hindman will offer what remains of this joy from my collection, more than I could ever imagine, and in so many different facets.

Many years ago, Arthur Houghton told me of the pleasure he had watching his library sell to buyers new and old, each time assessing whether or not he had made a good choice in buying. It is now my turn to share that universal experience, and I sincerely hope all of you acquire what you want most. Good luck.

–Justin G. Schiller

Indefatigable. That’s how bookseller Justin Schiller described himself to me on a phone call not long ago. At 80 years old, he is as keen and wide open to being charmed by the world of books—and its cousins, Art and Ephemera—as he was as a 10-year-old when he first arranged the display of his Wizard of Oz collection at Columbia University, in 1954.

For seventy years, Justin Schiller has been a bridge between the Real World and Narnia. He’s been up and down the rabbit hole with Alice countless times. He’s been all over Mr. McGregor’s garden with Peter Rabbit, losing buttons along the way, and no one is quite sure if he ever actually returned from a certain island inhabited by a group of Wild Things… He has sold his wares to virtually every corner of the globe and all with the enthusiasm and wide eyes of that ten-year-old. That might sound exhausting but when you spend any time at all with him, you realize that is just his normal operating temperature. Indefatigable.

I’ve spent the last many months, sharing countless lunches and dinners with him as well as spending endless hours on the floor of his beautiful home in upstate New York or perched on the sofa in his New York City apartment, surrounded by books—mountains of them, boxes of them, stacks of them—looking, looking, and looking. Choosing was the easiest and the hardest part. “Which is your favorite?” “They are all my favorites”. Mine too. All of them. Most times I had to peel myself away from a visit because he just kept showing me more books and more things, the best books, the best things. The menu was endless, but we managed to put together a sale—or three. Indefatigable.

This sale of Justin’s collections is the first of several that Freeman’s | Hindman will be holding, each one like a roadmap of his mind. If I had to describe that roadmap, I would immediately point to the endpapers in A.A. Milne’s Winnie-the-Pooh. That’s what I imagine his mind looks like on the inside, the 100 Aker Wood.

Looking through all of the books, illustrations, and other bits and pieces from his various collections you will see, among other things, themes of joy and of sorrow; identity—sexual, racial, religious, and cultural; shame; unabashed gay pride; underdogs and overdogs; abandonment; war; persecution; other cultures; national pride and national disgrace. You will see a funhouse mirror reflection of many of the events that have shaped his world and ours, from 1944 to today. You will see the remnants of hours spent with that 11th edition of the Britannica

At 80 years old, after a lifetime of bookselling, Justin is the Wond’rous Wise Man. Indefatigable

–Darren Winston

SVP,

Head of Department, Philadelphia, Freeman’s | Hindman

Lots 1–267

[ABC Book] (Swildens, J.H.). Vaderlandsch A-B Boek voor de Nederlandsche Jeugd

Amsterdam: W(illem). Holtrop, 1781. First edition. 8vo. (34), 58, (4) pp. Presentation copy, inscribed by the author on front blank: “Amplissimo Viro Sikkema / Senatori Groningano / D.D. / Auctor J. H. Swildens.”

Illustrated with an engraved title page, 27 half-page engravings forming a pictorial alphabet, and five full-page designs (depicting alphabets, numerals, planets, etc.). Original green paper-covered boards, decorated in gilt, spine worn and faded, front joint cracked, boards rubbed; marbled edges; gutter repaired at front blank; in tan cloth fall-down-back box.

Includes 8-page printed prospectus for the above.

A delightful and scarce presentation copy of this early Dutch “A-B-C” book. Featuring numerous charming engravings depicting scenes from Dutch life, with verse captions and prose commentary.

Provenance

Fraeylemaborg Castle Library (Groningen, Holland), dispersed at auction by J. L. Beijers in 1971 (catalogue prospectus laid in, with description now attached).

$600 - 900

2 [African-Americana] [Black Panther Party] (Douglas), Emory. Panther Mother and Child

San Francisco: Ministry of Information (Black Panther Party), 1967. Off-set color lithographed poster after Emory Douglas, 22 3/4 x 17 1/2 in. (578 x 444 mm), featuring a woman with her child holding a toy rifle. Creasing from old folds, foxing to right margin, pinholes to corners from previous mounting not affecting image.

A bright and controversial image by Emory Douglas (b. 1943), who served as Revolutionary Artist and Minister of Culture for the Black Panther Party. The child holding the toy rifle suggests that it is never too early to learn self-defense.

$2,500 - 4,000

3 [African-Americana] Group of Black Panther Party-Related Material

Locations vary, ca. 1968-70. Including original printed FBI Wanted poster for Leroy Eldridge Cleaver (Wanted Flyer 447, December 13, 1968); printed Congressional report The Black Panther Party Its Origin and Development as Reflected in its Official Weekly Newspaper The Black Panther Community News Service (Washington: U.S. Government Printing Office, 1970); 16 original multi-colored Black Panther and related pinbacks (“By Any Means Necessary”, “Black Panther Party Black Power”, “Free Huey”, “free all political prisoners”, “San Quentin Six”, etc.). Condition varies, generally very good.

$300 - 500

[African-Americana] [Fifteenth Amendment] The Result of the Fifteenth Amendment, And the Rise and Progress of the African Race in America and its final Accomplishment, and Celebration on May 19th A.D. 1870.

Baltimore: Metcalf & Clark, 1870. Hand-colored lithograph, 20 3/4 x 27 in. (528 x 686 mm). Depicting a celebration of the ratification of the 15th Amendment. Reilly, American Political Prints 17661876, 1870-2; McCauley, Maryland Historical Prints, E109

A jubilant celebration for American Civil Rights after the passage of the 15th Amendment, this print depicts a parade held in Mount Vernon Place in Baltimore, Maryland, on May 19, 1870. The parade is comprised of Black Zouaves, some on horseback, striding down Monument Street from the Washington Monument in Baltimore, as the sidewalks are lined with African American onlookers. Along the margins are a series of vignettes depicting key figures such as Thaddeus Stevens, Charles Sumner, John Brown, Presidents Lincoln and Grant, and Frederick Douglass.

The Fifteenth Amendment, enacted on March 30, 1870, extended suffrage to Black men in the United States. The last of the Reconstruction Amendments, it cemented the social gains won at great human cost in the Civil War by stating: “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of race, color, or previous condition of servitude.”

There are two versions of this print from Metcalf & Clark: a black and white version and hand-colored versions such as this. OCLC records only one copy, at AAS; other copies are held by the Library of Congress, the National Portrait Gallery, the Enoch Pratt Free Library in Baltimore, and the Leventhal Center at the Boston Public Library.

$2,500 - 4,000

5 [African-Americana] (Garrison, William Lloyd) The Liberator, ca. 1859-65

Boston: J.B. Yerrington & Son, ca. 1859-65. Atlas folio. Collection of approximately 180 of issues of the abolitionist newspaper The Liberator. Complete from November 25, 1859 (Vol. XXIX No. 47) through December 26, 1862, followed by assorted issues from April 9, 1852 through November 18, 1859. Full green buckram, lightly soiled. Condition varies, scattered toning, stains, tears, or tape repairs; March 21, 1862 (Vol. XXXII, No. 12) issue disbound; ownership signature of “Capt. Z.H. Small” at top of most issues.

The Liberator was founded by Boston Abolitionist William Lloyd Garrison in 1831. The paper took a religious perspective on the issue of slavery instead of a political one, appealing to a reader’s moral conscience, as well as advocating for the rights of women and other marginalized groups. Garrison’s weekly publication influenced many prominent leaders of the Abolitionist movement, including Frederick Douglass, Beriah Green, Jr., Arthur and Lewis Tappan, as well as Alfred Niger, and many more.

Important events featured in this volume include: President Lincoln’s inaugural address (8 March, 1861); the outbreak of the Civil War at Fort Sumter (19 April, 1861); the Emancipation Proclamation (2 January, 1863); the New York Draft Riots (24 July, 1863); the Gettysburg Address (27 November, 1863); the Fort Pillow Massacre (22 April, 1864); Sojourner Truth’s letter on her visit with President Lincoln (23 December, 1864); the fall of Richmond (7 and 14 April, 1865); Lincoln’s assassination (two black-bordered pages, 21 April, 1865); and the farewell issue, dated 29 December, 1865 (the unrevised version, without William Nell’s “Farewell to the Liberator” on the final page).

$3,000 - 5,000

[African-Americana] [King, Martin Luther, Jr.] Photograph Album

Documenting the National Conference for New Politics

Chicago: Palmer House Hotel, etc., August 31-September 4, 1967. Folio. 21 leaves, containing 99 mounted black and white and color photographs, each measuring 3 1/2 x 5 in. (89 x 127 mm); many with manuscript captions on mounts, identifying subjects or providing commentary. String-bound red faux leather boards, stamped in gilt; several photographs now loose; scattered glue residue present from now loose photos, some wear in same areas.

A fine photograph album depicting scenes from the 1967 National Conference for New Politics Convention (NCNP), “one of the most ambitious attempts to forge a broad political alliance of antiwar organisations, New Left insurgents and the radical wing of the civil rights movement in 1960s America” (Simon Hall, On the Tail of the Panther: Black Power and the 1967 Convention of the National Conference for New Politics, 2003, p. 59). Featuring dozens of snapshots of the Convention’s participants, including Martin Luther King, Jr. (1929-1968), Simon Casady (1908-1995), Dr. Benjamin Spock (1903-1998), Julian Bond (19402015), Dick Gregory (1932-2017), Dr. Donna Allen (1920-1999), William Pepper (b. 1937), Hunter Pitts O’Dell (1923-2019), Clark Kissinger (b. 1940), James Foreman (1928-2005), Floyd McKissick (1922-1991), H. Rap Brown (Jamil Abdulla al-Amin), and others.

The Convention grew out of meetings held during the summer and fall of 1965 between several peace and civil rights activists, student leaders, and New Left radicals, and whose goal was establishing a political coalition between various anti-war activists and civil rights groups. As Hall notes, the “coalition was based around four broad objectives: ending the Cold War and US military intervention abroad, establishing racial equality, encouraging world disarmament and constructive relations with Third World revolutionaries, and using America’s growing productive capacity to meet the needs of her inner cities and depressed rural areas” (p. 62). Several organizations were represented, including the Southern Christian Leadership Conference, Student Nonviolent Coordinating Committee (SNCC), the Congress of Racial Equality, the Mississippi Freedom Democratic Party, Students for a Democratic Society (SDS), the Socialist Workers Party, Vietnam Summer, National Committee for a Sane Nuclear Policy (SANE), and others.

Dr. Martin Luther King, Jr., shown here in five photographs, gave the keynote speech on the Convention’s opening night, in which he criticized the Vietnam War for exacerbating the hatreds between continents and races, and frustrating development in the United States. He called for a referendum on the war in the 1967-68 election so that the American people could have “an opportunity to vote into oblivion those who cannot detach themselves from militarism.” He also poignantly called racism a “corrosive evil that will bring down the curtain on Western civilization.”

Twenty-four color photographs are included in the album, 17 of which feature H. Rap Brown (Jamil Abdulla al-Amin), a Black activist who served as the fifth chairman of the Student Nonviolent Coordinating Committee, from May 1967 to June 1968. Two snapshots feature the lesser-known Michael Wood, a college dropout who blew the whistle on the CIA’s secretive funding and use of the National Student Association to advance American interests.

$1,000 - 1,500

[African-Americana] Lee, George L. Dreams Come True! Picture Stories of Famous People How to Tell What Dreams Mean

New York and Memphis: Black and White Company, no date (ca. late 1940s). First edition. 12mo. Unpaginated (14 leaves). With numerous lithographed illustrations. Publisher’s pictorial stapled self-wrappers, scattered soiling, wear and separation at bottom of spine.

Scarce promotional booklet issued by the Black and White Company which sold beauty products intended for an African American audience, including hair products, skin products (including skin whitener), and makeup for Black skin tones. Interspersed with illustrated advertisements for the various products are short illustrated biographies of notable African Americans including Booker T. Washington, Frederick Douglass, and Jack Johnson.

$100 - 150

[African-Americana] Gellert, Hugo. Portrait of Paul Robeson

No place, no date. Lithograph on paper, signed by Gellert in pencil, lower right. Mat burn. 17 3/4 x 14 7/8 in. (451 x 378 mm). In mat and in frame, 18 3/4 x 15 3/4 in. (476 x 400 mm).

Gellert’s (1892-1985) portrait of Paul Robeson (1898-1976), originally featured in a 1928 The New Yorker profile of the actor and activist.

$200 - 300

[Americana] Chicago Illustrated

Important Lithographic Views of Pre-Fire Chicago

Chicago: Jevne & Almini, January 1866-January 1867. First edition, complete in 13 original monthly parts (all published). From the library of Kenneth Nebenzahl, with his book-plate in folding case. Illustrated with 52 fine tinted and color lithographic plates of city views, by Louis Kurz and the Chicago Lithographing Company; with accompanying letterpress text, by James W. Sheahan. Publisher’s limp pictorial lithographic wrappers, scattered minor spotting, some small repairs to spines; letterpress prospectus laid-in to Part I; very minor pale spotting to some plate margins; occasional offsetting to text; in quarter brown levant over brown cloth clamshell box. Chicago Ante-Fire Imprints 1047; Caxton Chicago 101, 3; Howes J-108 (“d”); Sabin 12623

A fascinating and significant portrait of prefire Chicago.

[Ali, Muhammad] Bingham, Howard. Group of 2 Signed Photographs (Cologne: Taschen, 2004). Group of two silver gelatin prints, signed by Muhammad Ali and photographer Howard Bingham. From the limited edition, Champ’s Edition of GOAT—GREATEST OF ALL TIME, the ultimate tribute to Muhammad Ali. Each measuring 20 1/4 x 19 3/4 in. (514 x 502 mm).

$400 - 600

Chicago Illustrated remains the most comprehensive record of the physical appearance of the city before its destruction by the Great Fire of 1871. Austrian-born Louis Kurz created the lithographed views which exude “an almost palpable sense of the hustle and bustle of pre-Fire Chicago” (Chicago 101). Otto Jevne and Peter M. Almini, decorators known for ornamental painting, joined with Kurz (who would later form the famous Kurz & Allison firm) and two other lithographers to form the Chicago Lithographing Company. James W. Sheahan, a journalist who published the Chicago Times and later the Chicago Post, contributed the text.

The complete work was originally meant to include 25 parts, but only these 13 parts were ever completed. In the prospectus for the work, Jevne & Almini promised “to publish, in Monthly Parts, an illustrated History of Chicago,--that is, a history of the more important and striking evidences of the city’s improvement and enterprise.” The parts were issued at $1.50 per part until the project terminated in January 1867. “In general Chicago Illustrated is a paean to the new colossus rising alongside the lake” (Chicago 101).

$20,000 - 30,000

[Americana] [Lindbergh, Charles] Wanted Poster for the Kidnapping of Charles Lindbergh, Jr. New Jersey, March 11, 1932. Printed broadside, 16 x 9 1/2 in. (350 x 242 mm). Law enforcement wanted poster for “Information As To The Whereabouts Of Chas. A. Lindbergh, Jr...kidnaped (sic) from his home in Hopewell, N.J., between 8 and 10 p.m. on Tuesday, March 1, 1932...” Creasing from old folds, small two-inch tear along same repaired on verso with tape, very light foxing and offsetting.

On the evening of March 1, 1932, Charles Augustus Lindbergh, Jr. was abducted from his crib in his home in East Amwell, New Jersey. The 20-month-old baby was missing for over two months before his body was found along a nearby road, on May 12th. The crime and trial case caused a media frenzy, deemed by satirist H.L. Mencken “the biggest story since the Resurrection.”

A remarkable survival from one of America’s most notorious crimes.

$400 - 600

[Americana] [New Orleans] Fremaux, Leon J. New Orleans Characters

(New Orleans): Peychaud & Garcia, 1876. First edition. Folio. Presentation copy, inscribed by the author at top of title-page: “A Monsieur Henri Grandjean Perrenoud avec les compliments de l’auteur--L. Fremaux”. Illustrated with lithographic title-page with hand-colored vignette and 16 hand-colored lithographic plates. Publisher’s three-quarter black morocco over brown pebbled cloth-covered boards, stamped and lettered in gilt, extremities and spine worn and rubbed; all edges trimmed; illustrated book-plate of Hermann Hofer on front paste-down; scattered light spotting to leaves; gutters reinforced with contemporary linen; in blue cloth falldown-back box. From the collection of William S. Reese, and with his book-plate on front paste-down. Howes F-362 (“b”); Bennett, p. 44; Reese, Stamped With a National Character 93

A rare presentation copy of this color-plate book depicting everyday life in Reconstruction Era New Orleans, inscribed by the author and artist Leon J. Fremaux to Henri Grandjean Perrenoud (18211887). “This book of New Orleans street characters may be the best example of the genre printed in the United States” (Reese). Featuring 16 fine hand-colored lithographs, including depictions of a chimney sweep, a sugar broker, an auction drummer, rice fritter, apple, and oyster merchants, and more.

Provenance

Henri Grandjean Perrenoud (1821-1887)

Herman Hofer

Pacific Book Auctions, May 25, 2006, Lot 59

William S. Reese

Christie’s, New York, May 26, 2022, The Private Collection of William S. Reese, Part Two, Sale 20529, Lot 264

$8,000 - 12,000

14 [Americana] [Newport] Mason, Geo(rge). C(hamplin). Newport and its Environs

Newport: Published by Chas. E. Hammett, Jr., 1848. First edition. Vol. I (all published). Oblong folio. Illustrated with a tinted lithographed titlepage and 11 tinted lithographed plates, each with accompanying leaf of text. Publisher’s brown cloth-covered boards, decorated and lettered in gilt, sometime rebacked with original spine laid down, soiling to boards, rubbing and wear along extremities; foxing to text and plates; dedication leaf creased; light staining and faint dampstaining in margins; in blue cloth fall-down-back box. From the library of William S. Reese, and with his book-plate on inner front panel of box. Sabin 45442; Deak 558

The earliest view book of Newport, Rhode Island. George Champlin Mason was a prominent Newport architect, and founder of the Newport Historical Society. In his 20s, Mason spent two years studying drawing and architecture in Europe, and upon his return to Newport, prepared the drawings for the current work. Finely printed in 12 tinted lithographs, Mason’s views “tend to emphasize--with their attention to cows, ducks, sheep, streams, and fishing--the pastoral quality of Newport’s surroundings. Even in the first lithograph, which focuses on the harbor and the city’s densely clustered buildings as seen from Fort Dunham, sheep dominate the immediate foreground” (Deak).

Very rare, according to RBH this is only the fourth copy to come to auction since 1948. OCLC locates only five institutions with copies.

Provenance

Christie’s, New York, The Private Collection of William S. Reese, Part Two, May 26, 2022, Sale 20529, Lot 206

$2,000 - 3,000

[Americana] [New York] Livingston, M(ontgomery). Views from the Hudson

Rare Suite of Lithographic Views of the Hudson Valley

No place, no date (presumed New York, ca. early 1840s). Oblong folio. Comprising lithographic title-page and four lithographic plates, loose as issued. Includes four printed sheets with extensive research on the prints and artist, by Kenneth W. Maddox, Ph.D. Custom three-quarter crimson levant over brown cloth-covered board portfolio, illustrated circular cover label; repairs along edges of title-page; scattered wear and repairs to plates; scattered light soiling in margins. From the collection of William S. Reese and with his book-plate on inner front board of portfolio.

A rare suite of lithographic views of the Hudson Valley, by Montgomery Livingston. As no publisher is listed, Kenneth W. Maddox suggests that these lithographs were created privately for members of the Livingston family, and not for commercial publication. The four views comprise “From Snake Point Clermont”; “From the County Seat of R. Auchmuty Esq., Tivoli”; “From Clermont, E.P. Livingston”; and “Clermont, R.L. Livingston”.

According to RBH, only this copy has ever been offered at auction; no copies listed on OCLC.

Provenance

Christie’s, New York, The Private Collection of William S. Reese, Part Two, May 26, 2022, Sale 20529, Lot 177

$4,000 - 6,000

[Americana] [Monroe, Marilyn] Monroe Scent Try it Today! An Alluring Fragrance For Car and Home

New Castle, Pennsylvania: Monroe MFG. Co., 1954. Rare in-store display for Marilyn Monroethemed car air fresheners; comprising 10 (of 12) pictorial multi-color and scented air fresheners, each depicting a crouching Monroe-like figure before a steaming basin, all in original cellophane packaging and attached to original pictorial cardboard display, with cardboard stand on back. Display toned and brittle; some cellophane opened or starting. Air fresheners: 4 1/4 x 2 3/4 in. (108 x 70 mm); display: 13 1/4 x 12 1/4 in. (336 x 311 mm).

A scarce and fantastic piece of Marilyn Monroe memorabilia, being a 1954 gas station car air freshener display. Featuring a Monroe-like blonde bombshell reclining across the hood of a 1950s-era car, the display exclaims, “Monroe Scent Try it Today! An Alluring Fragrance For Car and Home”, and suggesting to the buyer, “For Best Results Attach Monroe Scent Under Dash.” Attached are 10 of the original fresheners, with scents such as Lilac, Jasmin, Basin St., and Rose, all in their original cellophane. Produced to capitalize on Monroe’s fame, who at the time was one of Hollywood’s biggest stars.

$300 - 500

[Americana] [Prohibition] Americana Eight Cocktail Napkins Hand Blocked with Recipes and the Histories of Eight Famous Drinks

No place, no date (ca. 1925). First edition. Oblong 8vo. (ii), 2-17, (2) pp. With eight color pictorial hand-blocked cloth napkins, each mounted on rectos with facing letterpress text. Publisher’s quarter black paper over gold jacquardprinted boards, decorated in black and in red, scattered wear and rubbing to boards and extremities; all edges trimmed; small, partially worn label on front paste-down (“France”), possibly denoting (or obscuring) country of origin; sheets toned with scattered soiling and wear along edges; light offsetting from napkins onto facing text.

An amusing and rare Prohibition-era cocktail recipe book. Dedicated to “serious drinkers everywhere”, this book provides recipes for eight American cocktails (each listing “non-alcoholic” spirits, of course) with a short history of their origin, including the Manhattan, Blue Blazer, Deadwood Dick, Rip Van Winkle Sleeper, Belmont Park, Alabama, Barbary Coast, and the New Orleans Drip, each with a vibrant and richly colored napkin illustrating the drink.

This copy appears to be in a variant binding with a black paper spine over gold jacquard-printed boards. Furthermore, some of the napkins are printed in variant colors, as compared to other copies.

$800 - 1,200

Edward Ardizzone (British, 1900–1979)

[Americana] [Yale College] Clap, Thomas. The Annals or History of Yale-College, In New-Haven, In the Colony of Connecticut, From The first Founding thereof, in the Year 1700, to the Year 1766...

New-Haven: Printed for John Hotchkiss and B. Mecom, 1766. First edition. 8vo. (iv), 124 pp. Association copy, from the library of American physician and political polemicist Benjamin Gale, and with his signature on front blank. Full contemporary mottled brown sheep, ruled in blind, rebacked, boards and extremities scuffed, corners worn; all edges trimmed; ownership stamp of the Rev. A.C. Baldwin on front paste-down; scattered light spotting to text. Evans 10262; Howes C-423; Sabin 13212; Reese, The Struggle for North America 17

An important association copy of this early history of Yale College, written by its president, Congregational minister Thomas Clap (1703-67), and from the library of his chief political nemesis, Benjamin Gale (1715-90). Gale was an American physician, scientist, political polemicist, and Yale graduate (listed on p. 109). A justice of the peace and deputy on Connecticut’s General Assembly, he led the Old Light party as the dominant faction in Connecticut politics during the mid-18th century. As an “enemy to all sorts of Tyranny, civil military and ecclesiastical”, Gale’s “lifelong objective was to weaken the hold of the orthodox clergy upon the thought and institutions of Connecticut”, and thus, beginning in 1754, he targeted Clap, then one of the most powerful men in New England (George C. Groce, Jr., “Benjamin Gale”, The New England Quarterly, December 1937, pp. 700-701). A decade-plus long pamphlet war ensued between the men, culminating in 1766 with Clap’s resignation from the Yale Presidency. He died three months later. Clap made a “lasting and important impression on the college but, in casting up accounts, it should be remembered that Benjamin Gale contributed more than any man of his generation toward a public opinion which demanded a college free of denominational restrictions.” (Groce, p. 704).

$800 - 1,200

Original Dust-Jacket Design for “Complete Poems for Children” watercolor and ink on paper

10 7/8 x 17 5/8 in. (27.6 x 44.8 cm)

Provenance

Bonham’s London, Knightsbridge, June 15 2016, Lot 130

Literature

James Reeves, Complete Poems for Children, Heinemann, London, 1973. Dust-jacket design

Exhibited

The Stanley and Audrey Burton Gallery at Leeds University Library, Nostalgia and Progress. Illustration after the Second World War, November 2014-February 2015. Color reproduction in the exhibition catalogue

Note

Much of poet James Reeves’s (1909-78) work for children was illustrated by Edward Ardizzone (1900-79). They developed a highly successful collaborative partnership, including for this dust-jacket design for Complete Poems, which is “generally regarded as [Reeves’s] most important work” (ODNB).

$1,500 - 2,500

[Ayrton, Michael] Verlaine, Paul. Femmes/Hombres

[Art] Ernst, Max, and Piet Mondrian, and Marc Chagall, and Andre Breton, et al. Artists in Exile

New York: Pierre Matisse, 1942. 8vo. Printed catalogue for the “Artists in Exile” exhibition, held at Pierre Matisse’s gallery in New York, from March 3-28, 1942. Signed in a variety of color inks by all 14 of the exhibition’s artists, including Max Ernst, Piet Mondrian, Andre Breton, Marc Chagall, Andre Masson, Fernand Leger, Kurt Seligmann, Yves Tanguy, Jacques Lipchitz, Pavel Tchelitchew, Amedee Ozenfant, Matta Echaurren, Eugene Berman, and Ossip Zadkine. Illustrated with a photographic group portrait of the artists, by George Platt Lynes. Original stiff staple-bound yellow wrappers, printed in green.

A fine and rare copy of this catalogue for the “Artists In Exile” exhibition, signed by all 14 participating artists. The exhibition opened on March 3, 1942 at Pierre Matisse Gallery in the Fuller Building in New York City, the eponymous gallery of Henri Matisse’s youngest son. The works mounted in the show represented the cutting edge of European avant-garde, and perhaps more significantly, were each created by artists who had escaped the increasing fascism and totalitarianism in Europe. The works represented many of the modern styles that had been classified as “Degenerate Art,” including Dada, Surrealism, Cubism, and De Stijl. Many of the artists would go on to make significant postwar contributions in their fields.

$2,000 - 3,000

London: Douglas Cleverdon (for the Arcadia Press), 1972. In two volumes. First and limited deluxe edition, letter K of 15 lettered copies, for Quentin Keynes (from a total edition of 100), and signed by the illustrator Michael Ayrton. Oblong folio. Illustrated by Ayrton with an original pencil drawing, signed by him (being the first version of the frontispiece), verso with a pen and ink drawing by him; suite of 15 etched plates on hand-made paper, each numbered and signed in pencil by Ayrton; suite of 17 preliminary etched proof plates on Japon, each numbered and signed by Ayrton (including two “discarded” plates). Book illustrated with etched frontispiece and 14 etched plates of same images. Publisher’s quarter brown morocco over green morocco, front board stamped in blind with a portrait of Verlaine, spine lettered in gilt; top edge gilt, other edges untrimmed; by Sangorski & Sutcliffe. Drawing and plate suites loose as issued in paper folders; in quarter brown morocco over green cloth fall-down-back box; together in green cloth slip case.

Quentin Keynes (1921-2003) was an English writer, explorer, and bibliophile, and the son of Sir Geoffrey Langdon Keynes, great-grandson of Charles Darwin, and nephew of John Maynard Keynes.

$600 - 900

Baden-Powell, R(obert).S.S. Sketches in Mafeking and East Africa

London: Smith, Elder, & Co., 1907. First edition. Oblong 4to. xii 183, (1) pp. Presentation copy, inscribed by Baden-Powell on front free endpaper. With a printed invitation to a party at the author’s house in Pax Hill, Bentley, from the author to Major and Mrs. Wade mounted on front paste-down, and with a publisher’s postcard advertising this book tipped in at front free endpaper. Profusely illustrated. Publisher’s brown pictorial cloth-covered beveled edge boards, stamped in brown and in black, two small stains on front board, bottom front corner bumped; all edges trimmed; foxing to endpapers; two repaired short closed tears in bottom gutter edge of p. 93 and plate opposite p. 112; scattered minor soiling; old newspaper clipping regarding Baden-Powell laid in.

A handsome first edition presentation copy of Major General Robert Baden-Powell’s memoir of his travels across Africa and exploits during the Second Boer War.

$400 - 600

Leonard Baskin

(American, 1922–2000)

Head of William Blake (After Life Mask)

Bronze

Signed with Initial B (back of neck) 7 in. (17.8 cm)

Provenance

Leonard Baskin

Purchased directly from Esther Baskin, the artist’s widow

$1,000 - 1,500

Baum, L. Frank. Manuscript Letter, signed, to Ruth Plumley Thompson

[Baskin, Leonard] Blake, William. Auguries of Innocence (Northhampton, Massachusetts): Printed for the Print Club of Philadelphia at the Gehenna Press, 1959. First and limited edition, one of 250 signed copies. Presentation Printers copy, inscribed on colophon: “For Charlotte & Arthur Vershbow/E(sther). & L(eonard).” and with an original inscribed engraving laid in (“Blake: A Fragment. for C. & A. Baskin”). 12mo. 10 pp. Containing eight woodcut illustrations by Baskin. Publisher’s limp stringsewn light gray wrappers with printed label. The Vershbow’s book-plate laid in. Fern & O’Sullivan 370-77

$400 - 600

The Beginnings of the Second Generation of Oz: L. Frank Baum Warmly Writes to Ruth Plumly Thompson, the Successor to His Wizard of Oz Series “One cannot be very lonely if they have books for friends”

Hollywood, January 1919. One sheet, 11 x 8 1/2 in. (279 x 216 mm). One-page manuscript letter, in the hand of Maude Gage Baum, signed by L. Frank Baum on his personal “Ozcot” stationery, to Ruth Plumly Thompson: “Dear Ruth--I have written twelve Oz books--as well as many other stories--and I write one each year-This years book will be called the Magic of Oz, and will be ready next fall--One cannot be very lonely if they have books for friends--reading passes so much time away--Thank you for your suggestions for another book--I hope your book will be a great success I know you are enjoying writing it. Sincerely yours L. Frank Baum.” Creasing from when folded. Lot includes three letters (two autograph, one typed) and seven Christmas cards, all from Thompson to Alla Ford, as well as a group of 9 letters or ephemera also addressed to Ford, from Baum family members and Oz illustrator Dick Martin.

A fine letter of deep association, L. Frank Baum writes to Ruth Plumly Thompson-the children’s book writer who was chosen by publisher Reilly & Lee to succeed Baum as the author of his beloved Wizard of Oz series. Prior to the discovery of this letter--written only four months before Baum’s death--there was no known direct link between the two writers, and as such it provides perhaps a singular documentary connection between them, and serves as a prelude to the passing of the Oz-iana flame to a second generation.

Thompson was only 29 years old in 1920 when she agreed to continue the Oz series and become the second “Royal Historian of Oz”. At the time she was known for her children’s page in The Philadelphia Public Ledger, as well as for her own fantasy stories, which had caught the attention of fellow Philadelphian William F. Lee, partner of Baum’s Chicago publisher. Between 1921-39, Thompson contributed 19 books to the Oz series, releasing one every year--five more than Baum himself wrote. While Baum’s original novels were never intended particularly for children, Thompson embraced that audience, while adding her own unique voice, including elements of humor and romance. Her style proved to be “inventive, amusing, and sufficiently authentic to delight children who wanted to hear more about Oz”, and continued the series’ financial success (Rogers, L. Frank Baum, Creator of Oz, 2002, p. 250).

The Magic of Oz was published in 1919, and was the last penultimate Oz book written by Baum. The final Oz book, Glinda of Oz, was posthumously published in 1920. Thompson’s first Oz book was The Royal Book of Oz, published in 1921. In the months leading up to Baum’s death, he was too infirm to pen his own letters, and recited them to his wife who transcribed them.

Alla T. Ford was a children’s book scholar, noted for her works on Baum and Oz in particular, and was a founding member of the International Wizard of Oz Club. She published several Oz-related references, including Musical Fantasies of L. Frank Baum (1958), High Jinks of L. Frank Baum (1958), Unusual Flying Objects in Oz (1979), as well as non-Oz related work like Joys of Collecting Children’s Books (1968).

$6,000 - 9,000

Ludwig Bemelmans (American/Austrian, 1898–1962)

And Dragged Her Safe from a Watery Grave, 1953 ink, watercolor, gouache on board

22 3/4 x 16 3/4 in. (57.8 x 42.4 cm)

Provenance

The artist Private collection, acquired from the above, 1953

Literature

L. Bemelmans, Madeline’s Rescue, New York, 1953, illustrated

Note

Depicting the pivotal scene of Madeline’s rescue from the Seine River. From the second of the Madeline books, which was awarded the Caldecott Medal for illustration in 1954, the only one of Bemelmans’s books to be awarded the medal.

$20,000 - 30,000

Blake, Peter. Frankenstein

(1987). Off-set lithograph on wove paper, signed in pencil by Blake. From the edition of 48, printed and published by the Royal College of Art, London. 12 x 12 in. (304 x 304 mm). From the collection of Michael Stokes.

Depicting Boris Karloff as the Monster, and Colin Clive as Dr. Frankenstein, from the famed 1931 Universal Pictures film Frankenstein

Stokes worked with renowned British artists such as Blake, Terry Frost, and John Hoyland, in his capacity as a Screenprint Instructor at the Royal College of Art.

$100 - 150

[Blake, William] [Virgil]

Blake, Peter. The Letter X (London: Coriander Studio and the Paul Stolper Gallery, 2007). Color screen-print on thick wove paper, signed by Blake in pencil, bottom right; numbered by him, bottom left, #36/60. 20 1/2 14 3/4 in. (514 x 375 mm).

The letter “X”, from Peter Blake’s ABC portfolio, An Alphabet.

$300 - 500

The Pastorals of Virgil, With a Course of English Reading, Adapted for Schools: In Which All the Proper Facilities are Given, Enabling Youth to Acquire the Latin Language, in the Shortest Period of Time...

London: Stereotyped and Printed by J. M’Gowan. Published by F.C. & J. Rivingtons, et al., 1821. In two volumes. Third edition (first William Blake edition). 8vo. xii, 12, v-xxiv, 214; (ii), 215-592 pp. Edited by Robert John Thornton. Profusely illustrated with wood- and steel-engraved plates, including 27 (on 13 leaves) by or after William Blake. Full 19th-century tan calf, decorated in blind and in gilt, rebacked with original spines laid down, boards and extremities lightly worn; blue speckled edges; armorial book-plate of George R. Gardner on front paste-down of each volume; light offsetting from plates; scattered minor spotting. Bentley & Nurmi 411; Keynes 77

A lovely set of Robert John Thornton’s translation of Virgil, the first edition with illustrations by William Blake, and Blake’s first foray into the medium of wood-engraving. Although Thornton was critical of Blake’s work, deemed by him to be unconventional, he nonetheless included them at the behest of John Linnell--Blake’s patron-- Sir Thomas Lawrence, and others. Beneath the frontispiece for the “Imitation of Eclogue I” (facing p. 13), Thornton has written, “The illustrations of this English Pastoral are by the famous Blake, the illustrator of Young’s Night Thoughts and Blair’s Grave; who designed and engraved them himself. This is mentioned, as they display less of art than genius, and are much admired by some eminent painters.” Blake’s wood-engravings proved to be some of his most influential work, inspiring the likes of George Richmond, Edward Calvert, and Samuel Palmer, the latter who called them, “visions of little dells, and nooks, and corners of Paradise.”

$6,000 - 9,000

[Books] Nicholls, Sutton. The Compleat Auctioner

The Earliest Printed Depiction of a Book Auction (London, 1700). Engraving on laid paper. Scattered spotting; scattered short repaired tears along edges. 11 1/4 x 7 7/8 in. (286 x 200 mm). In 19th-century frame, 14 5/8 x 11 1/4 in. (371 x 286 mm). British Museum, Personal and Political Satires 1415

A very rare engraving of the earliest printed depiction of a book auction. Engraved by London draughtsman Sutton Nicholls, the print shows an open air book auction in Moorfields, with a group of men and women perusing a table lined with dozens of soon-to-be auctioned books. Above the figures hangs a sign reading, “A Choice Collection of Books being the Library of the late famous Unborn Doctor, are to be put to Sale this Day, and to continue untill all be Sold...Cattalogues may be had at most of the eminent Booksellers in the four Quarters of Moorfeilds Gratis. the Books may be Seen before or at the time of Sale...” The books that line the stall’s table show remarkable breadth, including esteemed works like Peter Heylyn’s Cosmographie, to works of religious radicalism by Lodowicke Muggleton, censored works like Richard Head’s The English Rogue, erotic works like the Play of Sodom, The School of Venus, or The Ladies Delight, and Aristotle’s Masterpiece, as well as others like Thomas Middleton’s The Family of Love, standard medical works of the period like Culpepper’s Compleat and Experience’d Midwife, and various titles including Don Quixote and John Ogilby’s America. Below the image is a printed eight line satirical verse: “Come Sirs, and view this famous Library, ‘Tis pity Learning shou’d discourag’d be: Here’s Bookes (that is, if they were but well Sold) I will maintain’t are worth their weight in Gold Then bid apace, and break me out of hand: Ne’er cry you don’t the Subject understand: For this I’ll say--howe’er the Case may hit, Whoever buys of me,-I teach ‘em Wit.”

Book auctions first gained popularity in 17th century Netherlands and Italy, with the first appearing in England in 1676. As Brian Cowan notes, this print reflects a satiric response to this emerging market, and was created to skewer “the pretensions to learning harbored by both the auctioneers and their many customers”. As he explains, “the auction was a prominent target of satire because it offered such a public display of the buying and selling of precious objects that were thought to be outside the gritty realm of commerce.” (Cowan, The Social Life of Coffee, 2008, pp. 141-142). This satiric nature is exhibited in the verse below the image, and is alluded to in the name of the collector whose books are to be auctioned, the so-called “Unborn Doctor”. This name also appears in a contemporary engraved broadside, “The Speech of Waltho Van Claturbank” (1700), and whose usage appears “to have represented a not uncommon pretension of quacks at this period” (BM 1415).

Sutton Nichols (1668-1729) was an English draughtsman and engraver, active in London during the end of the 17th and early 18th century. Known for his bird’s-eye views of London, he worked for map publishers such as Philip Lea, Robert Morden, Edward Wells, Henry Overton, Thomas and John Bowles and others.

Very rare. According to RBH, this is the only example sold at auction. We can locate only one institutional copy, in the British Museum.

$12,000 - 18,000

[Books] Cockerell, Douglas. Some Notes on Bookbinding

London: Humphrey Milford,/Oxford University Press, 1929. First edition, presentation copy, inscribed on front free endpaper “To J. Barcham Green From the author Douglas Cockerell Dec. 9th 1907.” 12mo. (x), 105, (1) pp. Publisher’s binding of quarter tan cloth over marbled paper-covered boards, all edges trimmed; Light scattered foxing.

Fine association copy of a treatise on the art of bookbinding, inscribed by its author, the famous bookbinder Douglas Cockerell (1870-1945) to J. Barcham Green of the famous English papermaking family.

$400 - 600

[Books] Nicholson, James B. A Manual of the Art of Bookbinding: Containing Full Instructions in the Different Branches of Forwarding, Gilding, and Finishing. Also, The Art of Marbling Book-Edges and Paper...

Philadelphia: Henry Carey Baird, 1856. First edition. 12mo. iii, 318, (3) pp. Illustrated with 12 engraved plates, 7 marbled paper samples, and numerous in-text illustrations. Three-quarter brown morocco over marbled paper-covered boards, joints lightly worn; all edges marbled; scattered light foxing to text.

A fine first edition of the first practical American bookbinding manual.

$300 - 500

Boswell, James. The Decision of the Court of Session, Upon the Question of Literary Property; In The Cause John Hinton of London, Bookseller, Pursuer; Against Alexander Donaldson and John Wood, Booksellers in Edinburgh, and James Meurose Bookseller in Kilmarnock, Defenders. Published by James Boswell, Esq; Advocate, One of the Counsel in the Cause

Edinburgh: Printed by James Donaldson, for Alexander Donaldson, 1774. Second edition (with “shop” in imprint). 4to. (ii), iv, 37 pp. Three-quarter blue morocco over marbled paper-covered boards, spine stamped in gilt; all edges trimmed; soiling in top and bottom text edges. From the library of Edward R. Leahy (Christie’s, his sale, Part II, December 7, 2022, Lot 137). Rothschild 451; Pottle 50 (first edition)

Handsome copy of this work regarding the important literary copyright dispute, Hinton v. Donaldson. The suit was brought by London bookseller John Hinton, against Scottish booksellers Alexander Donaldson, John Wood and James Meurose, claiming the three men had violated his common law copyright by republishing an edition of a work by Rev. Thomas Stackhouse. James Boswell and John MacLaurin represented Donaldson, and published this text of the opinions of the judges of the Scottish Court that ruled in the defendant’s favor, while the case was being appealed in London.

$600 - 900

Louis-Maurice Boutet de Monvel

(French, 1850–1913)

Sketch of a Boy ink on paper

signed B.M. (lower right)

8 1/2 x 6 in. (21.6 x 15.2 cm)

Provenance

Sotheby’s Paris, Collection Boutet de Monvel, April 6, 2016, lot 184 (offered as part of a group lot Etudes pour des enfants)

$500 - 800

Louis-Maurice Boutet de Monvel (French, 1850–1913)

Two Children ink on paper

Signed B.M. (lower center)

9 1/2 x 9 1/4 in. (24.1 x 23.5cm)

Provenance

Sotheby’s Paris, Collection Boutet de Monvel, April 6, 2016, lot 184 (offered as part of a group lot Etudes pour des enfants)

$600 - 800

Eleanore Vere Boyle (British, 1825–1916)

But he was only sunk in a dream of delight, 1868 watercolor

7 x 5 7/8 in. (17.8 x 14.9 cm)

Provenance

The artist’s family Maas Gallery, London Acquired from the above, 1980s Literature

Sarah Austin, Translated from the German of Carové, The Story without an End, Sampson Low, Marston, Low, and Searle, London, 1868, p. 5. (lithograph)

Note

This original watercolor illustration was given to Leighton Brothers engravers to translate into the color lithographs used in the first edition of the book The Story without and End.

$6,000 - 9,000

[Bradbury, Ray] Crime SuspenStories

New York: E.C. Comics/L.L. Publishing Co., Inc., February-March, 1953. Vol. 1, No. 15. Edited by William M. Gaines and Albert B. Feldstein. Featuring story art illustrations by Jack Kamen, George Evans, and Graham Ingels. Original illustrated limp printed wrappers, by Johnny Craig, loss in top corner of rear wrapper; sheets toned; small loss in bottom corner of first sheet, not affecting images.

Featuring an E.C. Comic adaptation of Ray Bradbury’s “The Screaming Women”.

$150 - 250

Sir Frank Brangwyn (British, 1867–1956)

View of an Old Bridge Pen and Gouache on paper

Signed with monogram FB (lower left) 6 1/2 x 9 3/4 in. (16.5 x 24.7cm)

Provenance

Collection of Eva and Glyn White

Literature

Frank Brangwyn and Christian Barman, The Bridge A Chapter In The History of Building, John Lane & Dodd, Mead and Co, London 1926, p. 39, illustrated

$1,000 - 1,500

Sir Frank Brangwyn (British, 1867–1956)

Sermon at the Synagogue

Pencil, pen, ink white, and brown wash on wove paper

Signed with initials F.B. (lower right) 7 1/4 x 6 1/8 in. (18.4 x 15.5cm)

Provenance

Forum Auctions, November 19, 2020, lot 446

Note

This work is a study for the drypoint etching of the same title.

$300 - 500

40 Burgess, Gelett. Original Frontispiece Illustration for “The Burgess Nonsense Book”

Brunhoff, Jean de. Le Voyage de Babar

Paris: Editions du Jardin des Modes, (1932). First edition, advance proof copy, inscribed by the author on title-page: “Maquette en noir- L’ouvrage definitif sera en couleurs et se presentera exactement comme l’Historie de Babr.” Folio. 48 pp. Publisher’s quarter yellow cloth over printed pictorial boards, splitting in spine, extremities rubbed; later hand-coloring to three leaves.

Rare advance proof copy of the second title in the Babar the Elephant series, with Brunhoff’s handwritten inscription on title-page.

$2,000 - 3,000

(New York, 1901). Black and red ink and pencil, on three sheets of paper, mounted to board; manuscript notations along margins noting size (“4 1/2 inches) and printing colors (“If this is printed in 2 colours fill in all the Hair and Whiskers Solid Red”); pencil notations on verso. 11 1/2 x 8 1/4 in. (292 x 209 mm). In frame, 12 3/4 x 9 3/8 in. (324 x 238 mm).

A fine pen and ink illustration by American artist and humorist Gelett Burgess (1866-1951), created for the frontispiece of The Burgess Nonsense Book...A Complete Collection of the Humorous Masterpieces of Gelett Burgess (New York: Frederick A. Stokes, 1901). Titled “Nonsense is the Fourth Dimension of Literature”, Burgess’s illustration depicts one of his famous humanoid troublemakers, the Goops. The grinning round-headed figure stands at the front of a classroom, instructing students in the art of nonsense (the book version of this illustration is captioned the “Nonsense School”), and points to a chalkboard adorned with Goop-like figures, many of whom feature in the book, such as the “Muse of Nonsense” and the “Alphabet of Famous Goops.” Also shown is in an image replicating Burgess’s most famous nonsense poem, “The Purple Cow”. Six students in the fore-ground are shown in various states of attention, either reading, sleeping, drawing the Goop figures, and one sitting with her mouth slightly agape.

This image was first used as the cover for the The Nonsense Almanack for 1900 (1899), and reused here, with slight alterations, for the frontispiece for The Burgess Nonsense Book (1901).

The Goops were among Burgess’s most famous, and peculiar, creations, and first appeared in the late 19th-century in publications such as Burgess’s The Lark and the children’s periodical St. Nicholas. Characterized by their sphereshaped heads and mischievous behavior, the Goops were set among everyday people, and as “repositories of all that is naughty” (Stein, Disgusting Lives, The Paris Review, 2014) stood in stark contrast to acceptable child manners. They first appeared in book-form in 1900, in Goops and How to Be Them, and then in The Burgess Nonsense Book (1901). They then appeared in More Goops and How Not to Be Them (1903), and in other publications up until the 1950s.

Lot includes a copy of The Nonsense Almanack for 1900 (New York: Frederick A. Stokes Company, 1899).

$4,000 - 6,000

[Business & Industry] Mitsu Bishi Mail Steam Ship Company Broadside (Yokohama, Japan), 1877. Printed broadside, 16 1/4 x 12 in. (mm). Timetable listing service on the Mitsu Bishi Mail Steam Ship Line between Yokohama and Shanghai from July-December, 1877. Creasing from old folds, a few marginal tears repaired with cello-tape on verso, paper loss to left margin repaired, scattered light foxing.

Scarce broadside relating to the origins of the Mitsubishi Corporation and the birth of modern industrial Japan, printing the service schedule of its flagship shipping route--with one of the earliest examples of its iconic three-diamond logo.

The Mitsubishi Steamship Company operated Japan’s first passenger line service, as well as its first overseas shipping route, between Yokohama and Shanghai, beginning on February 3, 1875. Founded in 1870 by Iwasaki Yataro as the Tsukumo Shokai shipping firm, it grew at an incredible pace, changing names in 1872 to Mitsukawa Shokai, and in 1874 to Mitsubishi Shokai. In 1885 it merged with Kyodo Unyu Kaisha, becoming Nippon Yusen Kabushiki Kaisha (Japan Mail Steamship Company), as it is known today. Mitsubishi’s rapid growth reflected its astute business practices, its diversification into related fields of production including coal mining, warehousing, shipbuilding, insurance, and banking, as well its symbiotic relationship with the Meiji government. By 1880 Mitsubishi was the largest shipping company based in East Asia, and by the turn of the century it operated one of the largest shipping lines in the world.

This rare broadside reflects an important moment in the company’s history, depicting the service schedule of its flagship route, at moment when it was attaining regional dominance, and helping solidify Japan’s economic revolution in the second half of the 19th-century.

$500 - 800

[Business & Industry] Well-Known Raw Silk Producers and Their Trade Marks “Empire of Japan” Compiled for Louisiana Purchase Exposition 1904

Tokio: The Japan Sericultural Association, 1904. 4to. (xvi), 23 pp., 24-166 ff., 18 pp. Profusely illustrated with chromolithographs depicting Japanese silk producer trademarks. Publisher’s stiff chromolithographed wrappers, original blue silk ties, orange kadogire, extremities and wrappers lightly worn, small chip to lower rear corner; all edges trimmed; typed slip from Morimura, Arai & Co., laid in, sending the present book as compliments from the publisher; ownership ink stamp of the Zürcher Handelskammer (Zurich Chamber of Commerce) on title-page; in green cloth fall-down-back box.

Rare survey of early 20th century Japanese silk producers, prepared for the 1904 Louisiana Purchase Exposition. Featuring dozens of finely printed chromolithographs showing their often elaborate and highly decorative trademarks, as well as an overview of the Japanese silk industry and its history.

Morimura, Arai & Co., was a Japanese silk export business established in the 1890s by Arai Ryoichiro, in partnership with Ichizaemon Morimura. A counterpart of Ryoichiro’s other silk business, Yokohama Kiito Gomei Kaisha, Morimura, Arai & Co. handled direct sales to the United States, and by 1908 accounted for 30% of all silk exports to the United States and cotton imports from the United States to Japan.

A near-fine copy.

$800 - 1,200

Butler, Ellis Parker. Group of 2 Inscribed Editions of “Pigs is Pigs”

Butler, Ellis Parker

Pigs is Pigs

Chicago and New York: (Printed for private distribution by Railway Appliances Company December, 1905). First edition. Square 12mo. Unpaginated (20 pp.). Signed and inscribed with a verse by the author on inner front wrapper, and with a doodle of a pig by him: “’Pigs is Pigs’ in Flushing And ‘Pigs is Pigs’ in Cork, but ‘Pigs ain’t Pigs’ in butchers’ shops Because their pigs is pork.” With a typed letter, signed by the author tipped onto title-page, to author George Barr McCutcheon, regarding this copy of this “prior to First Edition” printing, as well as the below second edition; with a small doodle of a pig, also by the author. Text printed in black and in red. With illustrations by Will Crawford. Publisher’s stiff pictorial wrappers, printed in red and in black; book-plate of Lillian Gary and Robert C. Taylor on inner front wrapper, armorial book-plate of McCutcheon on same; in quarter red morocco and red cloth slip case and chemise; book-plate of Robert S. Pirie on inner front board of chemise.

Together with:

Butler, Ellis Parker Pigs is Pigs

Chicago and New York: (Printed for private distribution by Railway Appliances Company...January, 1906). Second Edition. Square 12mo. Unpaginated (20 pp.). Signed and inscribed with a verse by the author on inner front wrapper, and with a doodle of a pig, and self-portrait, by him: “I cannot draw a perfect pig, As you can plainly see, But I should worry! Neither can A perfect pig draw me.” Text printed in black and in red. With illustrations by Will Crawford. Publisher’s stiff pictorial wrappers, printed in red and in black; same book-plates as above; in matching chemise, and housed in above slip case.

Fine inscribed copies of these two privately printed editions of Ellis Parker Butler’s highly popular story of a railway agent and his guinea pig woes, preceding the 1906 “first edition” by five months. As Butler explains in his typed letter included here, the “first edition” published in April 1906 by McClure, Phillips & Co., etc., was actually preceded by this very edition. “It seems that when ‘Pigs is Pigs’ appeared in the American Mag. in Oct 1905 it attracted some attention, and a concern named The Railway Appliances Company, Succeeding Q & C Company, Chicago and New York, hastened to ask permission of the Colver Publishing Co. for the right to use the story. This permission was granted and the story was published as a booklet...The booklet was in such demand that they printed a ‘second edition’...These are, therefor, ‘prior to First Edition’ printings, and I have two copies of each. I think they must be very rare by this time--I never saw any copies but those I have...”

Lot includes a copy of the first hardcover book edition (New York: McClure, Phillips & Co., 1906). With the morocco book-plate of Barton Currie on front paste-down, as well as the book-plate of Robert S. Pirie. In fall-down-back box. Lot also includes an issue of American Illustrated Magazine for September 1905, the first appearance of Butler’s story in print.

$800 - 1,200

44 Carpenter, Edward. Autograph Manuscript for “The Ballad of the Bodkin & the Muskett” (Likely Manchester), ca. 1917. Autograph manuscript for The Ballad of the Bodkin & the Muskett, signed at the conclusion by the author, English poet Edward Carpenter. Four sheets, manuscript on rectos only. Inscribed on verso in another hand, “Sept. 1917 Sent by E.C.” Extremities of pages lightly browned; rust stain from now removed paper clip at top left. 8 7/8 x 6 7/8 in. (225 x 175 mm).

Lot includes a photogravure of Carpenter, with facsimile signature. 7 1/2 x 5 in. (190 x 127 mm).

The Ballad of the Bodkin & the Muskett was one of three ballads published in a privately printed collection by Carpenter in 1917 (see Lot 45). The poem was written in response to British politician E.D. Morel’s arrest, a well-known pacifist, who was charged with corresponding and sending publications to a neutral nation (Switzerland) during World War I.

Together with:

Salt, Henry S.

The New Leader. Henry Salt on Edward Carpenter. Revelations in Personal Letters. No place, July 1, 1932. Four-page typescript, being an affectionate essay by Henry S. Salt on Edward Carpenter after the latter’s death. Some manuscript corrections to text. Creasing from old folds, scattered stains, “E.C.” written in blue ink at top left.

Henry S. Salt (1851-1939) was a British author and social reformer, and an early advocate for animal rights. Salt first read Carpenter’s works while a student in college, and the two later became friends when Salt moved nearby to Carpenter in Millthorpe.

$1,200 - 1,800

45 Carpenter, Edward. Three Ballads (an Intermezzo in War time)

(Manchester: Printed by S. Clarke Limited), 1917. First edition. Presentation copy inscribed by Carpenter on title-page, “A.T. Bartholomew / from E.C. / Xmas 1917.” 12mo. (15) pp. Publisher’s limp printed string-sewn wrappers; ownership signature on verso of front wrapper.

Scarce first edition of Edward Carpenter’s privately printed collection of three World War I ballads.

Augustus “Theo” Bartholomew (1882-1933) was a librarian at Cambridge University, and was close friends with Carpenter and other contemporary poets such as Siegfried Sassoon, Ralph Chubb, and Charles Sayle.

Rare. According to RBH, we can only locate only one other copy of this work in the auction record since 1938.

$1,500 - 2,500

Carroll, Lewis (Charles Lutwidge Dodgson). Alice P. Liddell and Fern

Lewis Carroll’s Hand-Colored Presentation Photograph of Alice Liddell—His Muse and Inspiration For Alice’s Adventures in Wonderland

The Deanery Garden, Christ Church, Oxford, July 1860. Presentation albumen print of Alice Liddell, hand-colored at Dodgson’s direction and presented to the Liddell family. Mounted to card. Print: 5 3/4 x 5 1/2 in. (146 x 140 mm). Original oval-shaped green velvet lining over modern oval mat, in contemporary gilt wooden frame, 11 1/2 x 10 in. (292 x 254 mm). Portion of original framer’s label mounted on reverse (“J. Peake & Sons, 276, Westminster Bridge Rd”). The entirety housed within larger modern frame. Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonne IN-0613, No. 3

Charles Lutwidge Dodgson (Lewis Carroll) took this photograph of eight-year-old Alice Liddell in the Deanery Garden at Christ Church, Oxford, in July 1860. Dodgson, a mathematics lecturer and former student at Oxford, began photographing Henry and Lorina Liddell’s four children in the spring of 1856, shortly after Henry’s appointment as dean of Christ Church. It was not long after their arrival that Dodgson purchased his first camera and took up photography, an activity he would pursue for the next 25 years. During the early years of his photographic activities the Liddell children were some of his earliest and most frequent subjects, and Alice, in particular, one of his favorite photographic models. Over the course of their friendship, Dodgson came to hold Alice in the highest esteem, and later in life described her as his “ideal child-friend”. It was only two years following this photograph that she would inspire Dodgson to pen his beloved story, Alice’s Adventures in Wonderland, which would immortalize her forever.

From 1856-1870 Dodgson took approximately 35 known photographs of the Liddell children, the majority in the Deanery Garden. Of these photos, 11 were solely of Alice, who Dodgson shot in a variety of tableaux and costumes. The above image of Alice seated beside a potted fern was the tenth photograph Dodgson took of her. Compared to the first, taken in June 1857, and showing a slightly blurry half-length Alice in a chair, this image shows Dodgson’s increased mastery of the medium, showing a full-length Alice in a more intentional and symbolic composition (in the Victorian language of flowers, ferns represented sincerity and fascination). It was the penultimate image of Alice that Dodgson ever took, and the last before his and the Liddell family’s abrupt falling out, in the summer of 1863 (Dodgson’s final image of Alice was taken 10 years later, on June 25, 1870).

As Dodgson was eager to please Alice’s parents, he frequently gifted them photographs he took of their children. For particularly special photographs, Dodgson sometimes arranged for their hand-coloring by professional artists, and presented them to the family. This print is one of those special few, and is one of only two known examples of this image that he had hand-colored and then gifted to Alice and the family. Overall, it is one of only four known photographs Dodgson took of Alice that he similarly arranged to be hand-colored and then gifted to them. The other example of this image is a smaller half-length cased version (about 4 x 3 in.; 102 x 76 mm), and is currently in a private collection. The other two hand-colored examples of Alice are of her as the “Beggar Maid” (1858), one in the Berg Collection at NYPL, and the other in a private collection.

This print is one of only eight known examples of this photograph to currently exist. The others comprise: two in albums in the Parrish collection at Princeton University; the cased and hand-colored example mentioned above; one framed carte-de-visite and one within a triptych, both shared between the National Media Museum and the National Portrait Gallery, United Kingdom; one in an album in the Serge Kakou collection, Paris; and the print used in the Alice’s Adventure Under Ground manuscript, now in the British Library. Edward Wakeling notes one final example, whose last recorded sale was by C.A. Stonehill, London, 1935-36, but whose current location is unaccounted for.

Along with the “Beggar Maid” image, this is the most well-known photograph Dodgson captured of Alice, and perhaps more than any other he took of her, is the one that is most intimately connected to the stories that bear her name. It was on a “golden afternoon” on July 4, 1862 that Dodgson took Alice and her sisters for a boat trip up the Thames, during which he entertained them with an extemporaneous fairy tale of a girl named Alice and her adventures in Wonderland. Enthralled by the story, the real Alice urged Dodgson to write it down for her, which he did over several drafts in the following months. Despite the family’s cooling of relations in 1863, for a Christmas gift in 1864 Dodgson prepared for Alice a special manuscript version of the story, adorned with his own painstakingly drawn illustrations, and which he called Alice’s Adventures Under Ground. As a coda, at the bottom of the final page, Dodgson made an ink drawing of Alice’s portrait. Apparently dissatisfied with the result, he took a print of the present image, trimmed it down to show only Alice’s head, and pasted it over the drawing. It was a significant gesture in appreciation of their friendship, without which the story would perhaps never have been set to paper.

Dodgson would go on to expand the manuscript version, and in 1865, publish it under his pseudonym, Lewis Carroll, as Alice’s Adventures in Wonderland An instant bestseller, it has become enshrined as the greatest children’s story ever written, and cemented Dodgson’s reputation as a writer. For Alice, she kept some correspondence with Carroll over the years, but they largely led separate lives, and she evaded public recognition as his muse until much later in life. At Christ Church she was tutored by John Ruskin, and in 1880 she married Reginald Hargreaves, a former pupil of Dodgson’s, and had three children. In 1932, then 80-years-old, she reminisced about her many photographic sessions with Dodgson as a child, writing, “We used to sit on the big sofa on each side of him while he told us stories, illustrating them by pencil or ink drawings as he went along...He seemed to have an endless supply of these fantastical tales...When we were thoroughly happy and amused at his stories, he used to pose us, and expose the plates before the right mood had passed...Being photographed was...a joy to us and not a penance as it was to other children. We looked forward to the happy hours in the mathematical tutor’s rooms...”

Provenance

Charles Lutwidge Dodgson (Lewis Carroll)

Alice Liddell and family, thence by descent in the family

Sotheby’s, London, Lewis Carroll’s Alice: The Photographs, Books, Papers and Personal Effects of Alice Liddell and Her Family, Sold by Order of The Trustees of the Alice Settlement, June 6, 2001, Lot 6

From the collection of Justin G. Schiller, purchased at above sale

$50,000 - 80,000

Carroll, Lewis (Charles Lutwidge Dodgson). Autograph Letter, signed

The Residence, Ripon (North Yorkshire, England), January 12, 1867. Two sheets folded to make eight-pages, 7 x 4 1/2 in. (178 x 114 mm). Lengthy sevenpage autograph letter, signed by Lewis Carroll to Georgina Mary Balfour (“Gina”), regarding photographs taken of her and her family members by Carroll. Creasing from when folded; scattered light spotting. Published in The Letters of Lewis Carroll (Cohen, Vol. I, pp. 96-98)

A lengthy Lewis Carroll letter concerning his photography of children.

Carroll writes to Georgina “Gina” Mary Balfour (1851-1929), accounting for his actions in regards to her “violent & passionate letter” concerning his supposed failure to send her an order of photographs--one that he can find no record of, and of one photograph he cannot remember ever taking. Gina was the daughter of James Leycester Balfour, headmaster of Kepier Grammar School in Durham, whose family was friends with Carroll from his childhood.

The letter opens, “On receiving your violent & passionate letter this morning, I immediately telegraphed to my printer in London (who I thought must be to blame in the matter) the following message ‘O.W.H.H.’ (I need hardly tell you that those letters are always understood by the Telegraph Company to mean ‘Off With His Head’) and in less than an hour I received the following answer ‘I.I.D.’ (you know of course that these letters stand for ‘It Is Done.’) However, I found afterwards that he had not been so much in fault as I supposed, & I regretted having sent such a hasty order--but let us quit this painful subject.” Carroll took numerous photographs of Gina and her family throughout the 1860s, and here systematically lists all ten of the photos he took of them, as well as noting two orders he had since received from her, prefacing that Gina, “had better rub up your spectacles, & drink a little ‘eau sucre’ to get your head clear--ahem!”

He further notes to Gina that her mother had given him permission to give a photograph of her to his close friend at Oxford, Robert Godfrey Faussett.

Toward the end of the letter Carroll proposes that Gina bring her baby sister to Oxford, so that he may again photograph them, noting that he had photographed a colleague’s baby the previous summer, “bringing her at her sleeping-time, so that she was easier to take than most grown-up people are.” Carroll finishes the letter asking, “is it the right thing to send love to a person, & then sign yourself ‘yours truly’? I doubt it I think a letter should warm up towards the end, & not cool down...”

According to Carroll biographer Morton N. Cohen, there is no indication that Carroll met the Balfour family again following this letter.

$4,000 - 6,000

Carroll, Lewis (Charles Lutwidge Dodgson). Autograph Letter, signed The Chestnuts, Guildford (Surrey, England), August 22, 1869. One sheet folded to make four pages, 6 1/4 x 4 in. (159 x 102 mm). Four-page autograph letter on mourning stationery, signed by Carroll to his child-friend Isabel Standen, regarding their first meeting, the previous day, in the public gardens in Reading, and describing in the third person his friend “Lewis Carroll” who wishes to send her a book (Alice’s Adventures in Wonderland); with two small drawings by Carroll, of a map and of a puzzle. Creasing from when folded, small separations along same with two small repairs. An incomplete version of this letter is published in The Letters of Lewis Carroll (Cohen, Vol. I, pp. 137-38).

Lewis Carroll’s first letter to 10-year old Isabel Standen (1859-1941), a child-friend he had met the previous day, and who would go on to be a lifelong correspondent and sometime photographic subject.

Carroll opens his letter writing, “Though I have only been acquainted with you for 15 minutes, yet as there is no one else in Reading I have known so long, I hope you will not mind my troubling you.” Carroll was travelling by train from Oxford to Guildford, when he was delayed in Reading, and decided to spend time in the Forbury Gardens. There he met Isabel and her sister Maud, and entertained them with puzzles and games. As Isabel later recalled of the meeting, Carroll, “took me on his knee and showed me various puzzles that he always carried about with him...One puzzle he showed me was to draw three interlaced squares without taking the pen from the paper or going over the same line twice...Another was to make figures of men and women from five dots, which he did most cleverly. (Cohen, Lewis Carroll: A Biography, 1995, p. 399). Here, Carroll recounts their initial meeting, and his visit to a nearby bookstore, whose name he cannot remember. Seeking Isabel’s help in contacting the owner, he draws a map of its location.

Carroll continues by cleverly indicating to Isabel that his dear friend, Lewis Carroll, was also present in the garden (“not a yard off”), noting that he has “known him all my life (we are the same age) & have never left him”. He also tells Isabel that “Carroll” would like to send her a book--which he did two days later--a presentation copy of Alice’s Adventures in Wonderland. Carroll signs this letter “Your 15-minute friend”, and in a post-script, asks if she had succeeded with the three-square puzzle game, drawing his own three interlaced squares.

Carroll would go on to photograph both Isabel and Maud in Oxford, but their relationship largely continued via correspondence. Recalling in her memoir Lewis Carroll as I Remember Him (The Queen, 1932), Isabel writes, “I am proud to think that the friendship formed when I was a child lasted long after I had ‘put away childish things’. In a letter he wrote me once (in his favourite purple ink), he said ‘I always feel specially grateful to friends who, like you, have given me a child-friendship and a woman-friendship, too. About nine out of 10, I think, of my child-friendships get shipwrecked at the critical point ‘where the stream and river meet’, and the child-friends, once so affectionate, become uninteresting acquaintances.’”

$2,000 - 3,000

Carroll, Lewis (Charles Lutwidge Dodgson). Two Albumen Photographs of Alexandra “Xie” Rhoda Kitchin Circa 1870 and 1873. Comprising two albumen prints, The Prettiest Doll in the World (1870) and Xie Kitchin (Danish) (1873), mounted to page removed from the “Kitchin Family Book”, an album compiled by Vernon Parry Kitchin, great-nephew of Xie’s father, the Rev. George William Kitchin. Album leaf inscribed at top with a transcript of a letter, from Rev. Kitchin to Vernon, describing Carroll’s relationship with his father and Xie; newspaper clipping mounted to same, referring to the auction of Xie’s copy of Alice’s Adventures in Wonderland (March 22, 1926); further manuscript caption at bottom left, “These two photos were taken by ‹Lewis Carroll’ (Rev. C.L. Dodgson) author of ‹Alice in Wonderland’ &c, who was a great friend of the family.” Four albumen prints mounted to verso, by various photographers, two showing Xie, the other two showing other Kitchin family members. Includes a second sheet from the same album, mounted with four mounted albumen prints, by various photographers, showing various Kitchin family members. The Prettiest Doll in the World: 4 5/8 x 2 7/8 (117 x 73 mm); Xie Kitchin (Danish): 5 1/2 x 4 in. (140 x 102 mm), on 12 x 10 in. (305 x 254 mm) sheet. Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné, 1893 and 2132

Alexandra “Xie” Rhoda Kitchin (1864-1925) was a favorite photographic subject of Lewis Carroll, who photographed her around fifty times, from age four until just before her sixteenth birthday. She was the daughter of the Rev. George William Kitchin, Carroll’s colleague at Christ Church, Oxford, who later became Dean of Winchester and Dean of Durham. Xie had three younger brothers, George Herbert, Hugh Bridges, and Brook Taylor, and a younger sister, Dorothy Maud Mary, all photographed by Carroll.

Provenance

Vernon Parry Kitchin, by descent in the family

Sotheby’s, London, May 7, 1998, Sale 8302, Lot 106 Sotheby’s, London, December 12, 2023, Lot 263

$5,000 - 8,000

Carroll, Lewis (Charles Lutwidge Dodgson). Autograph Letter, signed

Christ Church, Oxford, July 21, 1873. One sheet folded to make four pages, 6 1/4 x 4 in. (159 x 102 mm). Three-page autograph letter on mourning stationery, signed by Lewis Carroll in purple ink, to his speech therapist Henry Frederick Rivers, trying to arrange a first meeting with him. Creasing from when folded. See Cohen, p. 191 n1 (The Letters of Lewis Carroll, Vol. I)

“My dear Sir, I see you advertise that your ‘term begins Aug. 5th’. If this means that the 6 or 7 boys which you have in the house are not now with you, & if you could conveniently receive me for 2 or 3 days previous to that date, I would try to squeeze the time out of any present engagements, that I might have the benefit of your hints & supervision in reading and speaking--If however you are yourself taking holiday, & would rather have entire rest, pray do not alter your plans on my account, as I might be able, at some time during the Summer, to arrange to meet you in London, & have a few lessons in that way. With kind regards to Mrs. Rivers, I remain, very truly yours CL Dodgson”.

An early letter from Lewis Carroll to his speech therapist Henry Frederick Rivers (18301911), attempting to schedule his first session with him. Carroll struggled with a lifelong speech impediment, and previous to seeing Rivers, had been a patient of acclaimed English speech therapist, James Hunt (1833-69) since 1859. Following Hunt’s death, Rivers, his brother-in-law, took over his practice, and published an enlarged and revised edition of Hunt’s Stammering and Stuttering (1871). Carroll was referred to Rivers by G.T. Hine of Nottingham, and first engaged Rivers’s services in a letter of April 6, 1873. The above letter, the third Carroll sent to Rivers, was left unanswered by him, and Carroll followed up three days later (see Cohen, p. 191). Less than two weeks later, from August 1-5, Carroll spent time at Rivers’s home near Tonbridge, receiving his first sessions to help with his stammer. Carroll would continue to see Rivers throughout the 1870s (see Lots 51-52).

$1,000 - 1,500

51 Carroll, Lewis (Charles Lutwidge Dodgson). Autograph Letter, signed Culverton House, Sandown, Isle of Wight, September 26, 1876. One sheet folded to make four pages, 7 x 4 1/2 in. (178 x 114 mm). Four-page autograph letter, signed by Carroll in his characteristic purple ink, to his speech therapist, Henry Frederick Rivers, regarding progress on his speech, and inquiring about the children of a Mr. Napier, who were also Rivers’s patients. Creasing from when folded, scattered spotting.

“My dear Rivers, I have a record still reproaching me, of a letter received from you Sep. 4, kindly asking after my progress in speaking...& I take the opportunity of having another matter to write about, to say that I think that on the whole I am better--In conversation my difficulties sometimes seem to have vanished, but reading is still much what it was-occasionally quite smooth, & then suddenly breaking down on some one word. With that liability I dare not yet attempt Church work again--one has not a right to inflict worry on a congregation; but I have not given up hope of doing it again some day.

I want to ask you about Mrs. Napier’s 2 boys, who have been with you, I suppose, about a week now. They come of such an odd family that I expect you will find them both very odd boys to deal with: still friends who know them better than I do speak highly of their dispositions, especially that of the younger--& seem to think that under judicious management a great deal might be made of them--That I hope they will now get: they have had very little of it at home, I fancy.

What sort of care do you consider Herbert’s to be? And are you hopeful of a cure? When I last heard him try to speak, I thought him a fearfully bad case, but I remember Dr. Hunt saying that sometimes those very bad cases are more easy to cure than slight ones. Clive, so far as I have noticed, does not hesitate at all--which is curious as he is so constantly with his brother.

I have had a most enjoyable 2 months here, & hope to stay another week yet, before returning to Oxford.

With very kinds regards to Mrs. Rivers, I am sincerely yours CL Dodgson.”

Carroll writes to his speech therapist Henry Frederick Rivers (1830-1911) updating him on his progress with his stammer, and inquiring about the care of two of his child-friends, and Rivers’s patients, Herbert and Clive Napier. Carroll began seeing Rivers for speech therapy in the summer of 1873 to help with his speech impediment, which he struggled with for most of his life. Carroll had previously been the patient of James Hunt (1833-69), the leading speech therapist in Great Britain at the time, and upon whose death, Rivers (who was married to Hunt’s sister) took over his practice, and published a revised edition of his Stuttering and Stammering (1871).

Carroll had befriended the Napiers, a family residing in Sandown, as early as 1873, when vacationing there.

$1,000 - 1,500

Carroll, Lewis (Charles Lutwidge Dodgson). Autograph Letter, signed

The Chestnuts, Guildford (Surrey, England), January 1, 1877. One sheet, 7 1/4 x 4 5/8 in. (184 x 117 mm). Two-page autograph letter on mourning stationery, signed by Carroll, in his characteristic purple ink, to his speech therapist Henry Frederick Rivers, trying to arrange an appointment with him, and inquiring about his friend Mr. Napier, whose two sons were also Rivers’s patients. Creasing from when folded.

“My dear Rivers, A very happy New Year, & many of them, to you & yours! Would you kindly direct this letter on to Mr. Napier, as I don’t know where he is at present. How is his boy going on with you?

I am happy to be able to give a good account of myself just now, having very little difficulty, in reading or speaking. But I vary a good deal, I may perhaps be in town on Thursday next (not if this pouring rain continues, though) & if that is one of your London days, & you could name a time when I might have a chance of a leisure half-hour, I would like to call. But don’t disarrange any of your plans, or any other proposed visitors, as it is quite possible I might not appear at all. Yours Sincerely CL Dodgson”

Carroll writes to his speech therapist Henry Frederick Rivers (1830-1911) updating him on his progress and inquiring about arranging an appointment with him in London. Carroll asks about a Mr. Napier, whose sons, Herbert and Clive, were also patients of Rivers’s. Carroll first met the Napiers as early as 1873, when vacationing in Sandown, on the Isle of Wight, where they resided.

Carroll began seeing Rivers for speech therapy in the summer of 1873 to help with his stammering, an impediment he struggled with for most of his life. Carroll had previously been the patient of James Hunt (1833-69), the leading speech therapist in Great Britain at the time, and upon whose death, Rivers (who was married to Hunt’s sister) took over his practice.

$800 - 1,200

Carroll, Lewis (Charles Lutwidge Dodgson). Group of 8 Autograph Letters, signed

A Significant Collection of Eight Letters Covering 15-Years of Friendship Between Carroll and the Mother of One of His Child-Friends Guildford, Christ Church, and Eastbourne, April 22, 1878-June 15, 1893. Group of eight autograph letters (together 29 pages), signed (one initialed) by Lewis Carroll to Sarah Elizabeth Blakemore, and her daughter, Edith Rose “Dolly” Blakemore. The majority in Carroll’s customary purple ink (two in dark ink); includes three mounted addressed envelopes in Carroll’s hand. Tipped into seven red cloth-covered board volumes (8vo); gift inscriptions on front blanks in same, dated 1969 (three beneath mounted envelopes).

A significant collection of eight autograph letters from Lewis Carroll to Sarah Elizabeth Blakemore, the mother of Edith Rose (“Dolly”) Blakemore (18721947)--one of Carroll’s child-friends whose relationship lasted into adulthood.

Carroll first met five-year-old Edith Blakemore during his annual holiday in Eastbourne, East Sussex, in August 1877. The daughter of Sarah and Villiers Blakemore, a Birmingham merchant and publisher, Edith and her family summered at the seaside resort town, where Carroll met them near the beach. Carroll was immediately taken by the child, and wrote in his journal that very same evening, “I have made friends with quite the brightest child, and nearly the prettiest...She seemed to be on springs, and was dancing incessantly to the music...her eyes literally glitter...the mother (was) quiet and pleasant...Dolly is fascinating, I hope to see her again.” (Cohen, The Letters of Lewis Carroll, 1979, Vol. I, p. 281 n. 2). Of the nearly 200 child-friends that Carroll had known throughout his life, he held Edith in the highest esteem, writing in an 1890 letter (not included), that she was “rather the exception among the hundred or so child-friends who have brightened my life.” She would later pass her Oxford and Cambridge Higher Certificate, and became known as an amateur actress (see Cohen, Letters, Vol. I, pp. 280-281).

These eight letters total nearly 30 pages in length and cover a variety of topics, from Carroll’s thoughts on friendship, the recently invented electric pen, advice on entering university, and his opinions on theater, but generally center on his relationship and fondness for Edith. The first dates to 1878--less than a year after their first meeting--and the final, 15 years later, in 1893--less than five years before his death. Exuding Carroll’s characteristic humor and wit, they are notable for their conviviality and almost endless patience toward Mrs. Blakemore, especially as seen in the final two letters where Carroll defend his actions regarding a regifted holiday card and his conduct while chaperoning Edith. As such, they provide a unique window, rarely seen to market in such length, both into Carroll’s relationship toward the parents of one of his child-friends, as well as into his relationships with children more generally. The latter is most notably exhibited in Carroll’s March 31, 1890 letter (No. 5 below), written to then 18-year old Edith, where he confesses “I do sympathise so heartily with you in what you say about feeling shy with children, when you have to entertain them! Sometimes they are a real terror to me--specially boys; little girls I can now & then get on with, when they’re few enough. They easily become ‘de Trop’ But with little boys I’m out of my element altogether...”

Comprising:

1. The Chestnuts, Guildford, April 22, 1878. One sheet folded to make four-pages, 6 x 3 3/4 in. (152 x 95 mm). Two-page autograph letter, signed by Carroll in purple ink, to Mrs. Blakemore, regarding her daughter, Edith: “...”I shall not find it easy to forget your little ‘Dolly’, I think!...Some day when she can write I shall like to have a note from her, and shall prize it more than any number of little presents. Sincerely hoping that tears & her eyes are strangers now...”

2. No place, no date. One sheet folded to make four-pages, 7 1/8 x 4 1/2 in. (181 x 114 mm). Three-page autograph letter, signed by Carroll in purple ink to Mrs. Blakemore: “...I hope I shall be patient enough to think kindly of Dolly, even if she never speaks to me again--& to remember her as she was the first time I saw her, before she had been teased into an unnatural state of mind--It has occurred to me that perhaps Mr. Blakemore has never seen the ‘electric’ pen, a new invention...I should be most happy to show him...”

3. Christ Church, Oxford, March 5, 1880. One sheet folded to make four-pages, 5 3/8 x 3 1/2 in. (136 x 89 mm). Four-page autograph letter, signed by Carroll in purple ink to Mrs. Blakemore: “I have had it on my mind for about 4 months, to write to you in answer to your letter about Pilgrim’s Progress, to say how entirely I agree in the general principle of not mixing sacred things with comic...” Carroll continues by providing a review of the production and his thoughts on theater.

4. Eastbourne, September 6, 1883. One sheet folded to make four-pages, 6 x 4 in. (152 x 102 mm). Four-page autograph letter, signed by Carroll in purple ink to Mrs. Blakemore giving advice, presumably for one of her children, on entering university: “...I quite agree with you that a good education is most desirable in all lines of the law...The way to get his name put down for admission is simply to write to the head of the place. As to preparing for matriculation, you seem to have only 3 possible courses--to keep him at school, to send him to a tutor, to let him work at home...Young men sometimes prepare, in Oxford itself, for entering...”, etc.

5. Christ Church, Oxford, March 31, 1890. One sheet folded to make four-pages, 5 3/8 x 3 1/2 in. (136 x 89 mm). Four-page autograph letter in purple ink, initialed by Carroll, likely to Edith Blakemore: “Oh, you naughty little girl! What business have you to be jealous of your old school-fellows, because I’m going to send them little bits of Charades & things, & because I had the effrontery to send them my ‘affectionate regards’?...But seriously dear Child, I do sympathise so heartily with you in what you say about feeling shy with children, when you have to entertain them! Sometimes they are a real terror to me-specially boys; little girls I can now & then get on with, when they’re few enough. They easily become ‘de Prop’ But with little boys I’m out of my element altogether--I sent the ‘Nursey’...to an Oxford friend...he added ‘I think I must bring my little boy to see you’ So I wrote to say ‘don’t’...he could hardly believe his eyes...he thought I doted on all children. But I’m not ‘omnivorous’--like a pig. I pick & choose...”

6. Christ Church, Oxford, October 28, 1890. One sheet folded to make four-pages, 5 1/2 x 3 1/2 in. (140 x 89 mm). Three-page autograph letter, signed by Carroll in purple ink, to Mrs. Blakemore: “I thank you very heartily for your most kind & hospitable letter, & gladly accept your offer to house me when I come to give the address at the High School...I shall be sorry to miss Edith’s bright face, but I hope you won’t find me an entirely discontented guest on that account...” With a post-script by Carroll, “P.S. I fear I’ve no tastes for sight-seeing!”

7. Christ Church, Oxford, July 5, 1891. Two sheets folded to make eight-pages, each 5 1/2 x 3 1/2 in. (140 x 89 mm). Six-page autograph letter, signed by Carroll to Mrs. Blakemore, explaining his behavior in regards to a recent visit by Edith: “I am glad you have got your daughter safe home again, however tired & wet! Even a tired and wet Edith is better (if a bachelor may be allowed to speculate on such difficult problems) than no Edith at all. And I am also very glad to be able to tell you that the misfortune, and the ‘failure’, which you lament, are creatures of the imagination!...So please put away such ideal sorrows (unless you can turn them to such good account as Tennyson’s ‘Margaret’, to whom he writes ‘Your sorrow, only sorrow’s shade, keeps real sorrow far away!’), & believe that Edith’s visit was, so far as I am concerned, neither a mistake nor a failure...”

8. Christ Church, Oxford, June 15, 1893. One sheet folded to make four-pages, 7 1/8 x 4 1/2 in. (181 x 114 mm). Three-page autograph letter, signed by Carroll in grey ink, to Mrs. Blakemore, attempting to smooth over a disturbance in their friendship: “I have just read over again, in order to answer it, your last letter...I would not answer it at once, but let Time (the great soother of all the roughness of life) help to erase the annoyance I fear I have caused you by mentioning I had handed on, for the benefit of hospital-children, a Xmas card which you say was painted by a niece of yours...I think friendship is a matter of one’s feelings, not of one’s outer life, & I trust it does not really depend on such external aids...”

Provenance

Parke-Bernet Galleries, New York, February 20-21, 1950, Sale 1129, Lot 96

$15,000 - 25,000

Carroll, Lewis (Charles Lutwidge Dodgson). Lewis Carroll’s Personal Autograph Register Listing Recipients of Presentation Copies of “The Nursery Alice”

(Christ Church, Oxford), June 21-July 2, 1889. Square 8vo. 20 leaves. Autograph register completely in the hand of Lewis Carroll (Charles Lutwidge Dodgson), comprising 18 manuscript pages (in his customary purple ink, on rectos only, comprising approximately 500 words) listing 121 names and addresses of recipients of presentation copies of the author’s The Nursery Alice; autograph key on front inner wrapper with symbols for noting whether a recipient had a copy in “P. in C.” (Pictures with Color), “sent from London”, “sent from Oxford” and whether “entered in Letter-Register”; several autograph emendations. Original limp brown wrappers, inscribed by Carroll on front wrapper “The Nursery Alice”, spine perished; front and rear hinges repaired; rear wrapper inscribed by Carroll “IV”; final page with manuscript algebraic notations, not in the hand of Carroll; in crimson levant pull-off case and crimson cloth chemise.

Lot includes an unpublished description of the register, with a census of the presentation copies listed within, prepared by Carroll scholar Edward Wakeling in 2017.

An important and fascinating glimpse into the private world of Lewis Carroll: his personal register listing the recipients of presentation copies of The Nursery Alice. A superb and revealing record, this unique volume provides valuable insight into Carroll’s social network and his inner circle of friends and colleagues. As such, it is one of only a few remaining examples reflecting his life-long habit of meticulous record-keeping.

Executed in his characteristic purple ink, Carroll lists 121 names, with each recipient’s address, as well as information regarding the gift volumes binding, composition, and from where they were sent. The first 13 pages are dated June 21, 1889, the 14th page dated July 2, 1889, and the last four pages are left undated. Among the many names listed, several are of Carroll’s relatives, including his sisters (the first entry) and nieces, as well as the children of many of his colleagues at Oxford. Many of the individuals listed are associated with the Alice books, either relating to their inspiration, their creation, or their publication.

Carroll has inscribed the front wrapper “The Nursery Alice”, and the rear “IV”, a likely reference to it as the fourth published Alice book (and perhaps denoting this as the fourth of such registers listing presentation copy recipients). We cannot locate similar presentation registers for the other three books, and none are listed in the 1898 auction or dealer catalogues of his effects.

Of particular note, entry No. 34 lists “Mrs. Hargreaves”--Alice Liddell--the inspiration behind Alice’s Adventures in Wonderland and Through the LookingGlass. Carroll and the Liddell family first met in 1856 at Christ Church, Oxford, where Carroll taught mathematics and where Alice’s father was the newly appointed dean. Carroll became friendly with the Liddells and their four children, and frequently photographed them in the Deanery Garden, while also taking them on boating excursions up the Thames. It was on one of these trips in the summer of 1862 that Carroll first regaled the Liddell children with his tale of a girl named Alice and her adventures in Wonderland. Enchanted by the tale, the real Alice urged Carroll to write the stories down for her, a task that would result in one of the most important and popular books in children’s literature, and immortalize Alice Liddell as the author’s muse. Upon completing the work, Carroll was encouraged by friends to publish it, but before the book’s release in 1865, Carroll and the Liddell’s relationship suffered a breakdown. There is no record for why the break occurred, but despite this cooling of relations Carroll would continue over the years to send Alice and her family presentation copies of his books, including copies of The Nursery Alice. By this time, in 1889, Alice was in her late thirties and married to cricketer Reginald Hargreaves, with whom she had three sons. Carroll would send her two inscribed copies of the book, both of which are now in the Berol Collection in the Fales Library at New York University.

Other notable individuals are listed, including John Tenniel (No. 82), illustrator of the Alice books, including The Nursery Alice; Mary Charlotte Collingwood (nee Dodgson) (No. 2), Carroll’s sister and the wife of Charles Edward Stuart Collingwood, the first biographer of Carroll; Christina Rossetti (No. 68), poet and sister of Dante Gabriel Rossetti, and lifelong correspondent of Carroll’s; E. Gertrude Thomson (No. 80), illustrator of the covers of The Nursery Alice; Miss Dorothy Furniss (No. 31), daughter of illustrator Harry Furniss, and model for Sylvie in Carroll’s Sylvie and Bruno books; Rhoda and Violet Liddell (Nos. 49 and 50), Alice Liddell’s sisters; Helen Constance Macmillan (No. 54), daughter of Dodgson’s publisher; Margaret E. Savile Clarke (No. 70), daughter of Henry Savile Clarke, dramatist who wrote the first professional dramatization of Alice’s Adventures in Wonderland and Through the Looking Glass; Alexandra “Xie” Rhoda Kitchin (No. 108), Carroll’s child-friend and his most frequent photographic subject; Reverend Robinson Duckworth (No. 33), inspiration for Duck in Alice’s Adventure in Wonderland, and member of the above mentioned famous boating party with the Liddell children; and many more.

Sixteen years after the release of his beloved Alice’s Adventures in Wonderland, Carroll sought to publish a version of the tale appealing to children under the age of five. On February 15, 1881, Carroll wrote to his publisher suggesting the idea of a “Nursery Edition”, with “pictures printed in colours, to be larger and thinner than the original” (Carroll’s diary, February 20, 1881), and written with the intent of it being read by a mother or governess to their children. In 1885, Carroll’s illustrator, John Tenniel, agreed to produce 20 enlarged and color pictures for the book, largely revised from his original Alice illustrations, but with Alice’s costume changed. Carroll began writing the work in December 1888, finishing the text the following February. The first printing of 10,000 copies was printed in April 1889, but Carroll was unhappy with the illustration’s coloring, and demanded a reprint, under his supervision. Another 10,000 copies were subsequently reprinted in March 1890, with the first printing sent for release in America. On March 25, 1890, Carroll traveled to London, and inscribed over 100 copies of the work, almost certainly using this very list that was prepared by him in advance over the previous summer.

Carroll was a habitual and meticulous record keeper during the entirety of his life and maintained several journals and registers tracking his everyday happenings, plans, and artistic output. His “highly developed imagination and creative spirit were matched by his need to have structured order in his life. He surrounded himself with files and registers that enabled him to keep track of his work and achievements. He was a frequent maker of lists.” (Wakeling, Lewis Carroll, Photographer, 2002, p. 125). Beginning in his undergraduate years at Christ Church, and up until his death, Carroll maintained a journal, where he systematically listed events of the day as well as his artistic and social pursuits. These eventually filled 13 notebooks, of which four are now missing. He similarly kept a detailed register of his correspondence, which he started in 1861 in his 20s and maintained for the rest of his life. He began a similar register for his photographic work, in 1875, listing chronologically every photo he ever took. Both of these two registers no longer survive. The above is thus a unique survival, and provides crucial insight into this archiving aspect of Carroll’s behavior.

Provenance

Lewis Carroll

Messrs. James Parker and Co., Oxford, (1898), A Catalogue of Second-Hand Books...Part I.-A. Works by the late Rev. C.L. Dodgson (Lewis Carroll) (see p. 63 in Lewis Carroll’s Library, The Lewis Carroll Society of North America, UVA, 1981) Bangs & Co., New York, April 7, 1899, Collection of Books...A Remarkable and Interesting Series of Works by Lewis Carroll..., Lot 119 Eldridge R. Johnson, noted Carroll collector and President of the Victor Talking Machine Company. Parke-Bernet Galleries, New York, The Eldridge R. Johnson Collection, April 3-4, 1946, Lot 82 Sotheby’s, New York, The Library of an English Bibliophile, Part VI, October 20, 2016, Lot 30

From the collection of Justin G. Schiller, purchased at above sale

$40,000 - 60,000

Carroll, Lewis (Charles Lutwidge Dodgson). Autograph Letter, signed Christ Church, Oxford, December 31, 1891. One sheet folded to make four-pages, 5 1/2 x 3 1/2 in. (140 x 89 mm). Two-page autograph letter, signed by Lewis Carroll to an unknown recipient (“Lewis Carroll to F.A.S.” in pencil in another hand on verso of conjugate leaf): Dear Sir, I am neither the author, nor owner of copy right, of any plays--If you wish to dramatise any book for yourself, you have full right to do so--Also, if you wish to perform, in public, any play, you have full right to do so, so long as you do not charge for admission. But, if you mean to charge for admission, you will need permission from the holder of the copyright of the play, & also a theatrical license for the building to which admission is charged--That I believe to be the state of the law, as regards dramatic performances--Believe me truly yours C.L. Dodgson”. Creasing from when folded; old mounting residue at top of final blank page.

$800 - 1,200

56 Carroll, Lewis (Charles Lutwidge Dodgson). Alice’s Adventures in Wonderland

London and New York: Macmillan and Co., 1891. Eighty-Fourth Thousand. Presentation copy, inscribed by Carroll on half-title: “Ruth Martin Woodhouse, from the Author Feb. 6, 1894”. 8vo. (x), 192, (4, ads) pp. With numerous illustrations by John Tenniel. Publisher’s red cloth-covered boards, decorated in gilt; spine ends and corners lightly worn; all edges gilt; illustrated book-plate of Edith Barbara Tranter on front paste-down; gift inscription, dated 1969, on lower half-title; Contents leaf loose; scattered light soiling to text; in red morocco slip case and chemise.

A fine presentation copy of Alice’s Adventures in Wonderland, inscribed by Lewis Carroll to Ruth Martin Woodhouse (1870-1897). Ruth was the second daughter of the Rev. George Girdlestone Woodhouse (1831-1897), a close friend and colleague of Carroll’s from Oxford. Carroll often took Ruth on walks and out to tea, and in February 1887, took her to London to see the stage version of Alice

$3,000 - 5,000

[Carroll, Lewis] [Black Sun Press, The] Laurencin, Marie. Illustrator’s Hand-Finished Mock-Ups for “Alice in Wonderland”

Paris: The Black Sun Press, ca. 1930. A unique suite of six partially-lithographed prints on wove paper, each finished in green, pink, and blue colored pencil by the artist, Marie Laurencin, and signed by her in blue pencil below each image. Each with worn tissue guard; with an additional suite of six uncolored printer’s proofs on Rives BFK paper, each image cancelled in stone, and each stamped and inscribed by the printer, E. Desjobert, dated 1930. In gilt-lined board portfolio, silk ties intact, boards unevenly toned, spine frayed and slightly worn. Publisher’s printed prospectus laid in.

Illustrator Marie Laurencin’s hand-finished mock-ups, created by her to assist with the printer’s creation of color separation plates. This is one of the artist’s most famous illustrated books and a memorable version of Lewis Carroll’s “Alice in Wonderland”.

$4,000 - 6,000

58 [Children’s & Illustrated] [Beauty and the Beast] Genlis, (Stéphanie-Félicité Ducrest de St. Aubin, Madame de). The Beauty and the Monster. A Comedy Worcester, Massachusetts: Isaiah Thomas, 1785. First American edition. 12mo. 35 pp. Contemporary stab-sewn waste-paper wrappers (reused from an almanac), losses along spine, wrappers worn with some worming and soiling; light to moderate wear and creasing along extremities; light dampstaining in upper gutter of most leaves; in blue cloth slip case and chemise. Evans 19021; Nichols 122; Rosenbach 102

The first American appearance of Beauty and the Beast. The present work is a translation and theatrical adaptation by French educator Madame de Genlis, of French author Madame Leprince de Beaumont’s version of the classic fairy tale. Printer Isaiah Thomas was a proponent of Genlis’s work, which was typically written for use in girls’ education, and printed several editions of her didactic dramas for children.

According to RBH, only two copies of this text have come to auction. A rare survival, especially in contemporary wrappers.

$3,000 - 5,000

[Children’s & Illustrated] The History of Little Goody Twoshoes; Otherwise Called Mrs. Margery Twoshoes... Worcester, Massachusetts: Isaiah Thomas, 1787. First Worcester edition (fourth American printing). 32mo. 158, (2, ads) pp. Illustrated with woodcut frontispiece and 35 in-text woodcuts. Original Dutch floral boards, rebacked to style, all edges trimmed; renewed endpapers; contemporary ownership signature at top of frontispiece; light dampstaining in gutter of most leaves; scattered minor spotting to text; in later matching dust-jacket and slip case. Welch 463.4; Evans 20412; Rosenbach 118; Stone, “The History of Little Goody TwoShoes” in Proceedings of the American Antiquarian Society (October 1939), pp. 332-370

A lovely and scarce copy of Isaiah Thomas’s edition of The History of Little Goody Twoshoes

Little Goody Twoshoes was the first English book written for children and one of the most famous children’s books of the eighteenth century. A groundbreaking and influential work, it helped define the genre, and was frequently republished throughout the 18th and 19th centuries. This Worcester edition is the fourth American edition, the first being published in 1775 by Hugh Gaine, in New York, and two others subsequently appearing in Boston and Philadelphia. The first overall edition was originally published in London by John Newbery in 1765, with his illustrations reused in this edition. Wildly popular on both sides of the Atlantic, this is practically the earliest available American edition, as the previous editions above are seldom found, and with only very few copies known to have survived.

This copy exceptionally well-preserved.

$1,500 - 2,500

[Children’s & Illustrated] The Two Maidens of Merry England Who Did Most Foolish Make a Vow Which They Did Most Wisely Choose to Break They Take With Love a Part and Play on the Strings of a Tender Heart

No place, (England, ca. 1860-84). Folio. Illuminated manuscript, richly illustrated in pen and ink on thick paper, heightened in gold, red, blue, and green. Each sheet measuring 13 5/8 x 9 1/2 in. (346 x 241 mm) and mounted to thick card. Bound in presentation binding of full red morocco, decorated and ruled in blind and in gilt, recased with original front and rear morocco laid down, soiled and scratched; all edges gilt; endpapers renewed; contemporary gift inscription on front blank: “To Edith Santley As a token of love and esteem from her affectionate Uncle Henry Charles Kemble”; scattered spotting to mounts; wear along mount extremities.

A unique and exquisite illuminated manuscript, being a fairy tale about two maidens who vow in the name of friendship to rebuff potential suitors, but are struck by cupid’s arrow and fall in love with two warriors. Each leaf is richly illustrated with elaborate pen and ink vignette and ornamental borders depicting animals, warriors, hunters, cherubs, goblins, and other grotesque creatures, surrounding a central vignette of fine script, and below a circular vignette illustrating the two maidens and their story.

Gifted to Edith Santley (1860-1926), a concert singer and daughter of opera singers, Charles Santely (1834-1922) and Gertrude Kemble (1837-82). Charles was the most eminent baritone singer of the Victorian period, whose career was considered, “the longest, most distinguished and most versatile vocal career which history records” (Eaglefield-Hull, A Dictionary of Modern Music and Musicians, p. 435). Edith made her stage debut at Liverpool’s Royal Amphitheatre at age 16, in January 1876. She had a successful career as a concert singer, often alongside her father, until 1884, when she married cricketeer Robert Lyttelton (1854-1939).

Gifted by Edith’s maternal uncle, Henry Charles Kemble (b. 1839).

$800 - 1,200

[Children’s & Illustrated] Dobson, Austin, and Harry Furniss, and Louis Wain, and Joseph Pennell, and Selwyn Image, et al. A Book of Drawings

London: Privately printed for Mr & Mrs F.T. Davies, 1891. Publisher’s personal extra-illustrated copy. 4to. Illustrated with 17 plates (including nine signed in pencil by the artist); extra-illustrated with a partial Caxton Head catalogue bound in at rear and with nine pages of various related printed and autograph material, also bound in at rear, including autograph letters, clipped signatures, and other printed ephemera related to the Davies’s charitable efforts. Original presentation binding of full brown levant, stamped in gilt, joints expertly repaired; top edge gilt, other edges trimmed; gilt dentelles; marbled endpapers; by Morrell; Herbert Percy Hornedesigned book-plate of F.T. Davies on front paste-down; scattered offsetting.

A handsome, unique, and extra-illustrated copy of this charming work featuring illustrations from some of the period’s most popular illustrators; published by English philanthropists Eleanor and Frederick Trehawke Davies to raise money for “the poor of St Pancras”.

This copy features nine plates signed by the contributing artists, including Louis Wain (his contribution depicting his famous cats), Joseph Pennell, Selwyn Image, and others. At rear are tipped-in autograph letters from two of the contributors, including Image, as well as Austin Dobson, being a manuscript of his introductory poem printed at the front. The printed material largely relates to the 1897 Smoking Concert, given by the Solicitor’s Managing Clerks’ Association, of which Mr. Davies was President, and that was organized by he and his wife. This includes a printed program and guest list for the event; a silk print executed by Image, showing the program’s device; as well as newspaper reports regarding the event, with clipped signatures of four attendees, and an autograph letter from Sir Francis Jeune.

$800 - 1,200

[Christmas] Brough, Robert B: A Cracker Bon-Bon For Christmas Parties...

London: W. Kent & Co. 1861. Early reprint. 16mo. (iv), 99 pp. Illustrated with hand-colored frontispiece and multiple in-text black and white illustrations. Full brown calf, ruled in gilt, joints worn; all edges gilt; marbled endpapers; ownership signature on first free leaf; original cloth covered bound in at rear; by Zaehnsdorf.

$150 - 250

[Christmas] Cole, Henry, and John Calcott Horsley. The First Christmas Card

The First Christmas Card

“A Merry Christmas and A Happy New Year To You”

London: Published at (Felix) Summerly’s Home Treasury Office, (by Joseph Cundall, for Henry Cole, December 1843). Hand-colored lithograph on card. Unaddressed on recto, and with pricing inscribed on verso” “Coloured 6d 13 for 6/- Plain 2d 13 -- 2/”. Approximately 3 3/8 x 5 1/8 in. (86 x 130 mm). In gilt double-pane frame, 11 1/4 x 13 1/4 in. (286 x 336 mm). Buday, The History of the Christmas Card, pp. 6-15 (1991)

A very rare example of the first printed Christmas card, designed by John Calcott Horsley for Sir Henry Cole. Cole, a civil servant, prominent educator, and patron of the arts, he helped found the Victoria and Albert Museum, and was on committees that developed the first postage stamps and public toilets. He commissioned Horsley to create this design, executed in the form of a triptych composed of a rustic trellis of vines, enclosing a central panel showing three generations of a Victorian family with raised wine glasses toasting the cards’ recipient, and flanked on each side with scenes depicting charity toward the poor.

Cole’s idea for the Christmas card is said to have sprung from his need to quickly and easily send holiday greetings to his numerous friends, family, and acquaintances, which was prevented due to the pressures of his many business and civil pursuits. This was exacerbated by the rippling effects of the expansion of Great Britain’s postal system in the mid-19th century, especially with the advent of the Uniform Penny Post in 1840 (which he helped devise), which greatly increased the number of holiday cards Cole received each year. Using Horsley’s design, Cole had this card printed in around 1,000 copies by London lithographer J.R. Jobbins and published by his friend Joseph Cundall at Summerly’s Home Treasury Office, an imprint Cole had used previously to publish his own children’s books.

According to antiquarian Kenneth Rowe’s census of these cards, created for the Ephemera Society of Great Britain (The Ephemerist, December 1997), he identified only 24 surviving examples, including four proofs. Of the 20 non-proofs, their locations were roughly split between private collections and institutions, with nine either not located or not seen by him. Only one example listed by him was unused like this copy, and it does not appear that this copy is one those listed on his census. Furthermore, this example is perhaps a salesman or publisher’s sample due to the pricing notations on the verso.

$4,000 - 6,000

Chubb, Ralph. The Sun Spirit A Visionary Phantasy

Fair Oak, near Kingsclere, Hants: Published by the Author, 1931. First and limited edition, #8/24 copies (from a total edition of 30 copies). 4to. (xiv), 16, (7) pp. Text printed in black and in red. Completely printed in lithography, with lithographed text and numerous in-text and full-page lithographs, by Chubb. Original three-quarter brown morocco over beige linencovered boards, decorated in gilt, morocco corners perished, small loss in lower spine, spine ends chipped, joints rubbed, soiling to boards; spotting to leaves at front and at rear.

Rare first edition of Ralph N. Chubb’s first lithographed book, a lavishly self-published work by the author and printed in only a small edition of 30 copies. Chubb was a pioneering spirit in promoting these uniquely conceived hand-made private press books, mixing his texts with prose and poetry, the heroic and pseudo-religious, and combined with free-spirited illustrations highly influenced by William Blake.

Rare to auction, according to RBH, this is the first copy offered since 2008, and only the fourth overall.

$2,000 - 3,000

Chubb, Ralph N. The Heavenly Cupid or The True Paradise of Loves Fair Oak, near Kingslcere, Hants.: Published by the Author, 1932-1933. First and only edition, #9/43 numbered copies, signed and dated by Chubb beneath frontispiece (“R.N. Chubb. 1933”). 4to. 94 leaves. Designed, illustrated, composed, and text printed in script by Chubb. Completely printed in lithography, with lithographic text, frontispiece, vignette on title-page, and nearly 100 in-text and full-page plates by Chubb. Original three-quarter green niger over green corduroy-covered boards, spine lettered in gilt, niger unevenly browned, rubbing to extremities and joints; all edges untrimmed; ownership signature on front paste-down. Reid A10

Scarce first edition of Ralph Nicholas Chubb’s most lavishly self-published work, completely printed in lithography, and one of only 43 copies produced.

Chubb (1892-1960) was an English poet, printer and artist, heavily influenced by William Blake and the Romantics, and who devised a highly personal and sexually revolutionary mythology. He privately produced 17 works entirely by his own hand in very small print runs, working quietly first from Curridge in Berkshire, and then from Kingsclere, in Hampshire. Part of Chubb’s mythology was being the prophet and herald of the saving of England by a boy god. This eternal Boy-principle is announced as “The Third Dispensation” in The Heavenly Cupid, as an aside to the chapter entitled ‘”Supernature: The Phoenix is Born Again”: “[Man is the eternal only-begotten son of God his Father & Nature his Mother, who is the emanation of God. Both are all love for him. But he is rebellious because he sunders his two parents in his mind instead of uniting them in his heart. The reconciliation of the child with his parents & of the parents together by the child is foreshadow’d in the following prophecy of a Third Dispensation that is of the Holy Spirit. Out of the suffering & travail of the nations, out of the wars & rumours of wars, this heavenly child emerges in Eternity. It has been my happy privilege to see his star in the East, & it is my heavenly commission to herald his coming on the earth.]” Some viewed Chubb’s work merely as homo-erotic pederasty and some of his books were destroyed. Despite this he continued self-publishing his work, developing his personal philosophy and worship of the aesthetic of the youthful male form: “the last act of creation in the Old Testament is the woman, Eve. But the final crowning act of creation in the new testament is the Divine Boy”.

Includes an original lithographed prospectus for the work laid in--”Of Extreme Rarity”.

$2,000 - 3,000

Chubb, Ralph N. Water Cherubs A Book of Original Drawings & Poetry

Fair Oak, Kingsclere Woodlands, Hants.: Published by the Author, 1936. First and limited edition, #7/24 numbered copies (from a total edition of 30). 4to. 26 leaves. Completely printed and illustrated in lithography, on rectos only, on hand-made paper, by Chubb. Threequarter dark green niger over black cloth-covered boards, spine lettered in gilt, extremities and joints rubbed; all edges untrimmed. Original pictorial prospectus and order form laid in. Reid A12b

A rare first edition of this finely self-published work by Ralph Chubb, completely printed in lithography, one of only 30 copies produced. Chubb was a pioneering spirit in promoting these uniquely conceived hand-made private press books, mixing his texts with prose and poetry, the heroic and pseudo-religious, combined with free-spirited illustrations highly influenced by William Blake. A landmark in LGBTQ+ literature, Water Cherubs is generally considered the best designed and illustrated work in the author’s oeuvre.

Rare to auction, according to RBH this is the first copy offered since 1985.

$2,000 - 3,000

[Color-Plate Books] Cabinet des Modes, ou les modes nouvelles, décrites d’une manière claire & précise, & représentées par des planches en Tailledouce, enluminées.

Paris: Chez Buisson, 1785. In two volumes. First edition. 8vo. Illustrated with 172 engraved plates by Duhamel after Pugin and Derais, virtually all handcolored, some folding. Contemporary mottled calf, tooled in gilt, green morocco spine labels; marbled endpapers.

A handsome set of Cabinet des Modes, a bimonthly periodical intended to promote French fashions throughout the world. The color plates focus on dress but also depict accessories, hats, carriages, etc., and provide an interesting visualization of preRevolutionary France.

$2,500 - 4,000

[Color-Plate Books] (Peake, Richard Brinsley). The Characteristic Costume of France; From Drawings Made on the Spot, With Appropriate Descriptions

London: William Fearman, 1819 (sheets watermarked J. Whatman, 1818-21). 4to. viii, (iv), 37 pp. Title-pages and text printed in French and in English. Illustrated with hand-colored aquatint frontispiece and 18 hand-colored aquatint plates. Contemporary three-quarter crimson straight grain morocco over marbled paper-colored boards, front board nearly detached but holding, extremities worn, boards rubbed and worn; armorial book-plate on front paste-down; light offsetting from plates; scattered soiling and spotting to text and plates; open tear of bottom of Plate I; foxing to rear endpapers. Abbey, Travel 87

$250 - 400

[Color-Plate Books] P(eel)., R.H. The Extraordinary Ascent of the Enchanted Mountain, One of the Hymalaya range, in India...

London: Published by T. Gillard; and S. Knights; and Printed by Alfred Sweeting, 1835. First edition. 4to. (ii), 66 pp. Presentation copy, inscribed by Peel on front paste-down: “Presented by the Author to his Sister Marianne, for her daughter in Law Miss Brown...9th April 1836”. Illustrated with a hand-colored lithographed frontispiece and 12 handcolored lithographed plates, by Peel. Quarter brown morocco over brown cloth-covered boards, stamped in blind and in gilt; all edges trimmed; endpapers renewed, with inscription leaf laid down as front paste-down; small repaired closed tear in upper fore-edge of plate facing p. 17; text likely washed.

Presentation copy of this rare first edition fictional account of an expedition into the Himalayan Mountains.

$4,000 - 6,000

[Color-Plate Books] Repton, H(umphry)., and John Adey Repton, and G(eorge). S(tanley). Repton. Designs for the Pavillon at Brighton

London: Printed for J.C. Stadler, 1808. First edition. Elephant folio. (iv), x, (2), 41 pp. Some sheets watermarked J. Whatman 1807 and 1804. Illustrated with 20 superb plates: aquatint frontispiece (uncolored state), one full-page hand-colored engraved ground plan; 18 aquatint and engraved plates and vignettes (six with hand-colored movable overslips, one with hand-colored overpage, one double-page plate, one folding plate, two plates in sepia wash), all by J.C. Stadler after Repton. Sometime three-quarter dark blue morocco over marbled paper-covered boards, decorated in gilt; frontispiece misbound after E1; E1 misbound after d1; small repairs along edges of title-page; short repaired tear in gutter of folding plate; scattered light creasing to overslips; scattered light soiling to text and plates. Tooley 397; Abbey, Scenery 55

A handsome first edition of English landscape designer Humphry Repton’s innovative proposal for the redesign of the Royal Pavilion at Brighton. Hired by the Prince Regent (later King George IV), here Repton reimagines the Pavilion’s neoclassical structure as a Mughalinspired palace with exotic flower gardens, depicted in 20 superb plates with moveable overslips. “Repton’s shift in scaling dramatizes the visual consequences of his plans. In the before flap on top, the Brighton pavilion appears hidden, isolated, distant--impressions intensified by the tiny person and by the over-writing on the shadowy building. When the flap is raised to reveal the proposed redesign, the space between us and the pavilion has now become intimate and comfortable, filled with well dressed visitors...” (Tufte, Visual Explanations, p.17). While the Prince supported the project, his financial troubles did not allow it to go forward. Despite this, some of Repton’s ideas were used by John Nash, who was commissioned in 1814 to redesign the building that still stands today.

$3,000 - 5,000 71

[Color Theory] Bancroft, Edward. Experimental Researches Concerning the Philosophy of Permanent Colours; and the Best Means of Producing Them, By Dyeing, Calico Printing, &c.

Philadelphia: Published by Thomas Dobson, 1814. In two volumes. First American edition. 8vo. (iv), xlv, (iii), 401; (iv), 394 pp. From the library of United States Navy Captain James Biddle, and with his signature at top of each title-page (“James Biddle U.S. Navy”). Full contemporary brown sheepskin, rebacked to style, red morocco spine labels, stamped in gilt, boards and extremities rubbed and worn, corners worn; black speckled edges; scattered spotting and foxing to text. Shaw-Shoemaker 30738; Edelstein 10

A handsome copy of the first American edition of this classic and important treatise on colors and dyeing techniques. First published in London in 1794 as a single volume, this edition is reprinted from the second and expanded London edition of 1813. Bancroft (1745-1821), was an American born chemist and man of letters, and who served as secretary to the American Commission in Paris that sought to gain French aid in the American Revolution, and where he worked as a spy for the British.

James Biddle (1783-1848) was a United States Naval officer, remembered for helping negotiate the first treaty between the United States and China. Born in Philadelphia and educated at the University of Pennsylvania, Biddle entered the Navy in 1800 as a midshipman. A career officer, he fought against the Barbary pirates, helped enforce Jefferson’s trade embargo, and then fought heroically in the War of 1812. Toward the end of his life he served as commander of the East India Squadron, when in 1845 he formalized the Treaty of Wanghia, between the U.S. and China.

$300 - 500

[Counterculture] (Hoffman, Abbie) Fuck the System

New York, (1967). First and only edition. 16mo. 30, (2) pp. Original pictorial staple-bound stiff self-wrappers. A fine copy of this rare and wildly entertaining piece of Yippie ephemera: Abbie Hoffman’s first book, and a precursor to his more famous Steal This Book (1971). Written under the pseudonym George Metesky-the infamous “Mad Bomber” who terrorized New York in the 1940s--Hoffman provides the reader with a mischievous guide to the city, imploring them to “take what you want, take what you need, there is plenty to go around, everything is free”. Subjects include where to find free food, free lawyers, free money, free buffalo, free drugs, free rent, free pets, free movies, etc., while also providing information on venereal diseases, notes on demonstrations, an individual’s civil rights when dealing with the police, and how to cope with a bad drug trip. Scarce to auction.

$500 - 800

[Counterculture] Toklas, Alice B. The Alice B. Toklas Cook Book

London: Michael Joseph, (1954). First English edition. 8vo. xi, (i), 288 pp. With black and white illustrations by Sir Francis Rose. Publisher’s tan buckram, stamped in green and in gilt; top edge stained green; in original unclipped pictorial dustjacket, lightly worn and toned; pictorial endpapers.

Lot includes a copy of the first American edition (New York: Harper & Brothers, 1954; price-clipped dust-jacket).

A handsome copy of the first English edition of Alice B. Toklas’s cook book, featuring artist Brion Gysin’s notorious recipe for “Haschich Fudge” on p. 259. “Haschich Fudge (which anyone could whip up on a rainy day) This is the food of Paradise—of Baudelaire’s Artificial Paradises: it might provide an entertaining refreshment for a Ladies’ Bridge Club or a chapter meeting of the DAR. In Morocco it is thought to be good for warding off the common cold in damp winter weather and is, indeed, more effective if taken with large quantities of hot mint tea. Euphoria and brilliant storms of laughter; ecstatic reveries and extensions of one’s personality on several simultaneous planes are to be complacently expected. Almost anything Saint Theresa did, you can do better if you can bear to be ravished by ‘un évanouissement reveillé.’” This recipe was suppressed in the first American edition that was published only a few days after the first English.

$600 - 900

74 [Counterculture] Demonstration American-style October, 1969 Detroit, Michigan

Detroit, Michigan, October 1969. Album of 20 silver gelatin prints, mounted on black card. In black leatherette spiral-bound binder, stamped in white on front board “Young & Rubicam”; one photo detached but present. Each approximately 4 x 6 in. (102 x 152 mm).

A seemingly unique photo album illustrating the October 15, 1969 anti-Vietnam War protest in Detroit, Michigan, presumably created for presentation purposes by ad agency Young & Rubicam.

$300 - 500

Goes!! End The War

Menlo Park, California: Nowels Publications for Midpeninsula Observer, 1967. First edition. Small folio. Comprising 20 multicolored sheets (three folding) reproducing photographs from the Stop the Draft Week protest, by photographers David Anderson, Beth Bagby, Marlene Charyn, Stephen Hettenbach, John McChesney, Tina Ruffa, Maitland Sharpe, Chris Springman, and William Warren; loose as issued. Original limp printed pictorial wrappers; short open tear and light wear along spine. OCLC locates two copies.

A rare suite of photographic prints documenting the Stop the Draft Week protests held from October 16-20, 1967 in Oakland, California. It was one of the earliest--and the first major--Anti-War Movement protests, with over 10,000 demonstrators marching throughout the week. The protesters, made up of a coalition of student, labor, peace, and civil rights activists, focused their attention on the Oakland Army Induction Center, with over 3,000 marchers converging on the recruitment center on the first day. Over 200 formed a barricade with their bodies and handed out leaflets in an effort to get recruits to change their minds in joining the war effort. Police repression was swift, as they ordered the demonstrators to disperse before attacking them with their nightsticks. Over 20 were injured and more than 40 were arrested. This was one of the first instances of police brutality during the Anti-War Movement protests. By the end of the week large scale confrontations with the police ensued, as the protesters began to fight back. Seven activists (Reese Erlich, Terence Cannon, Mike Smith, Steve Hamilton, Bob Mandel, Jeff Segal, and Frank Bardacke) were arrested during this week of demonstrations and were charged with, “conspiracy to trespass, to commit a public nuisance, and to resist, delay, and obstruct police officers.” They became known as the Oakland Seven. This portfolio was apparently created to raise funds for their defense. They were eventually acquitted of all charges in 1969.

$800 - 1,200

Walter Crane (British, 1845–1915)

The Sleeping Beauty pencil, pen and black ink and watercolor, heightened with touches of white on card signed with device (lower right, within a cartouche) 15 x 10 in. (38.1 x 25.4 cm)

Provenance

Sotheby’s, New York, January 31 2020, Lot 485

Note

In 1882 Crane published Household Stories, from the Collection of the Bros. Grimm, and this painting appears to be a variation of the one printed in the book.

$5,000 - 8,000

[Cries of London] (Laroon, Marcellus). The Cryes of the City of London Drawne after the Life...

The Britwell-Knight Copy (London): P(ierce). Tempest, (ca. 1689-1709). First complete edition, early issue. Two volumes in one. Folio. Illustrated with two engraved title-pages and 72 unnumbered engraved plates (some plates watermarked “P IOLLY”, ca. after 1699). Old speckled and mottled brown paneled calf, decorated in blind, rebacked, old leather and paper spine labels, boards and extremities scuffed and moderately worn, corners worn; red speckled edges; marbled endpapers; contemporary ownership signature at top of first engraved title-page (“Richd Butler”); repaired open tear at center of third plate in first volume; scattered spotting. Shesgreen, “The Editions, Imitations and Influences of Laroon’s Cryes of the City of London” (in Studies In Bibliography XXXV, Bibliographical Society of the University of Virginia, 1982, pp. 258-271)

A rare and early complete edition of Pierce Tempest’s Cryes of the City of London, featuring numerous finely engraved plates depicting London’s street peddlers, performers, hawkers, merchants, and other characters. Based on designs by Dutch engraver Marcellus Laroon, Tempest first published this work in 1687 with an unspecified number of plates. It was frequently enlarged by Tempest over the next three years, in 1687/88 (40 plates), 1688 (60 plates), 1688 (72 plates), and finally, in 1689 (with 74 plates). The last known edition published by Tempest was in 1709, with the plates then passing to Henry Overton, ca. 1711 or later. The earliest editions, such as this copy, have unnumbered plates (Overton added numerals and his imprint to his editions), although some plates in this copy are watermarked “P IOLLY”, who, according to Shesgreen, “worked only between 1699 and 1715 (p. 261). In 1760, these plates passed to Robert Sayer, where they were reworked.

Provenance

1. Richard Butler

2. William Knight

3. S. Leigh Sotheby & Co., Catalogue of the Choice and Valuable Library of the Late William Knight, Esq., August 2-7, 1947, Lot 1302

4. By descent to S.R. Christie-Miller, Britwell Library

5. Sotheby & Co., Catalogue Of Valuable Printed Books And A Few Manuscripts From The Renowned Library Formerly At Britwell Court, March 29-30, 1971, Lot 453 (“Britwell Copy” in pencil on front paste-down)

$8,000 - 12,000

[Cries of London] Figures of Fun; or, Comical Pictures, and Droll Verses, For Little Girls and Boys

London: Charles Tilt, 1833. Two parts in one volume. First edition. 12mo. Illustrated with an engraved hand-colored frontispiece and 15 engraved hand-colored plates; each plate with accompanying letterpress text. Full black morocco, ruled in blind, lettered in gilt, light rubbing to joints, top corners lightly worn; all edges gilt; light offsetting from plates; original pink wrappers bound in. Gumuchian 2527

A fine copy of this rare work, featuring 16 amusing engravings of London Cries, done in the manner of Arcimboldo and the French tradition of costumes or habits grotesques.

$800 - 1,200

[Cries of Paris] (Truquet, Antoine). Les cris de Paris, que l’oncrie journellement par les ruës de ladite ville. Avec la chanson desdits cris...

Paris: presumed Jean Prome, ca. early 17th century. 32mo. 79 pp. Full limp vellum; title-page laid down, with bottom half supplied in facsimile; stain at bottom of A2-A7; intermittent repairs along edges; E8 laid down, with loss at bottom and some text supplied in manuscript. Brunet II: 425

A scarce and early printing of the Cries of Paris.

$500 - 800

[Curiosa] Buchinger, Matthias. Original Transformation Drawing

Lynn, (England), November 20, 1733. One leaf with overlaid sheet of paper, with pull tabs at top and bottom, 7 x 4 1/2 in. (178 x 114 mm). Upper sheet with drawing of a sunflowerlike specimen, with two cut-out windows; the lower sheet bearing the patron’s name (“Mrs. Alice Lee”) and two autograph inscriptions: “Lynn; Novbr. th 20; 1733, This was Drawn & Written by Matthew Buchinger born Without Hands or Feet; in Germany, June the 3 1674”; pull-tabs (no longer functional) allowing the text to appear or disappear from the windows. Sheet very toned and fragile, scattered chipping. Includes pieces from original mount. From the collection of magician Ricky Jay, and illustrated in his Matthias Buchinger: The Greatest Living German (2016, p. 105)

A rare and original transformation drawing by German artist, magician, and inventor, Matthias Buchinger (1674-1740). Born without hands and feet and only 29-inches tall, Buchinger traveled widely around Europe during his life, using his malformed arms and legs before audiences to perform various acts, such as firing pistols, playing musical instruments, performing magic tricks, play dice, among other acts. His most impressive feats were his skill at micrography, in which illustrations consist of very small text.

In reference to the above piece, Ricky Jay writes in his Matthias Buchinger: The Greatest Living German, that Buchinger “created unusual two-layered drawings, I believe to his mastery of the knife...He used similar skills to create what is probably a very early version of a metamorphosis, or transformation, drawing...I think that the center of the flower and the rectangle near the bottom of the tree both had images that could have been altered by pulling on the tabs connected to the drawing. Unfortunately, this piece is too fragile to operate. It bears the name ‘Mrs. Alice Lee’ within the circular flower window, and Buchinger signed it in Lynn, England, on November 20, 1733. Justin Schiller, an expert on early children’s books, thinks that it could have been a memorial piece, but even more likely a wedding presentation to ‘Mrs. Alice Lee,’ whose married name would have been revealed when the tabs were pulled. Sadly, we do not know what happened, in either the upper circle or the rectangular box where the Little Man signed his name. This may be the oldest extant example of this type of moveable ephemera.” (p. 105).

Provenance

Sotheby’s, New York, The Ricky Jay Collection, October 27-28, 2021, Sale N10706, Lot 127

$4,000 - 6,000

[Curiosa] Vampire Killing Kit

No place, no date (ca. 20th century). Comprising miniature metal crossbow; four metal “silver tipped” arrows; collapsible wooden crucifix; canister of powdered garlic; seven glass vials for various serums, tinctures, etc. (“Holy Water”, “Elixir of Vitriol”, “Professor Blomberg’s New Serum”, “Emetric Tartar for Putric Fever”); a wooden stake; three wooden-tipped bullets, etc. In original purple velvet-lined wooden case; printed label on inner lid describing kit’s purpose and listing contents. Size of objects vary; box: 10 1/4 x 13 1/4 x 2 1/4 in. (260 x 336 x 57 mm).

“This box contains the items considered necessary, for the protection of persons who travel into certain little known countries of Eastern Europe, where the populace are plagued with a particular manifestation of evil known as Vampires. Professor Ernst Blomberg respectfully requests that the purchaser of this kit, carefully studies this book in order, should evil manifestations become apparent, he is equipped to deal with them efficiently.”

In 2014, Jonathan Ferguson, curator of firearms at the National Museum of Arms and Armour in Leeds, England, conducted a study on the known examples of these kits, focusing particular attention to those created by Professor Blomberg. Ferguson noted that over 100 examples are known to exist, and while presenting as from the 19th century, or earlier, were actually, “very unlikely to have existed prior to about the 1930s at the earliest”. While constructed from antique boxes and contents, as Ferguson explained, their creation likely resulted from the craze surrounding the Hammer Dracula films starring Christopher Lee (History at Stake! The Story Behind Vampire Slaying Kits, British Library, 2014). Despite this, Ferguson wrote, “these enigmatic objects transcend questions of authenticity. They are part of the material culture of the gothic; aspects of our shared literary and cinematic passions made physical. Lacking any surviving artifact of vampirism either folkloric or fictional, fans of the gothic had created one to fill the gap.”

$3,000 - 5,000

[Curiosa] [Willard, Nancy] The Nancy Willard Collection of Painted and Decorated Eggs

The Nancy Willard Collection of Painted and Decorated Eggs

(New York, ca. 1980s-1990s). Collection of 120 wooden, glass, and/or plastic eggs, each uniquely painted, decorated, and collaged by Willard, many with moveable or sculptural parts, and attachments. Signed or inscribed by various artists, writers, and other notable visitors to Vassar College. Each measuring approximately 3 x 2 x 1 3/4 in. (76 x 51 x 44 mm). With original wooden case.

Nancy Willard (1926-2017) was an author, poet, artist, professor, and winner of the 1982 Newbery Medal for A Visit to William Blake’s Inn (a runner up for a Caldecott Medal for art, for the illustrators, Alice and Martin Provensen). During her time at Vassar College, where she was a Professor of English, she began this project of creating highly decorated portrait eggs of visiting artists, authors and other influential individuals of the time. Willard had the authors and artists sign the eggs that she then designed and decorated in a uniquely personal and representative fashion, often featuring collaged, sculptural, and moveable elements.

This collection has never been publicly displayed, as it remained in Willard’s personal effects as a reminder of these many individuals and of her time at Vassar. Comprising 120 eggs, it includes those created for, and signed by, such as Maurice Sendak, Julia Child, Isaac Asimov, Alice and Martin Provensen, Shel Silverstein, Eric Carle, Meryl Streep, Judy Collins, Eudora Welty, Nadine Gordimer, Jamaica Kincaid, Madeline L’Engle, Jimmy Stewart, Umberto Eco, Pete Seeger, Alice Walker, Eric Carle, Jane Smiley, Gwendolyn Brooks, Grace Paley, Ursula K. Le Guin, and dozens more. Among the eggs are those of Nobel Laureates, Pulitzer Prize winners, Poet Laureates and others who received significant recognitions.

Willard created a series of similarly painted and decorated eggs while she was on the faculty of the Bread Loaf Writers’ Conference at Middlebury College, Vermont, in the 1980s and 1990s. That collection, of about three dozen eggs, is now in the Special Collections at Middlebury.

Includes: Arnold Adoff; Isaac Asimov; Jean M. Auel; Russell Banks; Leonard Baskin; Russell Banks; Claire Bloom; Bruce Brooks; Gwendolyn Brooks; Joe Bruchac; Ashley Bryan; Nancy Ekholm Burkert; David Byrne; Eric Carle; Julia Child; Amy Clampitt; Ben Cohen; Judy Collins; Mario Cuomo; Diane & Leo Dillon; Henrik Drescher; Jane Dyer; Umberto Eco; William Finn; Mem Fox; Russell Freedman; Jean Craighead George; Mordecai Gerstein; David R. Godine; Nadine Gordimer; Virginia Hamilton; Joy Harjo; William Least Heat-Moon; Edward Hoagland; Bennett Hopkins; T.R. Hummer; Trina Schart Hyman; Peter Jovanovich; Jamaica Kincaid; Galway Kinnell; Howard Koch; Tedd Kooser; Maxine Kumin; Konstantinos Lardas; Madeline L’Engle; Ursula K. Le Guin; Brad Leithauser; Denise Levertov; Mark Linn-Baker; Leo Lionni; Mickey Lolich; Phillip Lopate; Patricia MacLachlan; Gregory Maguire; James Marshall; Mary McCarthy; William Meredith; James Merrill; James Metric; Susan Minot; Sarah Moon; Robert Morse; Barry Moser (3); Catherine Murphy (2); Howard Norman; Leslie Norris; Toby Olson; Cynthia Ozick; Grace Paley; Estelle Parsons; Katherine Paterson; Gary Paulsen; Octavio Paz; Jerry Pinkney; Daniel Pinkwater; Ilse Plume; Leontyne Price; Alice & Martin Provensen (2); Alice Provenson; Alberto Rios; Harry Roseman; Lewis Rubenstein; Salman Rushdie; Cynthia Rylant; Mary Jo Salter; Ruth Sanderson; John Sayles; Pete Seeger; Maurice Sendak (2); Shel Silverstein; Louis Simpson; Jane Smiley; Isaac B. Singer; William Stafford; Diane Stanley; Maura Stanton; William Steig; Gerald Stern; Jimmy Stewart; Meryl Streep; Brian Swann; Amy Tan; James Tate; Andy Towle; Ilse-Margaret Vogel; Alice Walker; Rosemary Wells; Eudora Welty; David Wiesner; Richard Wilbur; Janet S. Wong; Don & Audrey Wood; Michael Yeats; Ed Young.

$3,000 - 5,000

[Dali, Salvador] Mao Tse-Toung Poemes

Paris: Editions Argillet, 1967. First and limited edition, #154/150 numbered copies on Arches paper, signed and dated by Salvador Dali (from a total edition of 229). Folio. Illustrated with eight heliogravures reworked in drypoint by Dali, with his embossed signature below each image, and with two plates of Chinese calligraphy, one printed in black and red, the other embossed. Gatherings loose as issued in paper chemise; in original gray cloth fall-down-back box and chemise, lettered in gilt, lightly worn. Michler & Löpsinger 209-216

A handsome copy. See Lot 84 for the rare signed suite of plates.

$800 - 1,200

Dali, Salvador. Poèmes de Mao Tse-Tung

(Paris, 1967). Complete suite of eight hand-colored heliogravures with drypoint on Arches paper, each signed in pencil by Dali, and numbered 14/100. Dali’s embossed signature in bottom right below plate mark. Loose as issued; scattered foxing. Each sheet measuring 15 x 11 1/4 in. (381 x 286 mm). In later black portfolio. Michler & Löpsinger 209-216

Complete suite of signed prints by Dali, created for Poèmes de Mao TseTung. See Lot 83 for that signed limited edition, published by Editions Argillet, Paris, in 1967.

$3,000 - 5,000

[Dante] Giambullari, Pier Francesco. De’l Sito, Forma, & Misure, dello Inferno di Dante

Florence: Neri Dortelata, 1544. First edition. 8vo. 153, (15) pp. Illustrated with woodcut printer’s device on title-page and verso of terminal leaf, as well as 11 in-text woodcuts (depicting the circles and structure of Hell). In period style full limp vellum; intermittent spotting and foxing to text; old ownership signature at bottom of title-page.

A fine copy of this curious work on the structure and dimensions of Dante’s Hell, by Italian writer and teacher Pier Francesco Giambullari.

$600 - 900

Defoe, Daniel. Rabinzon Kruzo

Watenstedt-Salzgitter Camp of Displaced Persons, (former West Germany), 1947. First and only edition, hectographic typescript. 4to. 46 pp. Translated from the English into Belarusian by Svyataslau Kousch. Illustrated with eight original black and white plates. Stiff staple-bound pictorial wrappers, printed in black, toned, lightly soiled; spine worn, singe holes on lower rear wrapper; singe affecting final six text leaves; in black cloth-covered fall-down-back box.

An extremely rare survival, Daniel Defoe’s famous shipwreck tale of Robinson Crusoe, translated into Belarusian, and printed in 1947 at the Watenstedt-Salzgitter Camp of Displaced Persons.

The Displaced Persons Camp in Watenstedt-Salzgitter near Braunschweig, in the former West Germany, was opened at the end of World War II, in 1945, for those survivors who were stranded or left behind after the war without valid identification or passports--mostly from Eastern Europe. Re-settlement schemes were not in place, and only opportunities for repatriation were available. Other texts are known to have been printed at the Watenstedt camp using similar printing methods, but this is the most significant literary production.

This typescript was produced by the process of hectography, which was invented in Russia in 1869 by Mikhail Alisov. It involved the transfer of an original, prepared with special inks, to a pan of gelatine or a gelatine pad pulled tight on a metal frame. It proved an ideal process for small print runs (usually between 20 and 80) in environments where technology was not easily accessible, as well as for clandestine printings.

Extremely rare, we can locate only one other copy, held at the New York Public Library.

$800 - 1,200

Denslow, W.W. Denslow’s Scarecrow and the Tin-Man

(New York: G.W. Dillingham Co. 1904). First edition, first issue. 4to. Unpaginated. Printed on heavy textured stock. Illustrated Denslow throughout in color. Publisher’s stiff pictorial wrappers, lightly soiled and creased.

Scarce and well-preserved first issue of Denslow’s follow-up story, based on the characters from L. Frank Baum’s The Wonderful Wizard of Oz..

From Denslow’s New Series of Picture Books for Children.

$200 - 300

Denslow, W.W. [Hubbard, Elbert] “The Philistine”, Original Illustrated Envelope

W.W. Denslow’s Original “Low-Comedy Envelope” Illustration

Chicago, August, 1896. Watercolor and ink illustration on envelope, by W.W. Denslow, depicting “The Philistine”--an elderly man surrounded by and reading books; with Denslow’s printed customary seahorse device in top right, and signed by him in watercolor at top with his Highwood, Illinois address; addressed by Denslow in watercolor to Elbert Hubbard, and inscribed by Denslow in watercolor along bottom, “Those Venetians Were Best--But There Are Others. ‘The Philistine’” Postmarked on recto and verso. Approximately 4 1/4 x 6 1/4 in. (108 x 159 mm) (sight). In double-window frame, 6 5/8 x 9 in. (168 x 229 mm).

A rare original illustration by American illustrator W.W. Denslow, executed by him in watercolor on an envelope used for a letter (not present) sent to Elbert Hubbard, founder and guiding force of the Roycroft artisan community in East Aurora, New York. The watercolor illustration, covering the entirety of the envelope’s recto, depicts a grinning and bespectacled elderly man in a robe, wearing a laurel wreath, and surrounded by books, captioned by Denslow as “The Philistine” (in homage to Hubbard’s anti-establishment periodical that Denslow would later contribute to). This is a very early example dating to the beginning of Denslow and Hubbard’s fruitful relationship, that began in 1896. As such it is characteristic of Denslow’s letters sent to Hubbard at this time, whose envelopes and contents were typically adorned with watercolor illustrations of a satirical bent. This is perhaps one of only a few extant examples, and is the first we can find being offered at auction since 1973.

Denslow, later famous for his illustrations for L. Frank Baum’s The Wonderful Wizard of Oz (1900), first learned of the Roycrofters in 1896 (the same year he sent this envelope), after hearing about their publication of The Songs of Solomon. Denslow later recalled that he “sent for the book, by letter enclosed in a low-comedy envelope done in water-color. Mr. Hubbard saw, by the work, that I could do something that he needed to have done, and he told me so by letters, so written that I knew he was a great, strong man who could do me much good, and I did not have to be greatly urged to go to East Aurora with my paints and brushes, to give him of the best in me.” (Lane, Elbert Hubbard and His Work, 1901, pp. 82-83).

Over the next four years, Denslow designed book illustrations, cover designs and title-pages for many Roycroft publications, often from his home in Chicago. He was the first professional artist invited by Hubbard to work in the Roycroft shops, and in 1898, spent an extended stay there instructing the artisans on bookbinding and hand-illumination, while also collaborating with Hubbard on designs of several of the community’s buildings. Denslow’s signature, a seahorse device (as seen here), became known as “Hippocampus Den”, and was adopted by Hubbard as a logo for several Roycrofter projects, including watermarks in the paper found in many of the press’s books.

In 1898, Denslow began creating satiric illustrations for Hubbard’s anti-establishment periodical The Philistine (whose covers featured Denslow’s seahorse). “As with Hubbard, nothing seemed sacred to Denslow, and all of society--scientists, educators, clergymen, competitors and even fellow Roycrofters--were subject to his characterizations.” (Rhodes, The Roycroft Shops 1894-1915, 1976, p. 9). Denslow’s work contributed to the wider recognition of the Roycrofters as a one of the leading presses in America, and conversely, helped establish Denslow as a leading American illustrator. He made his last visit to East Aurora in 1899, having by this point recently finished his illustrations for Baum’s Wizard of Oz--work that would secure him international fame.

Provenance

Charles Hamilton, New York, September 20, 1973, Sale 71, Lot 63

$2,000 - 3,000

Diana, Princess of Wales. Dresses From the Collection of Diana, Princess of Wales

New York: Christie’s, 1997. First and limited deluxe edition, #158/250 copies, signed and numbered by Princess Diana. Folio. Profusely illustrated with full-page color and black and white photographic reproductions. Publisher’s deluxe full purple morocco; in original protective packing case.

Lot includes printed Christie’s invitation for private viewing of the collection, ticket to auction, and other printed ephemera relating to the sale.

An as-new copy of this stunning and scarce deluxe auction catalogue, produced by Christie’s for the sale of Princess Diana’s dresses to benefit the AIDS Crisis Trust and the Royal Marsden Hospital Cancer Fund. Signed and numbered by Diana, only a few months before her death, the sale of her 80 dresses raised over $3.6 million dollars. Each successful bidder received a copy of this signed catalogue, which was also available for sale for $2,000. Unsigned cloth copies and a smaller paperback format were also issued.

$3,000 - 5,000

Walt Disney (American, 1901–1966)

Mickey and Minnie Walking in the Moonlight, ca. 1932-34 gouache and watercolor on paper signed Walt Disney (lower center)

15 x 20 in. (38.1 x 50.8 cm)

Note

This works depicts an early Mickey and Minnie, possibly created for a studio Christmas card. The composition is very similar to how they were depicted in books of this period. Mickey and Minnie both debuted in 1928.

$20,000 - 30,000

91 [Walt Disney]

Mary Robinson Blair (American, 1911–1979)

Cinderella Leaves the Ball tempera on artist’s board

8 3/8 x 24 1/2 in. (21.3 x 62.3 cm)

Provenance

RR Auction, Boston, July 13, 2016, Lot 681

Note

Original concept painting created for the classic 1950 Walt Disney production of Cinderella

$3,000 - 5,000

Richard Doyle (British, 1824–1883)

The Fairy Ring watercolor over pencil heightened with white on paper signed with initial D (lower right)

7 7/8 x 13 7/8 in. (20 x 35.2 cm)

Provenance

Sotheby’s London, November 24, 2005, Lot 178

$4,000 - 6,000

[Sendak, Maurice] [Dore, Gustave] Oeuvres de Francois Rabelais...

Paris: J. Bry Aine, 1854. First edition. 4to. (ii), 339, (1) pp. Illustrated with 15 full-page plates and numerous in-text illustrations by Dore. Publisher’s stiff pictorial wrappers, printed in red, green, and gold, scattered dampstaining and soiling to wrappers, spine repaired with some loss; intermittent dampstaining in bottom corner of text leaves; scattered spotting to text; in yellow ochre cloth fall-down-back box from the library of Maurice Sendak.

A lovely copy in original wrappers of Gustave Dore’s illustrated edition of the works of Francois Rabelais.

$300 - 500

Richard Doyle (British, 1824–1883)

May Queen, c. 1869 watercolor on paper 9 x 12 in. (22.8 x 30.5 cm)

Provenance

Collection of Michael Heseltine

Sotheby’s New York, December 14, 2016, Lot 27

Exhibited

Dublin, National Gallery of Ireland, Doyle Exhibition, n.d. No. 136 London, JS Mass & Co. LTD, Exhibition of Victorian Fairy Paintings, 6th March - 7th April, 1978. No. 43

$2,000 - 3,000

95

Queen Elizabeth II and Prince Philip. Pair of Signed Photographs London, ca. 1953. Pair of signed black and white portrait photographs, one of Queen Elizabeth II, by Dorothy Wilding, 16 1/4 x 12 3/4 in. (419 x 324 mm), and the other of her husband Prince Philip by Baron (Sterling Henry Nahum), 16 1/2 x 12 in. (419 x 305 mm). Both signed below image and dated 1953. Scattered light stains to mats. In matching gilt frames, 26 1/2 x 20 1/2 in. (673 x 520 mm).

Fine and large pair of portrait photographs of Queen Elizabeth II and her husband Philip, taken during the year of her coronation.

$1,500 - 2,500

[Erotica] Rops, Felicien. Collection of 84 Prints

[Erotica] (Friend, Donald, and Richard Griffin). Sundry Notes & Papers; being the recently discovered notes and documents of the Natural Instinctive Bestiality Research Expedition. collected and collated under the title Bumbooziana... (Melbourne, etc., Australia: Gryphon Books, 1979). First and limited edition, #38/150 numbered copies, signed by Donald Friend (from a total edition of 170). Elephant folio. (iv), 48, (2), 49-70, (2), 71-108, (2), 109-125, (1) pp. Facsimile manuscript, profusely illustrated in off-set colors and metallic inks. Publisher’s quarter green leather over orange cloth-covered boards, decorated in gilt; in original orange cloth slip case.

Limited edition of Donald Friend’s monumental and lavishly illustrated erotic work. $400 - 600

Locations and dates vary. Collection of 84 etchings, drypoints, and heliogravures by Belgian artist Felicien Rops, including seven signed. Images and sheet sizes vary. Each in mat, 13 1/4 x 10 1/4 in. (336 x 260 mm). From the collection of Gary Eisenberg.

Full list available upon request.

A large collection of 84 largely erotically-themed prints by Belgian artist, Felicien Rops (18331898). Mostly known for his work’s symbolism and decadence, Rops collaborated with many prominent authors and poets of the period, including Charles Baudelaire, Charles de Coster, Theophile Gautier, Joris-Karl Huysmans, and more.

Gary Eisenberg (1951-2017) was a Los Angeles-based musician, artist, and printmaker. During his career he collaborated with Sandow Birk and Raymond Pettibon, among others.

Lot includes Felicien Rops Peintre by Maurice Exsteens (Brussels: Nouvelle Societe d’Editions, 1933.)

Provenance

PBA Galleries, Fine Art - Fine Press - Fine Bindings, August 22, 2024 Lot 224

$3,000 - 5,000

(Felixmuller, Conrad). ABC. Ein geschutteltes, geknutteltes Alphabet in Bildern Mit Versen von Londa und Conrad Felixmuller. 1925

(Dresden: F. Emil Boden for the artist, 1925). First and limited edition, one of approximately 10 copies signed and hand-colored by Felixmuller (from a total edition of 350). Oblong 4to. Unpaginated. Illustrated with 16 full-page hand-colored woodcuts. Stiff buff string-sewn pictorial wrappers, printed in red and blue, lightly foxed; scattered foxing through. From the library of Eduard Rosenbaum (1887-1979), Anglo-German economist and librarian, close friend of the author. Jentsch 154; Rifkind 617; Sohn pp. 348-363

Well-preserved and special hand-colored copy of this rare and important ABC book for children, by German artist Conrad Felixmuller and his wife, Londa. Felixmuller (1897-1977) was trained at the Dresden Academy of Fine Arts, and very active during the Weimar Republic era of Germany. When the Nazis rose to power in 1933, many of his works were labeled as “degenerate art” and seized, making publications such as this, from his early career, increasingly scarce.

$6,000 - 9,000

[Euclid] Byrne, Oliver. The First Six Books of The Elements of Euclid In Which Coloured Diagrams And Symbols Are Used Instead Of Letters For The Greater Ease Of Learners

London: William Pickering, 1847. First and only edition. 4to. xxix, 268 pp. Illustrated throughout with printed color diagrams in red, blue, and yellow. Publisher’s quarter green cloth over paper-covered boards, printed cover label, spine and extremities worn, front joint worn; all edges trimmed, some pages unopened. Moderate to heavy foxing throughout. McLean, Victoria Book Design, p. 51

Oliver Byrne’s innovative edition of The Elements of Euclid, one of the most reprinted books of all time, and instrumental to the foundation of modern mathematical theory. Here printed with geometric figures and shapes in bright primary colors, considered “a masterpiece of Victorian book design, considered ‘one of the oddest and most beautiful books of the whole century” (McLean).

$2,000 - 3,000

100

Field, Eugene. With Trumpet and Drum

New York: Charles Scribner’s Sons, 1892. First and limited edition, out of series copy, signed by the publisher (from a total edition of 250). Charming presentation copy, inscribed by Field to his wife Julia in red and black ink with two his most popular poems (“Little Boy Blue” and “Dutch Lullaby”), and with two color illustrations by him adorning same (manuscript appearing on front free endpaper, and on rear endpaper and blank). 8vo. xi, (i), 126 pp. Publisher’s quarter vellum over drab papercovered boards, spine lettered in gilt; top edge gilt, other edges untrimmed; illustrated book-plate on front paste-down; scattered very light spotting to text; in green cloth fall-down-back box.

A fine and charming presentation copy of Field’s collected verse, inscribed by him to his “Dearest and Most Beautiful” wife Julia, with two original poems and two color illustrations. Inscribed are two of Field’s most popular poems, “Little Boy Blue” and “Wynken, Blynken, and Nod”, the latter under its original title, “Dutch Lullaby”.

$1,500 - 2,500

101

[Film] [Japan] Collection of 18 Issues of Motion Picture Library Magazine

(Tokyo: Shin Seikatsusha and Sekai Bunko, 1946-48).

Comprising the first 18 issues, numbered 1-18, of Motion Picture Library. Text in Japanese and in English. Publisher’s limp printed wrappers; wear and soiling to wrappers, extremities, and spines; front wrapper of first issue starting; other scattered separations along joints; light to moderate soiling and toning to text; scattered foxing to same.

A rare and large collection of this postwar bilingual Japanese film magazine, featuring the full scripts in English and Japanese for classic American films such as Casablanca, Here Comes Mr. Jordan, Tales of Manhattan, Our Vines Have Tender Grapes, Moontide, Rhapsody in Blue, Random Harvest, Jane Eyre, All This and Heaven Too, The Lost Weekend, The Philadelphia Story, Anna and the King of Siam, Two-Faced Woman, To Have and Have Not, The Best Years of our Lives, The Bells of St. Mary’s, Arsenic and Old Lace, and State Fair

$1,500 - 2,500

102

and

Paris: Ambroise Vollard, 1930. First and limited edition, #9/25 numbered copies on Japon imperial, and initialed by the author, Ambroise Vollard, and illustrator, Pierre Bonnard (from a total edition of 340). Folio. Illustrated with 29 lithographed plates on Japon imperial, an additional 29 suite of same plates on Arches paper, by Pierre Bonnard, and with his original pen and ink and pencil drawings for all 29 of these lithographs bound in. With in-text illustrations, an additional two etched plates for “Table des hors texte”, as well as a suite of 29 etched plates not utilized, and suite of 15 woodcut plates not utilized, all by Bonnard. Finely bound in full purple levant, front and rear board with a Greek cross above angled concentric circles of crushed white morocco and purple levant, spine lettered in gilt; all edges gilt; front and rear inner boards of white crushed morocco with concentric purple crushed levant and crushed white morocco circles; purple moire silk endleaves; by Paul Bonet for art collector Gaston Levy, and with a typed letter by him mounted at rear regarding this binding, dated July 31, 1931 (noting that the work was done by the binder F. Giraldon and the gilder A. Jeanne); blue morocco book-plate of Francis Kettaneh (1897-1976) on front blank, armorial book-plate of Van Sickele on same; in a suede-lined morocco-backed fall-down-back box. From the collection of Gaston Levy, and with his name gilt-stamped on front inner board.

A superb deluxe edition of this collaborative work between Ambroise Vollard and artist Pierre Bonnard, containing all 29 of Bonnard’s original pen and ink illustrations for the work’s lithographed plates. In an exceptional binding by innovative French bookbinder Paul Bonet (1889-1971). Considered one of the masters of 20th century French bookbinding design, Bonet’s career spanned 50 years, and profoundly influenced the trajectory of the craft. he began designing bindings as a hobby, while working as an electrician’s apprentice and women’s dress designer. In 1924 he showed his work to Henri Clouzot, curator at the Musée Galliera, who then included examples of his work in one of his exhibitions, to much acclaim. From there he began binding professionally, and became the leading bookbinder in France. His sleek Art-Deco-inspired and modern book designs had a profound influence in Europe and abroad, and have since become highly coveted.

Gaston Lévy (1893-1977) was a prominent art collector in Paris who had bought numerous works of Pierre Bonnard’s from the dealer Ambroise Vollard.

$20,000 - 30,000

[Fine Bindings] [Bonet, Paul] Vollard, Ambroise,

Pierre Bonnard. Sainte Monique

103

[Fine Bindings] [Crette, Georges] [Toulouse-Lautrec, Henri de] Clemenceau, Georges. Au Pied du Sinai

Paris: (Chamerot et Renouard) for Henri Floury, (1898). First and limited edition, #164/355 numbered copies on Arches paper (from a total edition of 380). 4to. (iv), 107, (1), (4) pp. Illustrated with 10 lithographed plates on wove paper and six lithographed tail-pieces, by Lautrec; without the additional suite of 10 lithographs on China paper. Finely bound in full redorange levant, decorated in black and in gilt forming a radiating Star of David on front and rear boards, lettered and decorated in black and in gilt along spine, spine ends rubbed; reverse brown calf endleaves; original lithographed wrappers bound in; in matching red morocco and marbled paper-covered slip case and chemise; by Georges Crette. From the library of Barbara and Ira Lipman. The Artist and the Book 302; Wittrock 188-201

A superb Georges Crette binding on this collaboration between French journalist and statesman Georges Clemenceau and Henri de ToulouseLautrec, his most substantial illustrated work for a book. “An account of ghetto life in Poland, a shrewd observer of his subjects, Lautrec spent hours in the Tournelle quarter of Paris, sketching poor Russian and Polish Jews. The author and statesman Clemenceau appears twice” (The Artist and the Book, p. 205).

$1,500 - 2,500

105

[Fränkel, Karl] Thun-Hohenstein, Maximilian, and Alois Weywar, and Max Ermers. Holzschnitte zur Naturlichen Bewegungslehre des Dr. Thun Hohenstein...Zusammengestellt von Alois Weywar Gymnastiklehrer u. Assitent Dr. Tuhns

Vienna: (Privately Printed, ca. 1930). First and only edition. 4to. 16 unnumbered leaves. Completely printed in woodcut, including titlepage, text, and 16 full-page hand-colored woodcuts. Original stab-sewn binding of red painted paste-paper boards, hand-colored woodcut mounted on front board, black and white woodcut imprint mounted on rear board, wear and chipping along extremities; in custom red paper board fall-down-back box with window and slip case. OCLC 84926364 and 1316715561

104

[Fine Bindings] (Humphreys, Noel). Parables of Our Lord (London: Longman, Brown, Green, & Longmans, ca. 1846). 12mo. Unpaginated. Chromolithographic illuminated leaves containing different bible parables, rubricated with gold and color borders by Noel Humphreys. Original elaborately decorated papier-mache and plaster boards, sympathetically rebacked; all edges gilt; marbled endpapers; index leaf bound in at front; scattered toning.

$100 - 150

Extremely rare work on gymnastics and human locomotion, illustrating the ideals of “beauty through health and strength” (OCLC), first popularized during the early 20th-century by influential Danish athlete and gymnastic teacher, Joergen Peter Muller (1866-1938). Completely hand-printed in color and in black and white woodcuts by Austrian painter and graphic artist Karl Fränkel (1895-1964). The striking images illustrate exercises invented by Maximilian Thun-Hohenstein, a Viennese doctor remembered for his research into human locomotion. Edited by Dr. Thun-Hohenstein’s assistant, Alois Weywar (1903-97), and with commentary by Austrian art historian Max Ermers (1881-1950), the text and images compare human movement to that of a horse and suggests various jumps, stretches and handstands to promote “harmony health, and beauty” (OCLC). The text comments on Hellenism and its links to the beneficial effects of exercise.

Karl Fränkel studied at Höhere Graphische Bundes-Lehr-und Versuchsanstalt in Vienna and at the Vienna Kunstgewerbeschule, where he developed an interest in graphic design and puppetry. In 1939, he was taken to the concentration camp at Dachau, where he was imprisoned until his exile to Great Britain. In 1945, he was able to return to Vienna.

One of possibly only five known copies. We can locate only this copy on RBH, while OCLC locates three copies--at Princeton University, Florida International University, and at the German Sport University Cologne. A further copy is located at the National Library of Austria.

$4,000 - 6,000

106

Eric Gill (British, 1882–1940)

Liber, ca. 1930 ink on paper 4 x 2 1/4 in. (10.2 x 6.4 cm)

Provenance

Eric Gill

Gill Family Collection

Note

An historiated initial, possibly intended for Gill’s The Four Gospels of the Lord Jesus Christ (Matthew 1:1) (1931).

$600 - 900

107

[Gill, Eric] Ashford, Faith. Poor Man’s Pence

(Ditchling, Sussex: St. Dominic’s Press, 1917). First edition. From the library of Eric Gill, and with his book-plate on front paste-down. Inscribed in red ink on front blank by the printer, H.D.C. Pepler: “The Feast of S. Elizabeth of Hungary A D 1922 to another Eliza. from the printer, HDCP”. With woodcut device on title-page, attributed to Gill, and five in-text woodcut devices (three attributed to Gill). Original quarter linen over drab paper-covered boards; all edges trimmed. Gill 362

Eric Gill’s copy of the 16th publication from St. Dominic’s Press, featuring three woodcut devices attributed to him. This binding is not recorded in Evan Gill’s bibliography, which calls for brown paper wrappers. This copy with a variant title-page, with a woodcut device of an angel on a horse (matching Evan Gill’s own copy), instead of the St. Dominic’s Press cruciform device found in standard copies.

$200 - 300

108 Goldman,

Emma. Anarchism and Other Essays

New York: Mother Earth Publishing Association, 1910. First edition. Inscribed by Goldman on front free endpaper: “Emma Goldman / St Louis March 2nd 1911”. 8vo. 277, (8, ads) pp. Illustrated with a frontispiece portrait of Goldman. Publisher’s cloth, stamped in black, spine darkened, boards unevenly toned, paper remnants on upper front board, spine ends frayed, soiling to boards; old ownership signature at top of front free endpaper; small short closed tear in bottom edge, p. 61.

Rare inscribed first edition of Emma Goldman’s first published book, a collection of her influential essays on anarchism and other topics. Signed in St. Louis in March 1911, during Goldman’s annual lecture tour. In 1911 alone she visited 40 American towns in six months, and delivered over 150 lectures on subjects including “Tolstoy-Artist and Anarchist”, “Galsworthy’s Justice”, “Marriage and Love”, “Danger in the Growing Power of the Church”, “Victims of Morality”, and “Anarchism Versus Socialism”.

$800 - 1,200

Goldman, Emma. Group of 4 Printed Items

1. The Radical Review

Chicago: (Radical Review Publishing Co.), January 20, 1883 (Vol. X, No. 11). 8, (2) pp. Original printed self-wrappers, front and rear wrappers detached; some tears to pages including one-inch tear to right edge throughout publication; soiling throughout; ink stamp of Chicago Historical Society on front wrapper, pencil inscription at top of same “Dup”.

Front page features an announcement to readers, citing the purpose of the periodical: “Its chief aim is to make independent thinkers of men and women. It will plead for absolute Freethought, and its realization in life...With a contempt for time-serving, it will fearlessly attack abuses in church and state, and follow reason wherever it may lead.”

2. Printed Pamphlet For a Series of Lectures

Chicago: Allied Printing, (1914). 8vo. Bifolium leaf. Printed self-wrappers; closed tear in fore-edge of each leaf.

Pamphlet outlines the dates and titles of each lecture in the series, including “The Scandinavian Drama,” “The German Drama,” “The Jewish Drama,” and others, each to be held at the Fine Arts Building in Chicago. Praise for Goldman from Life is featured on the back of the pamphlet: “Emma Goldman’s lectures ought to be heard by all so-called respectable women, and adopted as a text-book by women’s clubs throughout the country...she has hitherto been unsurpassed among the world’s women...”

3. Group of Two Printed Handbills for Lectures

Chicago: Allied Printing, (1914). Two printed identical handbills, on red and green cards. 3 1/2 x 5 1/2 in. (89 x 140 mm).

“Emma Goldman...Will Deliver Her Last Lectures in Chicago at Fine Arts Assembly Hall....”

$300 - 500

110

Greenaway, Kate. Complete Set of Almanacks

London: George Routledge and Sons, etc., 1883-1929. Complete set in 26 volumes (see list below). 24mo or smaller (some oblong). With color illustrations by Kate Greenaway. Publisher’s various pictorial boards; scattered wear and soiling; scattered ownership or gift inscriptions; 1897 issue with pencil annotations at rear; first series (1883-97) in tan morocco and cloth case and two chemises. Schuster & Engen 3-22

The above includes an unrecorded variant for 1894, printed with illustrations only; bound in floral-patterned cloth over boards.

Comprising: 1883 (two copies: Schuster & Engen 3.1a, 3.1d); 1884 (2 copies: 4.2a, 4.2e); 1885 (2 copies: 5.3a, 5.3c); 1886 (6.4a); 1887 (2 copies: 7.5a, 7.5b); 1888 (8.6e, with original dust-jacket); 1889 (9.7c); 1890 (10.8a, with original dust-jacket); 1891 (11.9a); 1892 (2 copies: one unrecorded variant with first French edition blue cloth spine and turquoise endpapers; unrecorded variant in stiff paper wrappers with hand-painted floral design, gilt lettering, bound with silk tie); 1893 (13.11b, in original dust-jacket); 1894 (14.12d); 1895 (15.13a); 1896 (none issued); 1897 (16.14a); 1924 (17.15a, in glassine); 1925 (18.16a, in glassine); 1926 (19.17a, in glassine); 1927 (20.18a, without glassine); 1928 (21.19a, but with white edges, in glassine); 1929 (22.20a, in glassine).

Lot includes Kate Greenaway’s Alphabet (Schuster & Engen 23.1c, but with only top edge in green-turquoise).

A beautifully presented and lovely collection of Greenaway’s signature almanacs.

$1,500 - 2,500

111

Kate Greenaway (British, 1846–1901)

Flower Procession

watercolor on paper laid to board

signed with initials KG (lower left)

6 1/2 x 14 3/4 in. (16.5 x 37.5 cm)

Provenance

Bonhams London, Knightsbridge, November 15, 2023, Lot 37

$2,000 - 3,000

113

Kate Greenaway (British, 1846–1901)

Mother and Child, 1900

ink watercolor and graphite on paper

Signed with initials and dated KG 1900 (lower left)

Image size: 4 x 3 1/2 in. (10.2 x 8.9 cm)

Provenance

Fine Art Society, London

Property of Winifred Nicolson (née Roberts) (1893-1981)

Sotheby’s London, July 11, 2017, Lot 209

$600 - 800

112

Kate Greenaway (British, 1846–1901)

Original Illustration of the Giant from “Hop-O’-My Thumb”, ca. 1871

watercolor on paper

8 3/4 x 6 1/2 in. (22.2 x 16.5 cm)

Provenance

Heritage Auctions, October 4, 2021, lot 71082

Note

This illustration was published in Madame d’Aulnoy’s Fairy Tales (Edinburgh: Gall & Inglis,1870).

$2,000 - 3,000

114

Kate Greenaway (British, 1846–1901)

The Wooden Doll and the Wax Doll Ink and watercolor on paper signed with initials KG (center left) 5 x 8 in. (12.7 x 20.3 cm)

Provenance

JGS Ltd

Literature

Jane and Ann Taylor Little Ann & Other Poems, Frederick Warne & Co., London, 1890, p. 46, illustrated.

$1,000 - 1,500

115

Greenaway, Kate, and Frederick Locker-Lampson. Illuminated Manuscript of “Cradle Verses”

A Unique Illuminated Miniature Book by Kate Greenaway (London), 1880. 64mo. 48 pp. Fine and unique illuminated manuscript, extensively illustrated in watercolor by Kate Greenaway on 45 of the 48 pages, with each page initialed by her; with four autograph poems by Frederick Locker, created for presentation by Locker to his wife, Jane. Presentation binding of full vellum over boards, with four watercolor decorations on front board and four watercolor ornaments on rear board, also by Greenaway, titled on front board “Babies and Blossoms”; edges stained green; green endpapers; in original hand-stitched velvet pouch, and in green straight-grain morocco pull-off case, all in silk-lined red levant solander case; illustrated book-plate on inner front panel. From the collection famed book-collector Robert S. Pirie, and with his book-plate laid in; his wife’s illustrated book-plate mounted to inside lid of same. See Spielman and Layard, Kate Greenaway, 1905, p. 96 (illustrated following p. 91)

Includes a typed letter from Betty Locker-Lampson, Frederick’s granddaughter, explaining the book’s history.

A wonderful and extremely charming illuminated miniature book, specially created by Kate Greenaway and poet Frederick Locker (1821-1895) as a birthday present for Locker’s wife, Hannah Jane Lampson (1846-1915). Featuring four holographic poems by Locker, each on the subject of his children, and fully adorned with extensive watercolor and pen and ink illustrations by Greenaway decorating virtually every page.

Frederick Locker-Lampson first encountered Kate Greenaway through her printer Edward Evans, who had asked Locker to review some of Greenaway’s verses she had written for her first children’s book, Under the Window (1879). Locker was immediately taken by her work, and he and his wife quickly made her acquaintance and became close friends. A poet in his own right, Locker created this book as gift for Jane’s 34th birthday, and whose poems within he composed on the subject of each of his children. Locker then asked Greenaway to design and illustrate a miniature keepsake album for the poems. The resulting work showcases Greenaway’s distinctive depictions of children, fairies, and flowers, and features four fine portraits of each of the LockerLampson children: Godfrey in “A Rhyme of One”; Dorothy in “Little Dinky”; and Oliver and Maud in “The Twins”. Greenaway composed the illustrations first, which required Locker to carefully add his own manuscript of his verses to the volume. As he later recalled to his wife, adding his verse into the book was “the most anxious experience of his life” and that “he was in agony all the time lest he should make a mistake or a blot” (Spielman and Layard, Kate Greenaway, p. 96).

Certainly one of Greenaway’s most charming and intimate works, described by her biographers as “the most exquisite little bibelots it is possible to imagine.” (p. 96).

Provenance

Jane Locker Lampson, thence by descent Mrs. Robert S. Pirie, from Seven Gables bookshop ca. 1961 Sotheby’s, New York, Property From The Collection of Robert S Pirie Volumes I & II: Books and Manuscripts, December 2-4, 2015, Sale n09391, Lot 1008 From the collection of Justin G. Schiller, purchased at above sale

$30,000 - 50,000

Grimm, Wilhelm Carl. Autograph Letter, signed

Cassell, Germany, December 12, 1819. One sheet folded to make four pages, 7 3/4 x 4 9/16 in. (197 x 116 mm). Autograph letter in German, signed by Wilhelm Carl Grimm (of the Brothers Grimm), to Annette (or Jenny) von Droste-Hulshoff, sending and describing in great detail a new edition of his and his brother, Jacob’s fairy tales, illustrated by their younger brother, Ludwig Grimm. Lightly toned, split at center fold repaired with archival tape. From the Annette von Droste-Hulshoff autograph collection.

“...You already know a lot about it, we owe a lot to you ourselves, but I hope that you will not be reluctant to look at what is new in it. Among them are the engravings which (apart from the wreath in front of the second volume, which came in against my will and is mere Berlin factory work) come from my brother. The little picture in front of the first volume belongs to the fairy tale of little brother and little sister...The angel holds the souls of the two sleeping lilies in his hand and protects them against earthly dangers. I also think of the innocent fairy tales themselves, which have survived in solitude and ignored by the world. You will also like to look at the picture of the Hessian fairytale woman before the 2nd volume, how sensible, measured and competent she looks! The wreath of flowers in front of the first volume was very pretty and dainty in the drawing, although it was in color, but lost a lot in the engraving. If only you had come back this summer! I would have wanted to show your father the newly laid out greenhouse and the garden of a private person who has carefully selected specimens of all plants. You would have gone too, after that you would have had to see the pictures of a young painter named Kuhl, who had just returned from Rome. They would certainly have given you great pleasure, especially an Adoration of St. Three kings and then a small picture representing spring. An angel’s head, after a beautiful, blond, curly-haired, delicate child who lives in Verona, with a wreath of roses, mayflowers and gold leaves. The whole golden frame is painted with flowers and birds in a peculiar way; Pheasants drink from mussels and the bird of paradise rests on top...I am hanging on your Christmas tree the wish that God will bless you with his joys throughout the year!”

Annette von Droste-Hülshoff (1797-1848) was a German poet and composer of classical music, most well-known for her work Die Judenbuche. She and her sister Jenny first made the acquaintance of Wilhelm Grimm in 1813 through mutual friends. Over the course of their friendship the two sisters supposedly contributed Westphalian folk tales from their homeland to the Grimm’s collection of fairy tales.

$3,000 - 5,000

117

Grimm, Ludwig Emil. Das Kinderexamen

No place, ca. 1820. Etching on paper, 6 1/4 x 8 in. (image), 8 1/2 x 12 in. (overall). Depicting students standing behind their teacher. Light foxing to verso, adhesive residue from mounting to same. Stoll 171

Scarce etching by Ludwig Emil Grimm (1790-1863), younger brother of Jacob and Wilhelm, the famous folklorists known as the Brothers Grimm.

$300 - 500

119

118

[Grossmann, Rudolf] Hoffmann, E.T.A. Ritter Gluck

(Munich): Marées-Gesellschaft Piper, (1920). First and limited edition, #65/65 numbered copies. Folio. Illustrated with an original pen and ink drawing by Grossmann and 18 hand-colored woodcuts on Japan paper, each woodcut signed by Grossmann, and each blindstamped in bottom right. Each in mat, and loose as issued in quarter cloth over paper-covered board portfolio, printed paper cover label. Portfolio worn, soiled, and dampstained; portfolio flaps worn, lower flap detached but present; mat for original drawing slightly affected by damp, but drawing unaffected.

Limited edition suite of 18 hand-colored woodcuts, with an original ink drawing, by German painter and graphic artist Rudolf Grossmann, for his illustrated edition of E.T.A. Hoffmann’s Ritter Gluck. This special edition of only 65 copies was issued alongside the limited edition of 200 copies by the Bremmer Presse, published in the same year.

$300 - 500

[Gunpowder Plot] Clark, Samuel. The Gunpowder-Treason: Being a Remembrancer to England, of that ancient deliverance from that Horrid Plot, hatched by the Bloody Papists, 1605...

Remember Remember The Fifth of November!

London: Printed by A. Maxey for John Rothwel, 1657. 16mo sheets window-mounted onto folio sheets. 40 unpaginated leaves (F-G8, I4). Title-page and text leaves ruled in red. Extraillustrated with 17 contemporary engravings, and one later facsimile letter, depicting the events and conspirators, all mounted. Full brown morocco, stamped in blind and in gilt, boards unevenly faded, extremities and joints rubbed; all edges gilt; gilt dentelles; marbled endpapers; by Riviere & Son; spotting to text leaves and plates; open tear at bottom of F2. From the library of W.A. Foyle, Beeleigh Abbey, and with his gilt morocco book-plate on front paste-down; “Bruton Copy” in pencil on verso of front free endpaper (Henry W. Bruton). OCLC 613403691; Not in Wing

A rare and extra illustrated copy of this work on the Gunpowder Plot of 1605, an unsuccessful attempt by English Catholics to blow up Parliament and assassinate King James I.

A 1657 edition of Clark’s Englands remembrancer has a section with a separate title page “The gunpowder-treason ... “. However, this work was printed by “J. Owsley” and is in a different setting from this text. See Wing C4510.

OCLC locates one copy, at the Huntington Library.

$800 - 1,200

120

Hale, Kathleen. Original Maquette and Storyboards for “Henrietta’s Magic Egg”

No place, ca. 1973. Set of 32 original illustrated story boards by Kathleen Hale, for her book Henrietta’s Magic Egg, including the pictorial title-page and all 31 pages of the published book. Pen and ink, pencil, watercolor, and/or colored pencil or crayon on thick board; printed typescript mounted to each board, above or below images; tracing paper overlay, several with closed tears, toning, or detached; with autograph slip, by Hale: “These drawings are the originals for ‘Henrietta’s Magic Egg’...” Includes Hale’s maquette booklet for the work, including illustrated front cover, mixed-media on paper (pencil, watercolor, crayon), with autograph pencil annotations, printing notes, corrections, etc.

Lot also includes two printer’s proofs of the book, as well as two folders containing numerous preliminary and working drawings, notes, typescripts, and other ephemera for the same story, the large majority executed on tracing paper (approximately 122 total pieces). With a bound proof copy and typed notes of Henrietta, the Faithful Hen (1943), apparently used as a template or memory aid by the author for the above work, with a few penciled annotations by Hale within.

$800 - 1,200

121

Hannigan, Ed, and Klaus Janson. Original Cover Art for “Amazing Heroes”

No place, ca. 1984. Pen and ink, watercolor, and gouache on DC Comics, Inc. thick paper; signed by Hannigan and Janson at bottom left (within water tower). Old tape residue along verso edges. 16 1/2 x 11 1/4 in. (419 x 286 mm). In mat and in frame, 22 x 16 7/8 in. (559 x 429 mm).

Lot includes a copy of the original comic (Fantagraphics, April 15, 1984; No. 45). Encapsulated and graded 9.6, by CBCS.

Original cover art for Amazing Heroes No. 45, depicting DC’s biggest superheroes, including Superman, Batman, Thor, The Fantastic Four, Wonder Woman, and many more.

$3,000 - 5,000

123

Haring, Keith, and Tseng Kwong Chi. Keith Haring

122

Haring, Keith. Signed Coloring Book (New York, 1985). First edition. Square 4to. Signed by Haring in purple crayon on front wrapper (“K. Haring”). With 20 printed illustrations, by Haring. Original limp staple-bound self-wrappers.

A fine and scarce signed copy of Haring’s second coloring book, originally sold at his “Pop Shop” in New York.

$1,500 - 2,500

Bordeaux: Printed by Union a Paris for capc Musee d’art contemporain de Bordeaux, 1986. First edition. Signed and dated by Haring in black marker on front wrapper (“K. Haring 86”, with circled cross) and with an original drawing by him of the “Radiant Baby”. 4to. With numerous color and black and white photographic illustrations, by Tseng Kwong Chi. Publisher’s stiff yellow wrappers, printed in red and in black, scattered soiling.

Rare signed catalogue printed to accompany Haring’s solo exhibition at the Museum of Contemporary Art in Bordeaux, held from December 15, 1985 to January 23, 1986. Signed and dated by Haring in the year of publication, and with an original drawing by him of the “Radiant Baby”, his tag and one of his most famous motifs. The figure of a baby crawling with radiating lines of energy is one of Haring’s most recognized motifs and became his tag. In his 1986 journal, the artist wrote: “The reason that the ‘baby’ has become my logo or signature is that it is the purest and most positive experience of human existence... Children are colorblind and still free of all the complications, greed and hatred that will slowly be instilled in them through life” (Andrea Codrington, “Keith’s Kids”, Sphere Magazine, 1997).

$2,000 - 3,000

124

John Hassall (British, 1868–1948)

Yours to Command, ca. 1910 pen, ink, and watercolor on paper signed Hassall (lower left)

5 1/2 x 7 1/2 in. (13.9 x 19.1 cm)

Provenance

Dominic Winter Auctions, November 24th 2022, Lot 308

$600 - 900

125

[Hearn, Lafcadio] Koizumi, Kazuo. Original Illustrations For “Kwaidon”

No date (ca. early 20th century). Group of 20 watercolor illustrations on gilt-lined cards, by Kazuo Koizumi, illustrating his father, Lafacadio Hearn’s Kwaidon; each signed on verso, “Painting by O’Giglamp (Kaz), and with descriptive manuscript synopsis of each on same, in red, black, and green ink. Each card with protective Japanese tissue guard. With manuscript plate listing.

A fine set of original watercolor illustrations by the son of Lafcadio Hearn, Kazuo Koizumi, illustrating all 20 stories from his father’s acclaimed work of Japanese folktales and ghost stories, Kwaidon: Stories and Studies of Strange Things. A similar set of these paintings, executed on canvas, signed “O’Giglamp”, and with descriptive synopsis, is in the Hearn papers in the Clifton Waller Barrett Collection of the Albert and Shirley Small Special Collections Library at the University of Virginia.

Lot includes a first edition of Kwaidon (Boston and New York: Houghton, Mifflin, and Co., 1904).

$3,000 - 5,000

Hockney, David, and Stephen Spender, et al. Hockney’s Alphabet (London): faber and faber for the AIDS Crisis Trust, (1991). First and limited edition, #150/250 numbered copies (from a total edition of 300), and signed by Hockney, Spender, and 22 of the contributors. Illustrated with 26 fine off-set color lithographs of each letter of the alphabet, by Hockney, with each letter accompanied by a textual interpretation, by Joyce Carol Oates, Iris Murdoch, Paul Theroux, Gore Vidal, Norman Mailer, Seamus Heaney, Martin Amis, Erica Jong, Ian McEwan, Nigel Nicolson, Margaret Drabble, Craig Raine, William Boyd, V.S. Pritchett, Doris Lessing, William Golding, T.S. Eliot, Arthur Miller, Ted Hughes, Kazuo Ishiguro, Julian Barnes, John Updike, Susan Sontag, Anthony Burgess, Douglas Adams and Patrick Leigh Fermor, as well as C.C. Bombaugh and John Julius Norwich. Edited by Spender. Publisher’s quarter vellum over handmade slate blue paper-covered boards, spine lettered in gilt; top edge gilt, other edges trimmed; in original matching slip case.

A near-fine copy of this deluxe limited edition work, published in 1991 to support the AIDS Crisis Trust and to raise money for those suffering from AIDS. Featuring 26 alphabetical illustrations by David Hockney, each accompanied with a textual interpretation from some of the late 20th century’s most esteemed writers. This copy is signed by Hockney and editor and contributor Stephen Spender, as well as most of the contributors, including Doris Lessing, William Boyd, Margaret Drabble, Martin Amis, William Golding, Patrick Leigh Fermor, Nigel Nicolson, Seamus Heaney, Douglas Adams, Julian Barnes, Craig Raine, Kazuo Ishiguro, Iris Murdoch, V.S. Pritchett, Erica Jong, Arthur Miller, John Julius Norwich, Susan Sontag, Joyce Carol Oates, John Updike, Norman Mailer (ironically, considering his contribution is a letter to Spender declining to be involved with the publication), and Ian McEwan. Four of the living contributors who did not sign include Anthony Burgess, Ted Hughes, Paul Theroux, and Gore Vidal. Valerie Eliot contributed T.S. Eliot’s text, who had died in 1965.

$2,000 - 3,000

128

(Jones, Owen). Illuminated Manuscript Book

London: Thomas de la Rue & Co, no date (ca. 1860s). 4to. Comprising lithographic title-page printed in black and in gold, and 208 pp., each printed with chromolithographic and gold ornamental borders of floral and arabesque designs, designed by Owen Jones. Publisher’s full green morocco, elaborately decorated in blind and in gilt, extremities and joints rubbed and lightly worn; all edges gilt; gilt dentelles; patterned endpapers, printed in green and gold, by Jones; armorial book-plate of RHL-C de Beaumont on verso of front free endpaper, gutter at same worn; some leaves at front starting; several leaves at front ruled in pencil and with diagonal slits to insert with cards or other ephemera; scattered soiling and spotting; scattered offsetting and small patches of residue from when mounted with floral specimens; old ink drawing at center of p. 129, and partially at p. 69; old pencil inscription at p. 115.

A finely designed album, featuring impressive ornamental chromolithographic borders by influential English designer and architect Owen Jones. Likely produced in the 1860s, following the publication of Jones’ seminal design sourcebook, The Grammar of Ornament (1856). Over his career Jones designed numerous types of stationery products for publisher Thomas de la Rue, this being for use as a scrap, manuscript, or card album.

$500 - 800

127

Chuck Jones (American, 1912–2002)

“Heh heh heh Now dats a silly lookin’ boid” Original Sketch of Bugs Bunny and Road Runner, c. 1960s graphite on opaque tracing paper 10 1/4 x 14 in. (26.3 x 35.6 cm)

Provenance

Heritage Auctions, Dallas, August 16, 2023, lot 48277

$600 - 800

129

[Judaica] Szpilmana, Wladyslawa. Smierc Miasta

Warszawa: Spoldzielnia Wydawnicza, 1946. First edition. 8vo. (iv), 204, (2), 2 (ads) pp. Text in Polish. Stiff illustrated paper wrappers, lightly creased; all edges untrimmed; Lot also includes a copy of The Pianist: The Extraordinary Story of One Man’s Survival in Warsaw, 1939-45 (London, 1999)

Scarce first edition of Wladyslaw Szpilman’s famous World War II memoir, Smieric Miasta (“Death of a City”), detailing Jewish persecution and other atrocities perpetrated by the Nazis during the German occupation of Warsaw.

Wladyslaw Szpilman (1911-2000) was born into a Jewish-Polish family of musicians, his father was a violinist and his mother a talented pianist. Trained at the Chopin Academy in Warsaw, Szpilman became a star on Polish radio throughout the 1930s. His life was drastically changed by the German invasion of Poland and subsequent occupation, as he was confined to the infamous Warsaw Ghetto along with the rest of the city’s Jewish inhabitants. Despite countless close calls, he managed to survive the war, and returned to his musical career afterward.

Szpilman wrote his memoir after the war was over, publishing the present volume in a very limited number of copies. His incredible story did not capture the public’s attention however, as the wounds of war were still too recent, and it was actively suppressed by the Stalinist Polish government. By chance, Szpilman’s son discovered a copy of the original work, and had it translated into German in 1998. Since then it has become one of the most well-known Jewish accounts of World War II, being translated into over 30 languages, and inspiring Roman Polanski’s 2002 film, The Pianist.

$500 - 800

130 Kent, Rockwell. The Seven Ages of Man

New York: Published by the Author, 1918. First and limited edition, #88/100 numbered copies. Folio. Illustrated with four black and white prints mounted to stiff paper, after drawings by Rockwell Kent, and each signed by him in pencil in lower right; loose as issued. Original stiff grey wrappers, printed cover label, split along bottom of spine. OCLC 32751417

A handsome and very scarce copy of Rockwell Kent’s very limited anti-war portfolio, a series that “magnifies the depth of Kent’s hatred of war.” (The Kent Collector, Spring 1996, Vol. XXII, No. 3, p. 4). Published during World War I, and taking its title from Shakespeare’s As You Like It, here Kent shows the seven ages of man’s life, cut short as a causality of war. “The promise of life’s wonders, so poignantly presented in the first three drawings, is cut to the quick in the fourth drawing as the young soldier lays fallen with the symbols of war around him (Ibid, p. 4).

Scarce to auction, RBH locates only five other copies offered since 1974. OCLC locates only five copies, at the Philadelphia Museum of Art, Princeton University Library, Columbia University Library, the Boston Athenaeum, and at the Library of Congress.

Lot includes a copy of The Kent Collector (Spring 1996, Vol. XXII, No. 3), whose cover reproduces the fourth print in this suite.

$1,500 - 2,500

131

Edward Lear (British, 1812–1888)

Amalfi. 6. June. 1844

watercolor on paper

Signed with E. (lower right)

13 1/8 x 8 1/8 in. (33.3 x 20.6 cm)

Provenance

British Bespoke Auctions, Winchcombe, November 16 2023

$2,000 - 3,000

132 (Lear, Edward). A Book of Nonsense. By Derry Down Derry

London: Published by T. McLean, 1855. Second edition. Oblong 24mo. (72) ff. With 72 lithographed illustrations, each with a fiveline limerick caption, printed on rectos only. Publisher’s quarter green cloth over stiff printed pictorial grey wrappers, rubbing and light wear along extremities; all edges trimmed; illustrated book-plate of American mystery author Carolyn Wells on front paste-down, illustrated book-plate of Justin Schiller on same; front blank starting; in quarter morocco slip case and chemise.

Rare and beautiful copy in the original wrappers of the second edition of Edward Lear’s beloved nonsense limericks, the only edition along with the practically unobtainable first to be fully printed in lithograph. For this edition, “Lear made new lithographic stones...which may be rarer than the first” (Gordon N. Ray, The Illustrator and the Book in England from 1790 to 1914).

As Michael Twyman notes, the text in this edition was transferred from type, which, “was done so badly on some pages that the stones had to be retouched, in some instances to the extent that the whole words had to be hand-written on the stone. It may have been the use of the transfer process that led to the transposition of some of the limericks and drawings in this edition. Subsequent editions were printed letterpress and lost some of the delightful naivety of the original publication.” (Early Lithographed Books (London, 1990, p. 194). Three limericks that appeared in the first edition and this second edition were later suppressed, and did not appear again until much later: “Old Man of Kildare” (ff. 72), “There was an Old Man of New York” (ff. 6), and “There was an Old Sailor of Compton” (ff. 56).

The first edition appeared in two volumes in 1846, with the limericks lithographed in three-lines, as opposed to the more standard five-line format as seen here. Both early lithographed editions are believed to have been printed in small editions of between only 250 and 500 copies (see Schiller, Nonsensus: Cross-Referencing Edward Lear’s Original 116 Limericks with Eight Holograph Manuscripts...,1988). The first trade edition (third edition), was published in 1861.

Scarcely found at auction, and rarely seen in such beautiful condition and in original wrappers.

$3,000 - 5,000

133

Lear, Edward. Original Drawing and Limerick (London, 1861). Pen and ink drawing on blue laid paper, with three-line ink manuscript limerick below image, by Lear. Approximately 5 1/2 x 8 in. (140 x 203 mm). In frame, 13 1/4 x 17 1/4 in. (336 x 438 mm).

“There was an Old Man who said, ‘How,--shall I flee from this horrible Cow I will sit on this stile, and continue to smile, which may soften the heart of that Cow.”

An original nonsense drawing and limerick by Edward Lear. A version of this drawing was published in the 1861 third edition of A Book of Nonsense (p. 52). Justin Schiller records six other versions of this drawing, three in the Morgan Library (Duncan, Mead, and Pickering copies), Private collection (Peto copy), Houghton Library at Harvard, and the Houghton copy.

Provenance

Chris Beetles Limited, London, Exhibited in “The Illustrators”, November 29-December 15, 1989, No. 179 (his exhibition label on back of frame)

Christie’s, London, 1996

Private Collection

Swann Galleries, New York, Illustration Art, June 9, 2022, Lot 32

$2,000 - 3,000

134

Lear, Edward. Original Drawing and Limerick (London, ca. 1861). Pen and sepia ink drawing on paper, with three-line ink manuscript limerick below image, by Lear. Unevenly browned. Approximately 6 x 8 in. (152 x 203 mm). In frame, 13 x 16 7/8 in. (330 x 429 mm).

“There was an old person of Mold who shrank from sensations of cold, So he purchased some muffs, some furs, and some fluffs; And wrapped himself up from the cold.”

An original nonsense drawing and limerick by Edward Lear. A version of this drawing was published in the 1861 third edition of A Book of Nonsense (p. 48). Justin Schiller records one other version, in a collection at the Houghton Library, University of Harvard (Nonsensus, CrossReferencing Edward Lear’s Book of Nonsense, 1988, p. 81). The Houghton copy has a number of slight textual variants. The present version follows the printed text.

Provenance

Chris Beetles Limited, London

Sotheby’s, London, English Literature, History, Children’s Books, December 8, 2020, Lot 178

$2,000 - 3,000

135

Lear, Edward. A Book of Nonsense

Philadelphia: Willis P. Hazard, (1863). First American edition. Oblong 24mo. 112 pp. With numerous woodcut illustrations, each with threeline letterpress limerick. Publisher’s quarter blue cloth over yellow pictorial boards, boards soiled and moderately worn, cocked; all edges trimmed; scattered spotting and soiling.

Scarce first American edition, published simultaneously with an edition in New York by M. Doolady.

$600 - 900

136

Lear, Edward. Laughable Lyrics. A Fourth Book of Nonsense Poems, Songs, Botany, Music, &c.

Lear’s Own Copy, Twice Signed by Him

London: Robert John Bush, 1877. First edition, inscribed twice by Lear on titlepage, “Edward Lear. Sanremo. 11. Novr. 1876. Nonsense Vol. 4 1877” and “Edw Lear. Villa Tennyson Sanremo March 2, 1886.” 8vo. Unpaginated. Illustrated by Lear in black and white throughout. Publisher’s blue pictorial cloth, stamped in gilt, black and in blind, joints lightly worn, “Vol 4 1877” in ink on front board, presumably by Lear; all edges trimmed; yellow endpapers; book-plate of Harriet Borland on front paste-down; Justin Schiller’s Maurice Sendak-designed book-plate on same; light offsetting to endpapers; front gutter split at half-title.

Well-preserved copy of English author and illustrator Edward Lear’s collection of nonsense poems and songs, twice inscribed by him.

$2,000 - 3,000

137

Lear, Edward Autograph letter, signed Villa Tennyson, Sanremo, Italy. No date. One sheet folded into four pages. Three-page autograph letter by English poet Edward Lear to Mr. Maine, discussing his recent travel experiences and mutual friends, in an idiosyncratic language. Mounted to a larger sheet. Scattered toning and ink smear, paper loss to bottom of third page; Small section mounted to verso of mat in Lear’s hand “Yours very truly / Edward Haniley / I beg you to express my / great regret to Lady Maine.”

$300 - 500

138 Lebedev, V(ladimir).V. Original Manuscript for a Children’s Book (Russia), 1936. Lebedev’s original manuscript sketchbook for a children’s toy, or moveable, book. Oblong 8vo. Illustrated title-page in black ink (titled “Kniga-Igrushka Kniga Raskladushka”, translates to “toy-book folding-book”); illustrated sub-title leaf in black ink, in bold playful lettering (Raskas Menja!, translates to “Tell me a Story!”); 19 oblong cards with approximately 40 black and white ink illustrations, mounted to rectos of sketchbook leaves, some heightened in white gouache; with two additional loose ink and white gouache drawings on wove paper inserted in front pocket. Original tan linen-covered boards, with illustrated cover label, in ink; illustrated label in ink on rear board; some gutters starting; scattered light soiling to sheets; some scattered glue residue from when mounted; creasing to cards.

A delightful original sketchbook by Russian avant-garde artist and pioneering children’s book illustrator, Vladimir Lebedev (1891-1967). Containing nearly 40 original ink drawings by him, it was created for a seemingly unpublished children’s toy, or moveable, book. These drawings depict a variety of children’s toys and animals, from pull toy horses, donkeys, rabbits, cats, and ducks, to stuffed bears, musical instruments, wooden cars and trains, jump rope, a plunger, and more. Composed in bold and simplified line work, Lebedev arranges these objects on the page in a variety of juxtapositions that results in a charmingly rich--and at times playfully subversive--visual language that is ripe for repeated viewing. Lebedev’s clever compositions and line work are suggestive of the objects moveable qualities and imbue the images with the perspective of a child playing with them. This viewpoint is reflected in a statement Lebedev made about his work for children’s books, in 1933: “An artist working on a children’s book must be able to access that feeling of excitement that he experienced in childhood. When I work on a book for children, I try to recall the perception of the world that I had as a child”.

Lebedev was both a distinguished graphic artist and painter, and is regarded as the preeminent Soviet designer of children’s books in the 1920s-30s. Born in St. Petersburg, he drew from an early age and later studied at both the St. Petersburg Academy of Fine Arts and in the private studio of Soviet painter and art educator, Mikhail Bernshtein. Influenced by European and Russian avant-garde art, such as Cubism, Constructivism, and Suprematism, he adapted these styles in a distinctively unique fashion, imbuing them with elements of Russian Folk Art. In the 1920s he became affiliated with the ROSTA windows, a series of boldly designed Soviet propaganda posters, noted for their modern aesthetic. This work, for which he was one of the group’s most prolific (he contributed about 600 posters), laid the aesthetic groundwork for his foray into children’s book design, which had emerged in Soviet Russia as a focal point for socialist education. In 1922, he published two of his most acclaimed children’s books, The Elephant’s Child (Slonenok) and The Adventures of Scarecrow (Prikliucheniia Chuch-lo). This followed in 1924 with his and Samuil Marshak’s taking control of the Leningrad division of the new Children’s Literature Department of the State Publishing House, where they collaborated over the 1920s, developing cutting edge children’s book design, as well as mentoring future generation of artists.

By the 1930s, the political atmosphere in the USSR began to change, and Lebedev’s work was attacked for not following Soviet ideology of Socialist Realism. In 1936, the year this sketchbook is dated, “an article in Pravda described his art as a ‹macabre and ugly fantasy’ while another article in Detskaia literatura in the same year also singled him out: ‹Instead of concrete images of realistically rendered distinguished workers of the Soviet Union, Lebedev depicts schematic lifeless mannequins’ (Fairytales and the Five-Year Plan, University of Washington Libraries). It is possible to see in some of the more satirically-tinged images within this work, Lebedev’s own negotiation of these criticisms.

A unique and unpublished work from this master of modern children’s book design.

$5,000 - 8,000

139

[Leger, Fernand] Goll, Iwan. Die Chapliniade

Dresden: Rudolf Kaemmerer Verlag, (1920). First edition. 8vo. 42, (2) pp. Presentation copy, inscribed by Goll on half-title: “a F.S. Flint hommage respectueux Ivan Goll Paris 3.I 21.”

Illustrated with four plates of cubist-style portraits of Charlie Chaplin, after Fernand Leger. Publisher’s tan pictorial boards, stamped in black with a depiction of Chaplin, with pink and green cover labels, by Hans Blanke, boards unevenly toned, scattered light soiling; dampstaining to front and rear paste-downs.

A handsome first edition presentation copy of French-German poet Iwan Goll’s ode to Charlie Chaplin. Inscribed to English poet, French translator, and member of the Imagist group, Frank Stuart Flint (1885-1960). Described as a “cinema-poem”, Goll praises Chaplin as the greatest philosopher of modernity, and who is depicted within by Fernand Leger in his characteristic cubist-influenced style.

$600 - 900

140

[Literature] [Bell, John] Travelling Library

Edinburg[h]: At the Apollo Press, by the Martins, 1777-87. In 109 volumes. 12mo. Edited by John Bell. Each volume illustrated with an engraved title-page; several volumes with engraved frontispiece portraits of their authors. Full and uniform polished tan calf, red and green morocco spine labels, decorated in gilt, scattered rubbing to boards; edges stained yellow; three volumes bound in differing, but sympathetic, contemporary calf (49, Prior; 52, Swift; 77, Pope). Housed in two original brown calf travelling library cases resembling stacked folio books, red morocco spine labels, decorated in gilt, each with hidden key lock compartment on spine (keys not present), rubbed and scratched, small loss in upper corner of second case; each lined in matching marbled paper and green felt, original ad for this set, as well as one for Bell’s British Theatre, mounted on lid of each case.

A rare and well-preserved 18th-century travelling library of English publisher John Bell’s Poets of Great Britain. Complete in their two original travelling library cases resembling four folio volumes, and containing 109 volumes. Featuring authors such as Chaucer, Spenser, Milton, Dryden, Pope, Gay, Swift, Addison, and more.

$6,000 - 9,000

142

Arnold Lobel (American, 1933–1987)

141

[Literature] Twain, Mark, and Theodore Roosevelt, et al. Liber Scriptorum

The First Book of the Authors Club. Liber Scriptorum

New York: The Authors Club, 1893. First and limited edition, #10/251 numbered copies, signed by all 109 contributors, including Mark Twain, Theodore Roosevelt, Andrew Carnegie, and others. Thick folio. xvi, (ii), 588, (3) pp. Title-page printed in red and in black. Illustrated with head- and tail-pieces, and in-text ornaments. Publisher’s full brown straight grain morocco, decorated in black, lettered in gilt, rebacked with original spine laid down, boards and extremities scuffed and moderately worn; top edge gilt, other edges untrimmed; patterned endpapers; by the De Vinne Press.

Together with:

The Second Book of the Authors Club Liber Scriptorum

New York: Published by The Authors Club, 1921. First and limited edition, #237/251 numbered copies, signed by 126 contributors, including George Washington Cable, George Barr McCutcheon, Albert Payson Terhune, and others. Thick folio. xx, (ii), 583, (1) pp., editor’s Postscript tipped in at rear. Titlepage printed in red and in black. Illustrated with head- and tail-pieces. Publisher’s full brown pebbled leather, decorated in blind and in gilt, rebacked with original spine laid down, corners worn; top edge gilt, other edges untrimmed.

An impressive and massive literary anthology, featuring poems, stories, essays, and more, from over 230 writers, including Mark Twain, Theodore Roosevelt, and many more.

$3,000 - 5,000

Study for ‘We look brave’ said Frog. ‘Yes but are we?’ asked Toad graphite on opaque tracing paper 13 1/8 x 9 3/4 in. (33.3 x 24.7 cm)

Literature

Arnold Lobel, Frog and Toad Together, Harper & Row, New York, 1972 p. 43

Arnold Lobel, The Frog and Toad Coloring Book, Harper & Row, New York, 1981

Note

This is an original study which appeared as a finished illustration in the chapter “Dragons and Giants” in Lobel’s Frog and Toad Together (1972), as well as in his The Frog and Toad Coloring Book, under the title “Frog and Toad look in the mirror” (1981).

$1,500 - 2,500

143

Loeber, Lou. Group of 14 Original Illustrations for “Gouden Vlinders”

Blaricum, The Netherlands, ca. 1927. Group of 14 original pen and ink and watercolor illustrations on paper, created by Lou Loeber for Simon Franke’s Gouden Vlinders (Blaricum: De Waelburgh, 1927). Images measure approximately 6 1/2 x 5 in. (165 x 127 mm) on 11 1/8 x 8 7/8 in. (282 x 225 mm) sheets. Each image titled in pencil or ink on verso; 11 sheets numbered at bottom recto (I, IV, V, X, etc.). Some sheets with pinholes in corners; scattered soiling and light spotting.

Lot includes a first edition copy of Gouden Vlinders

A superb collection of 14 original and striking pen and ink and watercolor illustrations by Dutch modern artist Lou Loeber (18941983), created for Simon Franke’s collection of verse, Gouden Vlinders (Golden Butterlfies) the only known series of book illustrations created by Loeber.

Fourteen of the books 20 illustrations are present, including “Een Kleine Kapelle”, “Het Eerste Ei”, “De Geitebok”, “De Speelgoedkast”, “Dat Stoute Varken”, “Watermannetje”, “Ratelman”, “Lammetje”, “Die Tol”, “Die Zonnestraal”, “De Kwikstaart”, “In De Wei”, “Afke”, “Sneeuwpret”, and “De Nacht Van Sinterklaas.” Not present are illustrations for the cover, title-page, “Spreeuwenkoor”, “De Sproeiwagen”, and “Het Regende”.

Loeber was born in Amsterdam in 1894, and briefly attended the State Academy of Fine Arts in Amsterdam. Finding the institution too conservative, she left early in 1918, and in 1919 was introduced to works of De Stijl and Cubism. During the 1920s she began to exhibit her work and traveled extensively throughout Europe, coming under the influence of artists such Piet Mondrian, Albert Gleizes, and Le Corbusier. In 1925 she joined the Socialist Democratic Workers Party, and in 1927, traveled to Berlin and Dessau to visit the Bauhaus. This work, Loeber’s only known book illustrations, shows in its clean lines, geometrical shapes, and primary colors, the influences of De Stijl and Mondrian. It also reflects her Socialist beliefs, which led her to avoid complete abstraction for being too elitist, and which grounded her illustrations in recognizable forms and subjects.

$6,000 - 9,000

144

[Mackintosh, Charles Rennie] ‘Norman’. Elfin Rhymes

London: Gay and Bird, 1900. First edition. 8vo. Inscribed on verso of front blank “To Henry Steel Davidson From Margaret MacDonald Mackintosh and Charles Rennie Mackintosh Christmas 1900.” Illustrated by Carton Moore Park. Publisher’s olive green cloth, stamped in black, red and green, lightly soiled. Illustrated endpapers. Laid in is a four-page folded manuscript (“Kitty’s Books”) on Windyhill / Kilmacolm stationery, dated from 1883-1928.

Charles Rennie Mackintosh (1868-1928) was a Scottish architect, designer, and artist, whose work, along with his wife Margaret (1864-1933), were defining features of the Glasgow Style of the 1890s.

Mackintosh became acquainted with the Davidson family around 1894/95 and was commissioned in 1900 to design their new home, Windyhill, in Kilmacolm, Scotland. The Davidsons remained lifelong friends and supporters of Mackintosh and his wife Margaret MacDonald. From 1898 (or earlier) until 1905 (or later) Mackintosh gave Mr. and Mrs. Davidson, and each of their sons, Christmas gifts of books inscribed by Mackintosh until 1899 and, from 1900, following their marriage, inscribed by Charles and Margaret Mackintosh.

$400 - 600

145 [Magic] Le Petit Magicien, ou Recueil D’Experiences Tirees de la Magie blanche et des amusemens des sciences

Paris: Chez Delarue/Lille: chez Castiaux, no date (ca. 1820). 24mo. 90 pp. Illustrated with engraved frontispiece and 40 numbered engravings on 10 sheets. Original stiff printed blue wrappers, frontispiece image repeated on rear wrapper, scattered light wear to extremities and at top of spine; light spotting to text; light dampstaining in top corner of a few leaves at front; in grey linen falldown-back box. From the collection of magician Ricky Jay, and with his book-plate on inner front board of box.

Provenance

Sotheby’s, New York, The Ricky Jay Collection, October 27-28, 2021. Sale N10706. Lot 489

$1,000 - 1,500

147

[Magic] [Queen Victoria] “The Magic Volume!”

146 [Magic] Fukui, (Chitokusai). Hiji hyakusen (Selected One Hundred Secret Magic, Medical & Spiritual Tricks)

Osaka, 1827 and 1848. In two volumes. First editions. 12mo. 46; 41 leaves. Illustrated with black and white woodcuts. Original stab sewn limp wrappers, each volume with woodblock printed cover label, wrappers moderately worn, modern stitching; text lightly soiled; in brown cloth chemise. From the collection of magician Ricky Jay, with his book-plate on inner front panel of chemise.

First edition of this highly influential magic book, complete with its rare sequel Hiji hyakusen; Kohen (1848) A variety of tricks are shown, including juggling, how to conceal objects in one’s sleeves, to more provocative acts, like sword swallowing, putting a nail through one’s tongue, and making eggs stand upright. Medicinal treatments for hiccups and burns are also included.

Provenance

Sotheby’s, New York, The Ricky Jay Collection, October 27-28, 2021, Sale N10706, Lot 359

$1,500 - 2,500

(London): Published by S.H. & E.A., 1840. 16mo. 48 leaves, with hand-colored lithographs printed on each page; printed instructions mounted to inner front wrapper. Original stiff marbled wrappers, chipping and wear along spine, extremities lightly worn.

Very rare and charming magic “blow book”, used for sleightof-hand or conjuring tricks. Blow books are one of the oldest known magic tricks, referenced as early as 1550, and that circulated widely throughout Europe and Asia with the rise of the printing press. Characteristic of these books, and as seen in this example, the volume is composed of a series of repeating images, with staggered tabs along the fore-edge of the volume corresponding to each set. When the magician riffles through the book, the contents appear to change depending on which tab is engaged. This particular example is notable for showing a caricature of Queen Victoria as the Queen of Hearts, and with her birth and marriage date captioned in the stone. Other images show a wolf in knight’s armor pointing a spear toward a frightened cat, a Rowlandson-esque figure riding a pig, as well as others figures.

This example appears to be quite rare, with only this copy appearing in the auction record, and only one copy located on OCLC, at the Toronto Public Library. Library Hub notes a possible copy at the Bodleian Library.

$3,000 - 5,000

149

[Magic] Nagashima, Fukutaro. Shinsen seiyo tejina tanebon (Source Book of Western Magic, Newly Selected)

Tokyo, 1881. In two volumes. 12mo. 22; 22 ff. With numerous color and black and white woodcuts. Original stab sewn stiff wrappers, printed cover label on one volume, cover label perished on other volume, modern stitching, wrappers lightly worn; in blue cloth chemise. From the collection of magician Ricky Jay, with his book-plate on inner front panel of chemise.

A fine collection of Western magic tricks, delightfully illustrated in color and black and white woodcuts. Featuring 74 tricks, including fire-eating, coin tricks, sleight of hand, optical illusions, and other more evocative tricks like cutting people in half, knife tricks, floating objects, and the appearance of ghosts.

Provenance

Sotheby’s, New York, The Ricky Jay Collection, October 27, 2021, Sale N10706, Lot 362

$1,500 - 2,500

148

[Magic] Hifumitei, Shigoroku. Haruasobi zashiki tejina (or) Tezuna

Tokyo, (1854). 12mo. Illustrated with a color wood-cut title-page and black and white woodcut text and in-text illustrations. Original limp colorprinted stab-sewn wrappers, thread sometime renewed, a few holes on rear wrapper and small abrasions on front wrapper. From the collection of magician Ricky Jay.

A charming and scarce Japanese magic book, being a collection of 30 magic tricks suitable for entertainment at dinner parties.

Provenance

Sotheby’s, New York, The Ricky Jay Collection, October 27-28, 2021, Sale N10706, Lot 361

$800 - 1,200

150

Carta Regis Johannis XV. Die Junii Anno Regni XVII. A.D. MCCXV

London: Johannis Whittaker, 1816. Folio. 13 leaves completely printed in gold on thick paper, on rectos only (comprising half-title, title-page, and 11 leaves of text of the Magna Carta). Full contemporary brown paneled calf, elaborately decorated in blind and in gilt, rebacked with portion of original spine laid down, tips renewed, boards scuffed and moderately worn; all edges gilt; elaborately gilt dentelles; scattered spotting to text; sheets toned; scattered light thumbsoiling in margins.

Scarce copy of John Whittaker’s gold-printed edition of the Magna Carta, a “gorgeous and unrivaled production” (Dibdin, Bibliographical Decameron), and “the most magnificent of all editions of the Magna Carta” (Lowndes). Published in commemoration of the 600th anniversary of the charter’s signing. As Maggs notes, copies vary greatly in composition, with some issued with more text leaves, and with some copies printed on vellum, and other more ordinary copies issued on paper or thick card, as seen here.

$2,000 - 3,000

Magna

151

[Man Ray] Alexandrian, Sarane. Man Ray

Paris: Editions Filipacchi, 1973. First and limited edition, presumably publisher’s retained copy (inscribed “archives” and with limitation number blocked out in ink) (from a total edition of 150). Text by Sarane Alexandrian. With a silkscreen on wood by Man Ray, initialed by him and numbered 150/150. Book illustrated with numerous black and white and color images of Ray’s work. Publisher’s blue cloth-covered boards, spine lettered in black; silkscreen housed in matching blue cloth chemise; all in publisher’s blue cloth fall-down-back box, lettered in black.

A fine copy.

$400 - 600

152

[Matta, Roberto] Jarry, Alfred. Ubu Roi Drame en Cinq Actes

Paris: Atelier Dupont-Visat, 1982. First and limited edition, #8/150 numbered copies on Arches paper (from a total edition of 165). Tall folio. Illustrated with an etched folding pop-up frontispiece, etched vignette on title-page, eight full-page color etchings, each signed by Matta and numbered 8/150, as well as numerous black and white in-text etchings, all by Matta. Comprising 19 bifolium leaves, loose as issued, in publisher’s stiff etched wrappers, in silk-covered slip case and chemise, chemise lettered in gilt. Original publisher’s prospectus laid in. Slip case unevenly toned with scattered soiling, lightly frayed at bottom.

A fantastic and important work by Roberto Matta, illustrating Alfred Jarry’s influential proto-Surrealist play Ubu Roi

$800 - 1,200

153

[Melchers, Franz M.] Braun, Thomas. L’an

Brussells: Ed(gard). Lyon-Claesen, 1847 (but 1897). First edition. Square 4to. Unpaginated. Illustrated with 16 full-page color lithographs, each signed in pencil by the artist Franz Melchers. Original limp printed wrappers, front almost completely torn horizontally, extremities’ chipped; prelims foxed. In modern slip case and chemise.

Very rare edition of poems by Belgian author Thomas Braun (1876-1961). Illustrated with superb Art Nouveau woodcuts individually signed by Franz Melchers (1868-1944)--typically found unsigned, and rare as such.

$800 - 1,200

154

Miller, Henry. Black Spring

Paris: The Obelisk Press, (1936). First edition. 8vo. 267, (5) pp. Presentation copy, inscribed by Miller to painter Benjamin Benno: “To Benno--with best wishes always. Henry Paris 10/37”. Publisher’s stiff pictorial wrappers, by Maurice Kahane, light wear to extremities, spine slightly darkened and soiled, short split in upper front joint; text completely unopened; in quarter red niger slip case and chemise.

An unusually fine presentation copy of Henry Miller’s collection of short stories, his second published work. Inscribed to Benjamin Benno (1901-80), a fellow American expatriate, who was living in Paris in the 1930s on a Guggenheim Fellowship to study sculpture, drawing, and painting. Miller gifted this book to Benno a month after the publication of his profile of the artist in The Booster, called “Benno, The Wild Man From Borneo”, where he described Benno as “gaunt and cannibalistic, positively ferocious...gentle and peaceful as a dove, calm, placid, cool as a volcanic lake”.

Born in England, Benno emigrated to the United States as a child, and studied art in New York under Robert Henri and George Bellows. In 1926 he moved to Paris, where he lived until 1939. During this time he established himself as a painter and sculptor in the avant-garde movement, and exhibited alongside artists such as Paul Klee, Max Ernst, Wassily Kandinsky, Salvador Dalí, Joan Miró, Hans Arp, and Fernand Léger. In 1934, Pablo Picasso sponsored his first show in Paris.

$3,000 - 5,000

155

Milne, A.A. Winnie-the-Pooh

London: Methuen Children’s Books, (1973). First color-illustrated edition, #110/300 numbered copies, signed by illustrator Ernest Shepard. 8vo. (xvi), (146) pp. Numerous color in-text illustrations. Publisher’s blue morocco, stamped in blind and in gilt; all edges gilt; illustrated endpapers; by Zaehnsdorf, London; in matching slip case, extremities lightly worn.

Virtually as-new copy of this color-illustrated limited edition of A.A. Milne’s classic Winnie-the-Pooh.

$600 - 900

156

Milton, John. Paradise Lost. A Poem in Twelve Books

London: Printed by Miles Flesher, for Jacob Tonson, 1688. First folio and first illustrated edition (The Fourth Edition, Adorn’d with Sculptures). Folio. (iv), 220, 219-250, 151-196, 297-343, (7) pp. Illustrated with an engraved frontispiece portrait of Milton by R. White and 12 engraved plates by Michael Burghers and P.P. Bouche, after B. de Medina and B. Lens. Quarter brown crushed straight-grain morocco over marbled paper-covered boards, red morocco spine label, stamped in gilt, joints and boards rubbed; marbled edges; illustrated book-plate of The Robin Collection on front paste-down; scattered spotting and light foxing to text; light toning, largely to margins; small singe hole at center of C3; small stain at bottom of Nn4r and lightly on adjacent pages; closed tear traversing bottom of Qq4; bookseller’s ticket at bottom of rear paste-down (William Salloch). Pforzheimer 720; Coleridge 93b; Shawcross 347; Grolier, Wither to Prior 607; Wing M-2147; E. Hodnett, Five Centuries of Book Illustration (1988), p. 63

A handsome copy of the first folio and first illustrated edition of John Milton’s classic. Featuring a fine engraved portrait of the author and 12 full-page copper-plate engravings (one appearing at the beginning of each book), it is considered “the earliest serious effort to illustrate an important work of English poetry” (Hodnett). Printed 21 years after the first edition and 14 years after Milton’s death, this was also the first edition published for subscribers, with a limited issue of only 500 copies.

$3,000 - 5,000

157

[Miniature Books] Bonnobergers, Ludwig. Betbuechlein

(Vienna: K.K. Hofbibliothek, 1912). Miniature book, measuring 1 3/16 x 7/8 in. (30 x 21 mm). 63 leaves. Publisher’s full beige cloth-covered boards, interwoven with silk threads, gilt gauffred edges, joints cracked but holding. Housed in small recessed compartment within publisher’s 12mo olive-green cloth-covered book-form box, with title-page and 22 pp. text at front; red stained edges; scattered soiling to boards.

Miniature facsimile of Viennese printer Ludwig Bonnobergers’s prayer book of 1607, presented to a gathering of bibliophiles at the Imperial Court Library in September 1912.

$200 - 300

158

Morpurgo, Michael. War Horse

Kingswood (Surrey): Kaye & Ward, 1982. First edition. Signed on title-page by the author, Michael Morpurgo, as well as the illustrator, Victor Ambrus. 8vo. 142 pp. Publisher’s glazed pictorial boards. With a typed letter laid in, addressed to Ambrus from the publisher, dated October 22, 1982: “We enclose your presentation copies and we shall be forwarding any reviews as we receive them.”

Illustrator Victor Ambrus’s retained presentation copy of War Horse. Apparently most copies of the first edition were originally distributed to school libraries, and have since become scarce. The book was adapted into a successful play in 2007, and served as the basis for Stephen Spielberg’s 2011 film of the same name. A fine copy.

$1,000 - 1,500

159

[Moser, Barry] Baum, L. Frank. The Wonderful Wizard of Oz

West Hatfield, Massachusetts: Pennyroyal Press, 1985. First and limited edition, #1/350 copies, signed and numbered by Barry Moser, with an original pencil drawing on verso of dedication page (“Scarecrow Conversant with Dorothy”, illustrated on p. 43), dated 1985. Square folio. 268 pp. Illustrated with 62 wood engravings by Moser. An Appreciation at the conclusion written by Justin G. Schiller. Publisher’s beige cloth boards, stamped in gilt; marbled endpapers. Original pamphlet Forty-Seven Days to Oz: A Chronicle of the Studies for the Illustrations for The Wonderful Wizard of Oz (Pennyroyal Press, 1985), laid-in.

The first copy of the Pennyroyal Press’s limited edition of The Wonderful Wizard of Oz, presented to Justin Schiller who contributed an essay about L. Frank Baum’s classic children’s story. Illustrated by Barry Moser, with an original pencil sketch of the Scarecrow.

$2,000 - 3,000

161

Moser, Barry. Group of 10 Original Illustrations for “Jump! The Adventures of Brer Rabbit”

160

[Moser, Barry] [Blake, William] Miller, Jane. Five Poems & Illustrations

No place, no date, possibly published for the author. First and limited edition. Five leaves with letterpress text. Five engraved plates illustrating poems by William Blake (one plate from an edition of of ten, the rest from an edition of 20). Each plate with tissue guard; adhesive stains at top corners of each plate; housed within portfolio with light gray paper covered boards, title stamped in gilt, spine faded; book-plate of American illustrator Barry Moser on front paste-down.

$500 - 800

Circa 1986. Group of 10 original preparatory illustrations, comprising four in pen and ink and six in pencil, each signed by Moser. On translucent paper sheets, measuring from 9 1/2 x 8 to 12 1/2 x 9 in. (241 x 203 to 317 x 229 mm).

Includes a first edition of the book, signed by Moser (San Diego, etc.: Harcourt Brace Jovanovich, 1986).

A charming collection of original preparatory sketches by Barry Moser of characters for Joel Chandler Harris’s Jump! The Adventures of Brer Rabbit. Five of these drawings are featured as watercolors in the book, including Brer Wolf (p. 6); “Brer Fox Studies the Situation” (p. 13); “Brer Judge T. Buzzard” (p. 21); “Brer Rabbit in the Agony of Defeat” (p. 24); “Brer Bear” (p. 34). Other drawings, not featured in the book, include “Bonnie--what do you think--for Miss Meadows?”, as well as four pen and ink sketches of Brer Rabbit.

$2,000 - 3,000

162

[Music] [The Deviants] Custom Tuxedo Jacket Worn by Russell Hunter

Custom Aquascutum tuxedo jacket with notch lapel, two covered buttons at front closure, straight pockets. The jacket features their notorious nun and popsicle artwork from their third and final album, The Deviants 3 (1969), generously applied. Includes dry cleaning tag reading “R. Hunter” from September of 2011.

Label: Aquascutum

Size: 40S

Date: Likely late 20th Century-early 21st Century Country of Origin: England

Full measurements available upon request.

$500 - 800

163

[Music] [Grateful Dead] Rose, Alan. Original Illustration

(San Francisco, ca. 1968). Original pen and ink and gouache illustration of a skull wearing a horned Viking helmet, on paper, mounted to larger paper sheet with additional pen and ink design. Image measuring approximately 7 1/2 x 8 in. (190 x 203 mm). In frame, 18 x 15 in. (457 x 381 mm).

Original illustration created by Alan Rose, and used by the Grateful Dead on their early business cards and other printed items.

$800 - 1,200

165

[Music] [Simon & Garfunkel] Original Holographic Sheet Music for “That’s My Story” and “True or False”

(New York), 1958. Group of two autograph sheets of music, in pencil and ink, one in the hand of Paul Simon, titled “True or False”, with some emendations by his father Lou; the other, in the hand of Art Garfunkel, for “That’s My Story”. Each bifolium sheet, 12 x 9 1/2 in. (305 x 241 mm). Scattered light stains. “That’s My Story” in mat and in frame, with original promotional 45 RPM record. Lot also includes a 45 RPM copy of “True or False”

Pair of very rare Simon & Garfunkel items, one of the best-selling music acts of all time: the manuscript sheet music for Paul Simon’s first solo release, “True or False” (as True Taylor), and the song “That’s My Story”, done by the pair while performing under their first stage name, Tom & Jerry

Paul Simon and Art Garfunkel first met in elementary school in Queens, New York in 1953. By the time they were teenagers they began writing and recording songs--to some success--under the name Tom & Jerry. Simon also began collaborating with his father Louis Simon, a double-bass player and performer in his own right. They came up with “True or False”, which Paul recorded under the name True Taylor, but they never performed live nor recorded another song using that nom de plume. Simon never informed Garfunkel of this collaboration, and the latter quit the duo in response. They performed individually for a few years, but got back together for their debut album, as Simon & Garfunkel, Wednesday Morning 3 A.M, in March of 1964.

According to Village Music Publishing records, “True or False” sold only 230 copies.

$2,000 - 3,000

164

Alan Aldridge (British, 1943–2017)

John Lennon

acrylic on board

18 1/8 x 18 1/4 inches. (46 x 46.4 cm)

$2,000 - 3,000

166 [Native Americana] Tozier, D.F, and W.H. Gilstrap. Arts and Crafts of the Totem Indians

Tacoma, Washington: (Central News Company), no date (ca. 1926). First and only edition. Oblong 8vo. 18 pp. Signed on title-page by author D.F. Tozier. Illustrated with half-tone photographs by W.H. Gilstrap. Woven reed fiber binding over paper, with mounted printed label, stitched with leather throng and beads; damp stain in fore-edge at rear affecting half of text.

Very rare first edition of one of the earliest collector’s catalogues of Native American artifacts.

This collection was compiled by Dorr F. Tozier (1843-1926), a captain in the United States Revenue Cutter Service (precursor of the United States Coast Guard). Over his nearly 40 years of service, mostly stationed along the Pacific Northwest Coast, Tozier had countless interactions with different indigenous nations and began to collect their artifacts. His collection was first put on display at the Tacoma Ferry Museum in Washington in the early 1900s, likely corresponding with this publication.

$800 - 1,200

167

[Natural History] Quintinie, Jean de la. Trattato Del Taglio de Gl’Alberi Fruttiferi Del fu Monsu Della Quintinye...

Bassano: For Gio. Antonio Remondini, 1697. First edition in Italian. 12mo. (xvi), 228, (3) pp., including half-title. Illustrated with one engraved plate and 11 engraved folding plates. Full drab paper-covered boards, title in manuscript on spine; all edges trimmed; faint dampstaining in top edge of several leaves.

A fine first edition in Italian of French gardener and agronomist Jean-Baptiste de La Quintinie’s work on the cultivation of fruit trees. Gardener for King Louis XIV, Quintinie provides a comprehensive account of the pruning of different sized fruit trees, and includes 11 engraved plates depicting different trees and gardening tools.

$400 - 600

168

[Natural History] Salmon, William. Botanologia. The English Herbal: Or, History of Plants...

London: Printed by I. Dawks, for H. Rhodes, and J. Taylor, 1710. First edition. Tall thick folio. (vi), xvi, 1,296, (42) pp.; final leaf (8H2) supplied in facsimile. Title-page printed in red and in black. Illustrated with an engraved frontispiece by K. Cyrus after K. Solomon, and profusely illustrated with hundreds of in-text botanical woodcuts. Full contemporary brown calf, decorated in blind, rebacked, tips sometime renewed, red morocco spine label, wear to boards and extremities; dark speckled edges; endpapers renewed; contemporary ownership inscription on verso of frontispiece (“George Grays’ Salmon’s Herbal March the 7th 1745/6...”); scattered spotting and toning to text; small chipping along frontispiece fore-edge, repaired tear in top edge of same; repairs and old tape residue at bottom of b; b4 misbound after c4; repair in bottom k; old tape residue in fore-edge and gutter L3, repairs to same; short closed tear in fore-edge X4; short closed tear in top edge 4K3; open tear at bottom 4M2, just touching some text; repair vertically traversing 6I1; closed tear in bottom edge 6K2; wear and repairs along edges of Index leaves.

First edition of William Salmon’s monumental herbal, featuring hundreds of fine botanical woodcuts. Includes the first known reference to the tomato’s cultivation in North America, referred to by Salmon as growing in the Carolinas, and called by their English name, “love apples” (p. 29).

$500 - 800

169

[Natural History] Stearns, Samuel. The American Herbal, or Materia Medica. Wherein the Virtues of the Mineral, Vegetable, and Animal Productions of North and South America are laid open...

Walpole (New Hampshire): David Carlisle for Thomas & Thomas and the Author, 1801. First edition. 12mo. 360 pp. Contemporary brown sheep, black morocco spine label, boards and joints lightly worn; all edges trimmed; scattered light foxing; book-plate of J. Whitelaw of Ryegate mounted on front paste-down. Sabin 90959; Howes S911; Norman 2008

Scarce copy of “the first herbal both produced and printed in the United States, as opposed to those which were reprints of European works. Stearns’s homely remedies sometimes strayed beyond the boundaries of herbal medicine…The work also includes information on American Indian remedies.” (Norman)

$1,000 - 1,500

170

Niemi, Ries. Commemorative Metal Albert Einstein Chair

Metal chair with cut-out likeness of Albert Einstein, and with numerous equations and associations, signed in relief “R.N.” Numbered in relief, “A.P. 5”. 43 x 25 3/4 x 18 1/2 in. (1100 x 655 x 465 mm). From the collection of American illustrator and author Hilary Knight.

A fantastic metal chair commemorating Albert Einstein, by industrial artist Ries Niemi. According to Niemi, “Some chairs, I made one of. Other chairs, I have made dozens of. In 1993, when Thurgood Marshall died, I decided to make a chair honoring him. That led to a series of commemorative chairs, with over 24 different people portrayed, each in an edition of 24. Many of these sold out- I only made them as they were ordered- but I have made close to 250 of these Portrait Chairs since then.”

According to Knight, “I bought it from the estate of Dr. Marian Slater, an anthropologist I knew in Sag Harbor. She was a high order eccentric whose collection of furniture & objects involved everything animal, vegetable or mineral ... but ALWAYS extraordinary ... as Ms. Slater was. This iron silhouette chair is a work of ART.”

Provenance

Bonhams, Fine Books and Manuscripts Including the World of Hilary Knight, December 5, 2018, Lot 64

$500 - 800

171

Nicholson, William. An Alphabet

(London: William Heinemann, 1897). Limited deluxe edition (one of only 50 copies or less). Comprising 26 woodcuts, each hand-colored and signed by William Nicholson; mounted to card as issued. Plates loose as issued and housed in publisher’s rare vellum-covered board pictorial portfolio, stamped in black, yellow, red, and green, ties perished, soiling and wear to boards and flaps; near-contemporary ownership inscription on interior front panel (“bought at Durell’s 13.iii.22”), initialed “E.S.L.” at top of same; scattered soiling to card mounts; scattered light wear along card edges and corners; small bump at center right edge of first two plates, some top corners with small wear and rubbing. Woodcuts measuring 9 3/4 x 7 3/4 in. (248 x 197 mm) on 17 x 14 in. (432 x 356 mm) cards. Campbell 25A

A handsome and rare deluxe edition, in the uncommon vellum portfolio, of William Nicholson’s alphabet, featuring 26 woodcuts, each hand-colored and signed by him.

Nicholson’s bibliographer Colin Campbell notes that the size of this edition was not initially announced by the publisher, William Heinemann, with their advertisements stating that a only few copies were available. In a letter to English art critic Haldane Macfall, dated December 20, 1897, Heinemann indicated that they guaranteed that only fifty of these handcolored sets would be printed. In a later 1956 letter, the Chairman of Heinemann, A.S. Frere, stated that according to their own records only 30 were completed, with 10 for Heinemann, 18 for New York publisher Russell, and two for the book trade.

Notably, the “Executioner” and “Topers” designs used to illustrate the letters “E” and “T” in this deluxe edition were suppressed in the Popular and Library editions, as they were deemed inappropriate for children. They were replaced by “Earl” and “Trumpeter”.

$10,000 - 15,000

172

Nicholson, William. London Types

London: William Heinemann/New York: R.H. Russell, 1898. Limited deluxe edition (one of only 40 copies). Comprising 13 woodcuts, each handcolored, signed, and dated by William Nicholson; each mounted to card as issued. With folio text booklet with printed quatorzains by W.E. Henley; disbound, with an additional loose title-page for Russell, New York edition (each approximately 17 1/2 x 13 3/4 in.; 444 x 349 mm). Woodcuts loose as issued in cloth-covered board pictorial portfolio, stamped in black and in red, ties perished, soiling to boards, foxing and repairs to inner boards and flaps; scattered light soiling to cards; scattered very light wear along edges, small chipping and rubbing to corners. Woodcuts 10 1/8 x 9 1/8 in. (257 x 232 mm) on 20 1/8 x 19 1/2 in. (511 x 495 mm) cards. Campbell 53A

Rare deluxe edition of William Nicholson’s London Types, one of only 40 copies printed from the original woodblocks and hand-colored, signed, and dated by Nicholson. Images include: Bus Driver (Knightsbridge Road), Guardsman (The Horse Guards), Hawker (Kensington), Beef-eater (The Tower), Sandwich-man (Trafalgar Square), Coster (Hammersmith), Lady (Rotten Row), Bluecoat Boy (Newgate Street), Policeman (Constitution Hill), Newsboy (The City), Drum-major (Wimbledon Common), Flower Girl (Any Corner), and Barmaid (Any Bar).

$6,000 - 9,000

173

William Nicholson (British, 1872–1949)

Queen Victoria woodblock print heightened in white and red watercolor signed Nicholson (lower left in plate); also inscribed and signed For E.V. Lucas with love W.N. (lower right mat board) 9 1/2 x 9 in. (24.1 x 22.8 cm)

Exhibited

William Nicholson Exhibition, Browse & Darby, London March 22-April 18, 1990

Literature

William Nicholson, Twelve Portraits, William Heinemann, London, 1899

Note

Warmly inscribed by Nicholson to English humorist E.V. Lucas (18681938).

William Nicholson’s son Andrew discusses this print in his William Nicholson, Painter (1996), “The Queen Empress had invariably been presented with every device of pomp and panoply that could conceal...the fact that Victoria of Great Britain and India was a dumpy little old woman...It was William who first had the temerity to present this unheroic old figure just as it was; an animated tea-cosy, walking an Aberdeen in the gardens of Kensington Palace... When Whistler congratulated William on his woodcut of Queen Victoria, William said: ‘But she was such a good subject.’ To which Whistler replied: ‘She might well have said the same about you.’” (pp. 64-5)

$600 - 900

174

Nicholson, William, and Rudyard Kipling. An Almanac of twelve Sports

London: Published by William Heinemann, 1898 (but 1897). Limited deluxe edition (one of only a few copies printed directly from the original wood blocks). Comprising 12 hand-colored woodcuts, each mounted to card, and signed by William Nicholson. With printed title-page with hand-colored printer’s device, two printed calendar leaves, and 12 printed text leaves by Rudyard Kipling. In rare publisher’s vellum-covered pictorial board portfolio, stamped in black, yellow, and green, ties perished, lightly worn, foxing to interior panels, flaps worn and slightly frayed; foxing and offsetting to text leaves; scattered foxing and toning to cards (heavier on “Fishing” and “Skating” plates), wear and scattered chipping along edges of same, larger chip in top right corner of “Archery” plate. Woodcuts measuring 8 x 8 in. (356 x 356 mm) on 17 x 14 in. (178 x 356 mm) cards. Campbell 33A; Livingston 145

Rare deluxe edition of William Nicholson and Rudyard Kipling’s collaborative sporting almanac, printed from the original woodblocks and hand-colored and signed by Nicholson. Featuring 12 sporting-themed woodcuts, each depicting activity appropriate to the month illustrated, including, hunting (January), coursing (February), racing (March), boating (April), fishing (May), cricket (June), archery (July), coaching (August), shooting (September), golf (October), boxing (November), and skating (December). Each prefaced by a poem on the subject by Kipling.

Rare, especially in vellum portfolio. “The number of copies in this edition was not announced (the advertisements merely state that ‘a few copies’ are available), but a letter to Heinemann dated 27 August 1897 reveals that Russell ordered twelve hand-coloured sets for sale in the United States. At least two unsold hand-coloured sets of the Almanac were still in possession of William Hienemann Ltd in 1984.” (Campbell, p. 184).

$10,000 - 15,000

175

William Nicholson (British, 1872–1949)

Boxing (November) ink and graphite on paper

8 3/4 x 8 1/2 inches. (22.2 x 21.6cm)

Provenance

Artist

Thence by family descent

Purchased directly from the above

Literature

William Nicholson, Rudyard Kipling, An Almanac of Twelve Sports, William Heinemann, London, 1898.

Note

This is an original study for his woodblock print which appears in An Almanac of Twelve Sports, 1898 for the month of November.

$5,000 - 8,000

176

William Nicholson (British, 1872–1949) Cricket (June) ink and watercolor on paper 8 3/4 x 8 1/2 in. (22.2 x 21.6 cm)

Provenance Artist

Thence by family descent Purchased directly from the above Literature

William Nicholson, Rudyard Kipling, An Almanac of Twelve Sports, William Heinemann, London, 1898

Note

This work depicts legendary cricket player Alfred Mynn playing for Kent. This is an original study for his woodblock print which appears in An Almanac of Twelve Sports (1898) for the month of June.

$5,000 - 8,000

177

William Nicholson (British, 1872–1949)

Golf (October) ink and graphite on paper

8 3/4 x 9 1/4 in. (22.2 x 23.5 cm)

Provenance

Artist

Thence by family descent Purchased directly from the above Literature

William Nicholson, Rudyard Kipling, An Almanac of Twelve Sports, William Heinemann, London, 1898

Note

This is an original study for his woodblock print which appears in An Almanac of Twelve Sports (1898) for the month of October.

$5,000 - 8,000

178

William Nicholson (British, 1872–1949)

Shooting (September) ink and graphite on paper

8 5/8 x 8 1/8 in. (21.9 x 60.3 cm)

Provenance

Artist

Thence by family descent Purchased directly from the above Literature

William Nicholson, Rudyard Kipling, An Almanac of Twelve Sports, William Heinemann, London, 1898

Note

This is an original study for his woodblock print which appears in An Almanac of Twelve Sports (1898) for the month of September.

$5,000 - 8,000

179

William Nicholson (British, 1872–1949)

Skating (December) ink and graphite on paper

8 1/2 x 8 1/8 in. (21.6 x 20.6 cm)

Provenance

Artist

Thence by family descent Purchased directly from the above Literature

William Nicholson, Rudyard Kipling, An Almanac of Twelve Sports, William Heinemann, London, 1898

Note

This is an original study for his woodblock print which appears in An Almanac of Twelve Sports (1898) for the month of December.

$5,000 - 8,000

180

[Tsar Nicolas II of Russia] Boutet de Monvel, Louis-Maurice. Jeanne d’Arc

Paris: E. Plon, Nourrit & Cie, (1896). Deluxe presentation copy for Tsar Nicholas II of Russia: “Exemplaire reserve, imprime sur papier pelure du Japon, revu et retouche par M. Boutet de Monvel”. Signed by Boutet de Monvel on specially printed presentation leaf: “A Sa Majeste Nicolas II Empereur de Toutes les Russies Tres respectueux hommage de l’auteur Maurice Boutet de Monvel”. Oblong folio. Comprising dedication leaf, colophon leaf, and 48 color lithographed sheets, by the author, elaborately window mounted on thick card with embossed borders. Original quarter white silk over brown paper-covered boards, decorated in gilt, wear along joints and at corners, spine toned; all edges gilt; silk endleaves; patterned sheets at front and rear; gutter split at dedication leaf; scattered foxing to card mounts; in presentation tan cloth slip case emblazoned with the gilt arms of Nicholas II on upper panel.

A fine deluxe issue of French illustrator Louis-Maurice Boutet de Monvel’s most acclaimed work. This edition was limited to only 30 deluxe subscription copies (and an unknown number of artist copies) for presentation purposes, and issued in this special format printed on Japanese tissue. This particular copy was prepared for Tsar Nicholas II, the last Emperor of Russia, and is bound with a special presentation leaf addressed to the Tsar, and signed by Boutet de Monvel. The Tsar visited Paris, to much fanfare, in the year of this work’s publication, when he presumably received this copy, although it does not bear his book-plate or library shelf markings.

$2,000 - 3,000

182

[Orwell, George]

181

[Numismatics] Parisio, Prospero. Rariora Magnae Graeciae Numismata...altera editione renovata. Accurante Joh. Georgio Volckamero...

(Nuremberg: Heirs of P. Furst), 1683. Second edition. Folio. (iv), 56 pp. Edited by Johann Georg Volckamer. Text in Latin and in Italian. Illustrated with an engraved title-page by Wilhelm Pfann, 13 engraved plates of ancient Greek coinage, and five engraved maps of Southern Italy. Full contemporary vellum, contemporary ink title on spine, boards bowed; open tear in fore-edge of C1, C2, and F1; loss in fore-edge of F2, but not affecting text; dampstaining and old soiling in fore-edge. BL German P-136

A rare work on the currency of Ancient Greece, featuring 13 numismatic-themed plates depicting over 120 different ancient coins used primarily in Naples and Calabria, as well as five fine maps showing Sicily, Puglia, Calabria, Campania, and Naples. The text at front is divided into two parts, the first a history of Magna Graecia, in Latin, and the second, a history of the Kingdom of Naples, in Italian. The first edition was apparently published in Rome in 1592.

Rare to auction, according to RBH, this is only the fourth copy offered since 1970.

$600 - 900

Group of 4 Original “Animal Farm” Production Cels (London): Halas and Batchelor Cartoon Films, Ltd, (ca. 1954). Comprising four original hand-painted and inked production cels for the animated film adaptation of George Orwell’s Animal Farm. Each cel paired with their handpainted gouache master background. Each cel 12 field size and composed of 2-5 transparent celluloid sheets; ink notations at bottom of cels; one background with Halas and Batchelor ink stamp on verso; one cel in mat.

Group of four original production cels from the groundbreaking 1954 animated film adaptation of George Orwell’s novella, Animal Farm

Directed by English filmmakers John Halas and Joy Batchelor, the film was covertly produced and funded by the CIA for use as Cold War propaganda. Following Orwell’s death in 1950, the CIA’s Office of Policy Coordination surreptitiously purchased the rights from Orwell’s widow, Sonia Orwell, using undercover agents who posed as film executives. The CIA chose the studio of husband and wife team Halas and Batchelor due to their previous propaganda work for the British Ministry of Information, as they were wary of using Hollywood studios due to their perceived communist leanings. The sole American chosen was Disney Studio’s John F. Reed, who worked as director of animation. Halas and Batchelor were awarded the contract to produce the feature in November 1951, and it was completed three years later, in April 1954, with animation done in London. Through their agents, the CIA influenced the film’s production, most notably altering the script to diverge from Orwell’s more pessimistic ending.

As Great Britain’s first feature-length animated film, it was critically acclaimed at the time of its release, especially for its groundbreaking animation, with one newspaper headline reading, “The British out-Disney Disney”. Despite it being a commercial failure, it quickly became a staple of classrooms in America and Great Britain.

$2,000 - 3,000

183

[Parrish, Maxfield] Baum, L. Frank. Mother Goose in Prose

Chicago: Way and Williams, (1897). First edition, second printing (with two blank leaves following imprint at rear). 4to. (ii), 265 pp. Illustrated by Maxfield Parrish. Publisher’s grey pictorial cloth, stamped in gilt, color cover design by Parrish, spine toned, light rubbing to extremities; small book-plate on front paste-down; in cloth fall-down-back box. Bienvenue & Schmidt, 159

An unusually fine first edition of L. Frank Baum’s first children’s book, and the first book illustrated by Maxfield Parrish.

$600 - 900

184

[Parrish, Maxfield] Baum, L. Frank. Proofs of the Illustrations by Maxfield Parrish for “Mother Goose in Prose” (Chicago): Way & Williams, December 1897. First and limited edition, #23 of only 27 numbered copies. Small folio. Illustrated with 14 prints on Japanese vellum paper, each elaborately signed in pencil by Maxfield Parrish. Prints loose as issued, with colophon leaf, in publisher’s quarter red cloth over woodlaminated board portfolio, stamped in red, red silk ties, wear along spine, lower tie separated but laid in, flaps worn; two prints with contemporary inscriptions on verso.

Very rare and complete set of original proof prints for L. Frank Baum’s first children’s book, Mother Goose in Prose, each signed by the illustrator, Maxfield Parrish. This was Parrish’s first foray into book illustration, and this portfolio, one of only 27 ever made, is the only set of signed limited prints he ever created in his career. His highly imaginative and original work here brought him immediate recognition as a book illustrator, and whose quality set a precedent for Baum’s later works.

Mother Goose in Prose preceded Baum’s Wizard of Oz by three years, and “faithfully followed all the details given in the rhymes, as a child would demand; and yet he plausibly grounded the absurd circumstances by developing background and motivations that a child could accept as plausible.” (Rogers, L. Frank Baum, Creator of Oz, 2002, p. 61).

Baum’s son, Harry, later recalled the work’s genesis, explaining that he and his siblings would often ask questions regarding the nonsensical verse as they read the Mother Goose nursery rhymes, and that their father “made up little stories to explain these strange happenings to us.” (p. 61).

$15,000 - 25,000

185

Maxfield Parrish (American, 1870–1966)

Wond’rous Wise Man, 1897 pen and ink with pasted overlay on paper

Initialed M.P. (lower left center)

13 3/4 x 11 1/4 in. (34.9 x 28.6 cm)

Provenance

Maxfield Parrish

L. Frank Baum

Thence by descent to his son, Harry Neil Baum

From the collection of Justin G. Schiller, purchased from above

Exhibited

American Federation of Arts, Maxfield Parrish: 1870-1966; June 19, 1999-August 6, 2000, no. 269 American Illustrators Gallery, New York, no date Brandywine River Museum, Maxfield Parrish: Master of Make-Believe; May 31-September 2, 1974, cat no. 109

Literature

Frank Baum, Mother Goose in Prose, Way and Williams, Chicago, 1897, illustrated facing p. 92

Note

An original drawing from Parrish’s first illustrated book and Baum’s first children’s book. Of the book’s 12 original illustrations, this is one of only five seemingly still extant.

Justin Schiller: “Harry Baum in retirement with his wife Brenda opened the Wizard of Oz Lodge for vacationers near Lake Michigan. The Oz club that I had founded (in 1957) began holding its annual conventions there beginning in 1964. Harry had inherited the Parrish drawing from his father and it hung in the Oz Lodge living room, long admired by all who saw it. As I was (at the time) the only professional bookseller there I spoke to him about letting me sell some of his collection and he agreed. The Parrish drawing I told him I wanted for myself and in appreciation for my efforts in starting the Oz Club in remembrance of his father, he allowed me the opportunity to purchase it personally. This was in 1967 and it has remained in my collection as a ‘treasure’ since then—for more than half a century.”

$30,000 - 50,000

186

Sir Joseph Noel Paton (Scottish, 1821–1900) Adam and Eve, 1855 pen and ink on blue paper signed with monogram and dated Sept 28 A.D. 1855 (lower left)

8 x 13 3/4 in. (20.3 x 34.9 cm)

Provenance

Lyon and Turnbull, n.d.

Note

Latin inscription lower left reading “Masculum et feminam creavit eos, et benedixit illis” from Genesis 5:2.

$1,000 - 1,500

187

Perrault, Charles. Autograph Note, signed

July 7, 1672. One sheet folded to make four-pages. One page autograph note, signed by Charles Perrault (“Perrault”), sending payment instructions for work completed to a chateau. Light creasing from when folded; scattered light spotting and toning.

Rare autograph note from this famed fairy tale author. Charles Perrault (1628-1703) came from a distinguished Parisian family and held a number of important government positions under Louis XIV. In 1663 he became secretary to the finance minister Jean Baptiste Colbert, and 1671 was placed in charge of Royal buildings. Perrault was also a prolific author, and was active in the literary quarrel between the “Ancients” and the “Moderns” (taking the side of the latter). He would be little remembered today, had there not appeared in 1697 his anonymously published collection of eight fairy tales, Histoires ou Contes du Temps Passé, including classics such as Little Red Riding Hood, Cinderella, Sleeping Beauty, Puss in Boots, etc.

Together with:

[Perrault, Charles]

Memoires de Charles Perrault...

Avignon, 1759. First edition. 12mo. (iv), 204 pp. Quarter tan paper over green paper-covered boards, black morocco spine label, stamped in gilt; blue speckled edges; armorial ownership ink stamp of Charles Henneguier on title-page, contemporary ownership signature at top of same; printed catalogue slips mounted to verso of front free endpaper and rear paste-down; scattered light spotting to text.

$800 - 1,200

188

[Puss in Boots] [Fischer, Hans] Perrault, Charles. Le Chat Botte

Lausanne: Andre et Pierre Gonin, (1960). First and limited edition, #2/35 numbered copies on Japon nacre, signed by the publisher Pierre Gonin (from a total edition of 270). 4to. Profusely illustrated with color and black and white lithographs, by Hans Fischer, and with an additional suite of lithographs in various states. Text and plates loose as issued in original hand-made paper wrappers; in original quarter vellum over patterned paper-covered slip case and chemise.

A fine and scarce French edition of Hans Fischer’s illustrated Puss in Boots. Fischer’s work first appeared in 1957 in German, with this edition published two years following the artist’s death in 1958.

$300 - 500

189

(Puss in Boots) Das Marchen vom gestiefelten Kater...

Leipzig: F.A. Brockhaus, 1843. First edition. 4to. x, 112 pp. Illustrated with lithographic title page, and 12 etchings with multi-color tissue guards, by Otto Speckter. Publisher’s green cloth, stamped in blind and in gilt, tips and joints lightly worn, rear gutter starting; scattered light foxing. Rümann, Buchillustr. p 338

First edition of the classic children’s tale Puss in Boots, with charming illustrations by German etcher Otto Speckter (1807-1871). The present work is a compilation of three different versions of the story: the earliest, by Giovannia Francesco Straparola (1465-1558), another, by Giambattista Basile (1566-1632), and the third, by Charles Perrault (1628-1703).

“These illustrations are among the masterpieces of German illustration. The most charming and technically perfect work of these years...” (Rümann, Buchillustr. p. 338).

$500 - 800

191

190

[Photography] Daguerre, (Louis Jacques Mande). Historique et Description des Procedes du Daguerreotype et du Diorama

Paris: Alphonse Giroux et Cie, 1839. Nouvelle Edition (second edition). 8vo. (iv), 76 pp., including half-title. Illustrated with a lithographic frontispiece portrait of Daguerre and six engraved plates. Quarter brown morocco over marbled paper-covered boards, stamped in blind and in gilt; corners moderately worn, rubbing along joints and spine; all edges trimmed; marbled endpapers; intermittent light spotting to text. From the library of Russian-American photographer Roman Vishniac. Printing and the Mind of Man 318b; Horblit/Grolier 21a (4th issue); Norman 569; Dibner 183

“Perhaps no other invention ever captured the imagination of the public to such a degree and conquered the world with such lightning rapidity as the daguerreotype” (Gernsheim, L.J.M. Daguerre, p. 104).

Scarce second edition of Daguerre’s manual describing his groundbreaking photographic process. First published by order of the French government in September 1839, it quickly sold out. Seven issues of the first edition quickly appeared, and this second edition was published before the year was out. In the 18 months following the publication of the first edition, a total of 39 reprints, new editions, and translations appeared.

Provenance Bonhams, New York, Fine Books and Manuscripts, featuring the Library of Roman Vishniac, April 12, 2022, Sale 27556, Lot 75

$1,000 - 1,500

[Photography] Hurley, R.C. Sixty Diamond Jubilee Pictures of Hongkong

Hong Kong: R.C. Hurley, 1897. First edition. Oblong 8vo. Illustrated with 60 albumen prints (including two folding panoramas), mounted on card with printed black borders and captions. Letterpress Introduction printed on front paste-down, plate list printed on rear paste-down. Publisher’s quarter white cloth over pictorial paper-covered boards, boards slightly rubbed and soiled; front hinge slightly worn; scattered spotting to cards; each panorama creased.

A very rare photo album of Hong Kong at the turn of the 19th century, published to celebrate the Diamond Jubilee of Queen Victoria. Includes panoramic views of Hong Kong, views of its harbor and landscape, showing religious, governmental, and educational facilities, as well as city scenes. R.C. Hurley was known for his works on Hong Kong and China, including The Tourists’ Guide to Hong Kong (1897), The Tourists’ Guide to Canton (1895), and Picturesque Hong Kong: A British Crown Colony and Dependencies (1925).

Rare. We can locate only two institutional copies, at the University of Edinburgh, and in the UK National Archives. Furthermore, we can locate only two other copies as having ever come to auction.

$3,000 - 5,000

193

192

[Photography] McBride, Will. Photographien

Berlin: Camera Work, 2001. First and limited edition, #5/10 copies. Comprising 15 silver gelatin prints, each signed and annotated in pencil by McBride. Each print mounted to thick card, each with tissue guard. With printed title-page sheet, photo list, limitation, and text sheet by Michael Kruger. In black fall-down-back box. Images measure, 13 1/8 x 8 3/4 in. (333 x 222 mm) on 19 5/8 x 14 3/4 in. (498 x 375 mm) cards.

Comprises: Barbara Raucht, Munchen, 1963; Strassenszene in New York, 1970; Das Haus ist Voll, fur Twen, Munchen, 1970; Uli im Leonardo-Da-Vinci-Kreis, Casoli, 1978; Bernauer Strasse, Berlin, 1961; Madchen in der Baggerschaufel, Frankfurt, 1997; Michel & Cathy, Les Baux, 1975; Barbara im Bett, Berlin, 1959; Die Umarmung, Munchen, 1964; Barbara Schwanger fur Twen, Berlin, 1960; Hand mit Zwei Steinen, 1972; Uli, Casoli, 1978; Mike in der Dusche, Salem, 1963; Junge mit Hund, 1957; Konrad Adenauer, Bonn, 1965.

Rare portfolio by American photographer Will McBride (1931-2015), one of only 10 copies produced, with each photograph signed and annotated by McBride.

$4,000 - 6,000

[Picasso, Pablo] Goll, Yvan. Elegy of Ihpetonga and Masks of Ashes

New York: The Noonday Press, 1954. First and limited edition, #21/64 numbered copies. Folio. Translated from the French by Babette Deutsch, Louise Bogan, and Claire Goll. Illustrated with a mounted lithographed frontispiece and three mounted lithographs by Picasso, printed by Fernand Mourlot Freres. Designed by Alvin Lustig and printed on red, black, white, and blue Fabriano paper. Publisher’s black cloth-covered boards, paper cover label printed in red and in black, scattered soiling to boards, spine lightly faded, corners slightly bumped. Cramer 70; see The Artist and the Book: 1860-1960, 236 Note

A handsome copy.

$500 - 800

194

[Plate Books] Engelbrecht, Martin. Group of 12 Engravings from “Assemblage Nouveau des Manouvries Habilles...”

(Augsburg, ca. 1730). Group of 12 hand-colored engraved plates, by Engelbrecht. Each measuring 14 1/2 x 8 3/4 in. (368 x 222 mm). All, but one, in mat.

A fine group of 12 engraved plates from Martin Engelbrecht’s Assemblage nouveau des Manouvries habilles: Neu-Eröffnete Samlung der mit ihren eigenen Arbeiten und Werckzeugen eingekleideten Künstlern, Handwerckern und Professionen. Executed in the manner of Arcimboldo, these fantastic engravings of trade costumes follow in the tradition of the Larmessin family (see Lot 196), and depict merchants and workers composed of the tools of their trades or occupations. This group includes: Puppet maker (No. 131), Doll maker (No. 132), parchment and drum makers (Nos. 151 and 152), wallet and purse makers (Nos. 167 and 168), brass workers (Nos. 181 and 182), candlemakers (Nos. 183 and 184), and two cooks (Nos. 191 and 192).

$2,000 - 3,000

196

195 [Plate Books] (Holland, Henry). Heroologia Anglica: hoc est clarissimorum et doctissimorum aliqout Anglorum qui floruerunt ab anno Christi M.D. usque ad presentem annum M.D.C.XX. Vivae effigies, Vitae et Elogia, duobus tomis.

Arnhem: (Crispijn van de Passe and Jan Jansson), 1620. Two parts in one volume. First edition. Folio. iii, 240 pp. Two-page “post prefatio” wanting, as usual. Text in Latin. Illustrated with engraved title-page, and 67 engraved plates (65 portraits and 2 monuments) by Willem and Magdalena Van de Passe. Full diced Russia, rebacked, spine worn, extremities rubbed, elaborately decorated in blind and in gilt; all edges gilt; green endpapers; book-plates of William Carr mounted to front paste-down; title-page re-margined; large old and partially repaired vertical closed tear to L2, affecting text and image; slip containing additional printed text pasted to foot of O5v; plate of the tomb of Elizabeth I trimmed to plate mark, mounted, and partially hand-colored (between D2-3); scattered old repairs along edges; old lot description and receipt for this book (Sotheby, Wilkinson & Hodge, December 19, 1898, lot 500), as well as an additional description for another copy (Quaritch), mounted to rear paste-down. Hind, Engraving in England in the sixteenth and seventeenth centuries, 145-162; Lowndes II, 1089

First edition of “The most trustworthy series of English portraits published up to that time” (Hind). Those pictured include Tudor and Jacobean monarchs, noblemen, ecclesiastics, and courtiers.

$800 - 1,200

[Plate Books] (Larmessin, Nicolas de, II). Les Costumes Grotesques et les Métiers

(Paris: Nicolas de Larmessin II, ca. early 1700s). Folio. Second issue (plates without background decoration). Comprising 41 engraved plates. 19th century threequarter green morocco over green marbled paper-covered boards, decorated in gilt, joints and spine caps likely expertly repaired; marbled endpapers; signed in gilt “Cape” at foot of spine; scattered light foxing to plates; each plate numbered in pencil at bottom. From the library of Nicolas Yemeniz (1783-1877), and with his book-plate on verso of front free endpaper. Catalogue de la Bibliothèque de M. N. Yemeniz 3157; see Colas, I 1779 (cites a date of 1690 and approximately 97 plates); Von Lipperheide 1971 (cites a date of 1695 and lists only 38 plates)

A rare suite of 41 fantastic engravings from this famed series of fanciful trade costumes. Executed in the manner of Arcimboldo, these wildly inventive images depict merchants and street vendors entirely constructed out of the tools and accoutrements of their trade or occupation. This compilation comprises the following professions: Habit de Comedien (Comedian), Habit de Vannier (Basket maker), Habit de Sauetieer (Cobbler), Habit de Masson (Mason), Habit de Monnoyeur (Coiner), Habit de Vinaigrie (Vinegar maker), Habit d’Imprimeur en Lettres (Printer), Habit de Meusnier (Miller), Hhabit de Ceinturier (Girdler), Habit de Foureur (Furrier), Habit de Rotisseur (Roaster), Habit de Tabletier (Maker of tables), Habit de Vitrier (Glazier), Habit de Boucher (Butcher), Habit de Boulanger (Baker), Habit d’Orlogeur (Clockmaker), Habit de Plumassier (Feather worker), Habit de Pescheur (Fisherman), Habit de Laboureur (Ploughman), Habit de Serrurier (Iron manufacturer), Habit de Cabaretier (Inn-keeper), Habit de Plombier (Plumber), Habit de Caffetier (Café owner), Habit de Tailleur (Tailor), Habit de Chapellier (Hatter), Habit de Remouleur Gaigne Petit (Knife grinder), Habit de Layettier (Box maker), Habit de Peigne (Comber), Habit de Sellier (Saddler), Habit de Mallettier Coffrettier (Trunk maker), Habit de Vigneron (Wine-producer), Habit de Medecin (Doctor), Habit de Fripier (Secondhand clothes dealer), Habit de Bonnetier (Hosier), Habit de Jardinier (Gardener), Habit de Marechal (Marshal), Habit de Charron (Cartwright), Habit de Cuisinier (Cook), Habit de Cartier (Playing card manufacturer), Habit de Procureur (Prosecutor), and Habit de Parfumeur (Perfumer).

The Larmessin family was a famous French dynasty of engravers, printers, and booksellers, active during the seventeenth and eighteenth centuries. The series of prints from which these plates derive has been given various titles, including Les costumes grotesques et les métiers, Costumes grotesques, or Habits des métiers et professions. Nicolas de Larmessin I (or L’Armessin) (1632-1694) designed, engraved and published approximately 62 plates in his lifetime. His widow Marie Bertrand added 14 plates from his unfinished designs, and his younger brother Nicolas II (ca.1645-1725) engraved a further 21 plates from 1695 to the 1720s. All of the prints were individually published, with re-engravings in reverse by the younger brother which often simplified these earlier designs by omitting background details. Altogether, it has been suggested that a total of 97 images were eventually issued.

These French costume engravings are incredibly rare when appearing as a large collection such as this, and seldom come to market.

$15,000 - 25,000

197

Beatrix Potter (British, 1866–1943)

Initials T. A. and W. with Rabbit Motifs, ca. 1890s graphite on paper

Signed with initials HBP (lower right)

7 7/8 x 4 7/8 in. (20 x 12.4 cm)

Provenance

Estate of Margaret Lane, Countess of Huntingdon

Exhibited

New York, The Morgan Library & Museum, Beatrix Potter: The Picture Letters, November 2, 2012 - January 27, 2013

Note

For similar works by the artist please see Alphabet Design at The Victoria and Albert Museum, London, LB.1061.

$5,000 - 8,000

198

[Potter, Beatrix] Original Jemima Puddle-Duck Doll

(London: J.K. Farnell, ca. 1910). Original stuffed Jemima PuddleDuck doll, with swivel head, and composed of white mohair, glass bead eyes, orange felt beak and webbed feet, with brown linen bonnet, and paisley textile shawl. Measuring approximately 11 in. (279 mm) in length. Martin, Farnell Teddy Bears, p. 139

A rare original stuffed Jemima Puddle-Duck doll, one of the very first licensed products based on Beatrix Potter’s writings. Potter first introduced Jemima Puddle-Duck in 1908, in The Tale of Jemima Puddle-Duck, which tells the tale of a farmyard duck and the fox that wants to eat her. Potter likely chose the name in honor of Jemima Blackburn (1823-1909), a Scottish ornithological painter and illustrator whom she met in 1891. The book became an instant success upon its publication and inspired a variety of merchandise, including this soft Jemima doll, which was registered by manufacturer Farnell in 1910. The doll’s paisley shawl, was, according to Justin Schiller, “manufactured at the Potter family textile factory (or so it is believed).”

Manufactured by J.K. Farnell, a family-run business that produced soft toys, and is credited with manufacturing the first British teddy bear, in 1906, which was also the influence for the character of Winnie-the-Pooh.

We have located two other examples, one in the Cotsen Children’s Library at Princeton, and one at the Victoria & Albert Museum, the latter example dated ca. 1925.

$4,000 - 6,000

[Printing] [Hunter, Dard] Collection of 18 Color Prints for “The Life and Work of Dard Hunter”

(Chillicothe, Ohio: Mountain House Press, 1981). Group of 18 color engravings of Dard Hunter’s designs, printed by Dard Hunter II and signed and numbered by Dard Hunter III; each variously numbered one of 50; most with printed Dard Hunter Studio slip and with card signed by Dard Hunter III. Each measuring about 7 1/2 x 5 1/4 in. (190 x 133 mm). Each in original mat, 14 x 11 1/8 in. (356 x 282 mm).

A collection of 18 fine color engravings, printed by Dard Hunter II for his comprehensive biography commemorating the legacy of his father, the renowned book designer, printer, and paper historian, Dard Hunter. Hunter II began work on The Life and Work of Dard Hunter in 1968, two years after his father’s death. Over the next 13 years the younger Hunter created 200 color photo engravings to illustrate the twovolume work, each replicating original drawings and designs created by his father over his long career. Each design was printed in up to four colors, requiring a separate plate for each color, and amounting to over 600 individual plates and an eventual 93,000 impressions. By the end of the production Hunter II had completed 200 prints for each of the 200 designs. As only 150 prints of each design were needed for the book, Hunter II was left with an additional 50 prints of each. This collection comprises 18 of those remaining prints, and shows the breadth of the senior Hunter’s work.

Comprising:

1. Title page for “The Man of Sorrows”; #10/50.

2. Another of the above; #11/50.

3. Title-page for Rip Van Winkle, “Dard Hunter’s second effort as a book designer produced at the Roycroft Shops early in 1905”; #12/50.

4. Another of the above; #13/50.

5. Title-page for “The Battle of Waterloo”; #8/50.

6. Cover for “A Catalog of Some Books and Things”; #10/50.

7. Another of the above; #15/50; lacking front of mat.

8. Book-plate for William Howard Jordan; #13/50.

9. Title-page for Elbert Hubbard’s “Pastelles in Prose”; #7/50.

10. Another of the above; #8/50.

11. Cover design for “A day with the Roycrofters...”; #16/50.

12. Advertisement design for “Vulcanized Fibre”; #9/50.

13. Nine black chapter initials from Elbert Hubbard’s “Complete Writings”; #19/50.

14. Floral design, “Interior Decorations and Furnishings”; #15/50.

15. Cover for “The Motto Book”, Roycrofters; #12/50.

16. Design for small booklet, ca. 1909, “Progress in Brick Dying”; #8/50.

17. Taxicab brochure cover design; #5/50.

18. Title-page design for “Manhattan An Ode by Joseph I.C. Clarke Henry Hudson An Essay by Elbert Hubbard”; #13/50.

Lot includes an original charcoal and white chalk portrait of Dard Hunter by Jules Galspard, 1908. “This and a similar one of Edith Hunter were presented on their wedding day as they departed for Europe.”

$500 - 800

200

[Printing] [Hunter, Dard] Massmann, Robert E. Dard Hunter: Miscellaneous Thoughts and Reflections

New Britain, Connecticut: (Art Press), 1984. First and limited edition, one of only 100 copies. Comprising two miniature volumes: one in a silhouette shape of Dard Hunter’s Lime Rock, Connecticut paper mill (Vol. One) (2 3/8 x 2 in.), and one circular (Vol. Two) (2 3/16 in. circumference); each containing paper samples from Hunter’s paper mill, each signed by the publisher and designer, Robert E. Massmann. Includes a small bag of confetti created from paper from Hunter’s paper mill, attached to a red string with a printed slip signed by Massmann, as well as a bundle of deckle edges, attached with same and also signed by Massmann. All housed in a faux red morocco slip case with a hand-colored cardboard model of Hunter’s Lime Rock mill on top. Book-plate of Kathryn Ida Hill Rickard in each volume and on bottom of slip case. Bromer & Edison, Miniature Books: 4,000 Years of Tiny Treasures, pp. 40-41

A fantastic production of miniature books containing memories and reflections by Dard Hunter, and including paper samples from his Lime Rock, Connecticut paper mill. Hunter was “the greatest papermaker and paper historian America has known”: (Bromer & Edison), and all materials used for this charming production were harvested from the last lot of paper taken from his Lime Rock mill before its destruction by flood in 1955.

$300 - 500

202

201

[Printing] Savage, William. A Dictionary of the Art of Printing

London: Longman, Brown, Green, and Longmans, 1841. First edition. 8vo. viii, 815, (1), 16 (ads) pp. Presentation copy, inscribed by the author at top of half-title to Arthur William English: “A.W. English, Esq. with the Author’s kind Regards”, and with an autograph letter, dated September 14, 1841, signed by the author to English, mounted to front free paste-down: “Accept my sincere thanks for the interest you have taken in the Publication of My Dictionary of Printing, and do me the additional Favour of accepting the accompanying Copy...” Publisher’s full blue cloth-covered boards, stamped in blind and in gilt, spine darkened, old label at bottom of same, soiling to boards, light wear along extremities; all edges trimmed; by Westleys & Clark, London; English’s armorial book-plate on front paste-down; text largely unopened.

Presentation copy of William Savage’s important work on the history and art of printing, now a standard reference on the subject.

$250 - 400

[Prints] Lotter, Tobias Conrad. Colossus Monarchicus Statua Danielis Dan. II. 31.

Aug(sburg): Tobias Conrad Lotter, (ca. 1750). Hand-colored engraving, by E. Eichel after A. Scheller. Light wear along edges; manuscript additions in both feet. 28 5/8 x 23 1/4 in. (727 x 590 mm).

A large allegorical engraving of the “Colossus Monarchicus”, as described in the Book of Daniel. The large statue’s body, wielding a sword and scepter, is intricately mapped with the lineages of kings from the Assyrian, Persian, Greek, and Roman civilizations, while its legs map the monarchies from Eastern and Western empires.

$200 - 300

203

[Propaganda] Han, Zhou Han, and Griffith John. The Cause of the Riots in the Yangtse Valley. A “Complete Picture Gallery.”

Hankow, 1891. First edition. Oblong 4to. With two title-pages, in English, and in Chinese, the latter printed in red, green, and in black. Illustrated with 32 full-page color woodcuts, with 42 unnumbered accompanying descriptive pages of text, printed in English in three columns. Original limp printed stabsewn wrappers, worn and soiled, repairs in joint of rear wrapper, creased at center from when folded, with repairs along same on front wrapper; text toned, scattered wear and soiling to same; scattered pencil marginalia.

Very rare Chinese anti-Christian propaganda album. The album contains 32 anti-Western and anti-Christian color woodcut prints that are reproductions of images that originally circulated throughout Hunan Province in the early 1890s to incite anti-Christian activity. Each image features an accompanying translation and descriptive text by English Christian missionary Griffith John (1831-1912), a leader of the London Missionary Society, who proselytized widely throughout the region. John had found the images in a pamphlet and attributed them to a Zhou Han (1842-1911), a circuit official and scholar in Hunan. John circulated the present album in order to draw attention to the British authorities of the dangers faced by Western missionaries in China, as well as to provoke suppression of these anti-Western images and pamphlets. “Very little of this ephemeral material has survived. Because foreign missionaries collected it, this pamphlet is one of the few that circulated outside the country, escaping the conflagrations of war and upheaval that afflicted so much of China during the 19th century.” (Perdue, Missionary Commentary on an Illustrated Anti-Christian Chinese Pamphlet, 2014, p. 3)

RBH locates only three other copies in the auction record since 1958.

$2,000 - 3,000

204

Arthur Rackham

(British, 1867–1939)

Hey! Up the chimney, lass! Hey after you!, 1907 watercolor signed Arthur Rackham ‘07 (lower left)

13 x 9 in. (33 x 22.9cm)

Provenance

Sotheby’s London, December 11 2003, lot 258

Sotheby’s London, December 10 2018, lot 248

Exhibited

Chris Beetles Limited, London, “The Illustrators: The British Art of Illustration 1800-2004”, number 54

Literature

Richard Harris Barham, The Ingoldsby Legends, J.M. Dent & Co., London, 1907. Frontispiece

Note

The original art for the frontispiece to R.H. Barham’s The Ingoldsby Legends, published by J.M. Dent in 1907. This fine watercolor depicts Rob Gilpin and the three witches, Old Goody Price, Old Goody Jones and the young Madge Gray, taking to the air on broomsticks with three black cats.

$8,000 - 12,000

206

205

[Rackham, Arthur] Ingoldsby, Thomas. The Ingoldsby Legends or Mirth & Marvels

London: J.M. Dent & Co/New York: E.P. Dutton & Co, 1907. First and limited edition, #417/500 numbered copies, signed by Rackham (from a total edition of 560). xix, (1), 549, (1) pp. Illustrated with color frontispiece (See Lot 204 for original art) and 23 color plates, all mounted with captioned tissue guards, 12 full-page tinted illustrations, and numerous in-text black and white illustrations. Publisher’s full vellum, decorated in gilt, lightly soiled; top edge gilt, other edges untrimmed; dark green illustrated endpapers; some pages unopened; yellow silk ties wanting (one laid-in); text block browned at extremities, foxing to prelims; book-plate of DuPont executive Walter S. Carpenter, Jr. on front paste-down. Latimore & Haskell, pp. 30-31; Riall, p. 83

A fine copy.

$500 - 800

[Rackham, Arthur] Mother Goose The Old Nursery Rhymes

London: William Heinemann, (1913). First and limited deluxe edition, #772/1,100 numbered copies (from a total edition of 1,130), signed by Rackham. 4to. xi, (i), 159, (1) pp. Illustrated with mounted color frontispiece with captioned tissue guard, 12 mounted color plates, each with captioned tissue guards, one mounted black and white plate with captioned tissue guard, and numerous black and white plates, by Rackham. Original full white cloth, stamped in gilt, spine slightly darkened; top edge gilt, other edges untrimmed; scattered light foxing and offsetting; text partially unopened; in quarter morocco slip case. Riall, pp. 115; Latimore & Haskell, pp. 40-41

A beautiful copy of the signed deluxe edition

$600 - 900

208 Ridge, Lola. The Ghetto and Other Poems

207

[Rackham, Arthur] Coykendall, Frederick, and Martin Birnbaum. Arthur Rackham A List of Books Illustrated by Him

Privately printed by William Edmund Rudge, Mount Vernon, New York, 1922. First edition, one of 175 copies. Co-author Frederick Coykendall’s copy inscribed to him by Rackham with a drawing, dated July 7, 1923. Additionally inscribed by co-author Martin Birnbaum to Coykendall, also with a sketch, presumably by Birnbaum. Cream paper covered boards, stamped in gilt, extremities lightly rubbed, some darkening toward edges; light offsetting to front endpaper.

A wonderful association copy of this scarce book, the privately printed and first bibliography of English illustrator Arthur Rackham. Inscribed to co-author and book collector Frederick Coykendall by Rackham, and also by co-author and New York art dealer Martin Birnbaum (1878-1970).

$800 - 1,200

New York: B.W. Huebsch, 1918. First edition. 8vo. (x), 101 pp. Publisher’s brown paper-covered boards, lettered in gilt, extremities lightly rubbed, spine ends and corners worn, lower spine starting; in blue leather fall-down-back box.

First edition of the author’s rare first book. Ridge, an Irish-born New Zealand-American, was a modernist poet and anarchist known for her influential editing of avant-garde publications such as Others (1919) and Broom, founded by Harold Loeb in 1921. Ridge’s poetry about New York’s Lower East Side, in The Ghetto, features depictions of communities with mutual need in an “ecstatic, high language of the past, especially of the Elizabethans, to the squalid and the sublime realities of the actual, 20th-century American city” (Robert Pinsky, “Street Poet,” Slate).

Together with:

Ridge, Lola

Autograph Letter, signed

New York, ca. October 25, 1926. Two-page autograph letter, signed by Ridge, to a Miss Ridge of Saginaw, Michigan, regarding a possible familial connection between the two. Creasing from when folded.

$400 - 600

209

William Heath Robinson (British, 1872–1944)

The Merchant’s Wife...and the Merchant, Original Illustration for Bill the Minder, 1912

Watercolor and ink on board

Signed with monogram WHR (lower left) 15 1/4 x 12 in. (38.7 x 30.5cm)

Provenance

Phillips London, December 3, 1999, lot 332

Literature

William Heath Robinson, Bill the Minder, Constable, London, 1912, p. 213, illustrated

$2,000 - 3,000

210

Robinson, W. Heath. Two Autograph Letters, signed, With an Original Sketch

The Copse, Cranleigh, Surrey, February 26, (19)25. One sheet, 9 x 5 3/4 in. (228 x 146 mm). Autograph letter, signed by English illustrator W. Heath Robinson to “Students Department of Business Institution”: “Dear Friends, I am very much gratified by the friendly distinction you have conferred upon me, and I am writing to assure you of my good wishes for success in your work, not only during the year in which I am so honored but throughout your several careers. I like to regard myself as a fellow student of yours, as I feel that in a very real sense, I am still a student myself and hope that I shall remain one for several years yet. So on this account I am more able to sympathise with you in your labours and be all the more interested in your progress, which, again, I hope will be great, and attended with all happiness. Yours Sincerely W. Heath Robinson”. With an original sketch of a man and bird at top right. Creasing from old folds, offsetting to three-quarters of the page, scattered stains, paper loss to top left.

With another autograph letter of transmittal signed by Robinson, to S.D. Green, the student’s teach and autograph collector.

W. Heath Robinson (1872-1944) was one of England’s most celebrated illustrators during the Golden Age of Illustration. He was also famous for his depictions of elaborate machines used to accomplish simple objectives, and his name has since become synonymous for anything unnecessarily contrived.

$500 - 800

212

Sanua, James (Yaqub Sanu). Abou Naddara (Organe de la Jeunesse d’Egypte)

Paris, 1880-82. Consecutive run of 41 lithographed issues. 4to. Comprising: Le Flûtiste, Nos. 1-3, June 4-20, 1880, in Arabic (each 4 pp.); La Clarinette, Nos. 1-3, July 12-August 27, 1880, in Arabic (each 4 pp.); Le Charmeur, Nos. 1-4, February 5 March 25, 1881, in Arabic (each 4 pp.); Abou Naddara 5è année (1881), Nos. 1-15, in Arabic (each 4 pp., except Nos. 6-8, with 8 pp.); Abou Naddara/Abou Naddara Zarka 6è année (1882), Nos. 1-7, in Arabic (each 4 pp.), Nos. 8-16 including translations in French. Numerous lithographed illustrations. Scattered wear and toning.

New York: Niki de Saint Phalle, 1968. Screen-print on pink inflatable plastic, signed by Phalle in ink on verso. Manufactured by Marlo Plastics, Brooklyn, New York. With the original printed packaging card for the sculpture (“distributed by Elisabeth de Saint Phalle Ltd...”): “My Name is Nana I am an Inflatable Sculpture by Niki de Saint Phalle”. Uninflated; light wear to rector and verso. Approximately 20 x 17 in. (508 x 432 mm).

From the original 1968 edition, Niki de Saint Phalle’s inflatable sculpture of her vibrant and voluminous Nana character. Saint Phalle created the first of her many Nanas in 1964, inspired by a visit from Clarice Rivers, wife of American artist Larry Rivers, and named after the French term for a mildly rude young girl or woman.

$500 - 800

An extensive and consecutive run of this rare and subversive Egyptian-French satirical magazine--the first Arabic magazine to feature cartoons, and the first to print in colloquial Arabic.

James Sanua, also known as Abou Naddara (“man with glasses”) came from a Sephardic Jewish family and became one of the major intellectual figures in late 19th-century Egypt. An incisive political commentator, he founded the satirical magazine Abou Naddara in Cairo in 1877. Its sharp criticism of Egyptian society and politics, published in widely readable colloquial Arabic, and its satirical caricatures that mocked Egyptian ruler Isma’il Pasha and his family, resulted in its quick suppression and the author’s forced exile in 1878. Sanua relocated to Paris where he continued to publish the magazine using increasingly technical lithographic printing, which was then smuggled into Egypt. To outwit the khedivial press censorship, he frequently changed the layout and title of the magazine during this period, as can be seen here. By 1881 he began to consistently issue it under the Abou-Naddara header, which remained largely unchanged up to the magazine’s final issues in 1910. Despite the severe risk of punishment his Egyptian readers faced if caught with this magazine, it enjoyed great popularity and had a considerable circulation.

A large and rare run of this ephemeral and subversive magazine.

$3,000 - 5,000

211

Phalle, Niki de Saint. Inflatable “Nana” Sculpture

213

Saunders, Marshall. Beautiful Joe An Autobiography

Toronto: Baptist Book Room, 1894. First Canadian edition. 8vo. (viii), 7-304 pp. Presentation copy, inscribed by the author on front free endpaper to Rev. O.C.S. Wallace: “To The Revd. O.C.S. Wallace M.A. A slight acknowledgment of gratitude for his kindly, Protean services rendered to ‘Beautiful Joe’ Marshall Saunders, Halifax. May 14, ‘94.” Illustrated with frontispiece and plates. Publisher’s green cloth, decorated in gilt, corners and spine ends rubbed and worn, soiling to boards; all edges trimmed; patterned endpapers; text block sinking; gutter split at title-page; small loss in bottom pp. 29/30 but not affecting text; scattered minor soiling to text; in brown cloth slip case and chemise.

Presentation copy of Margaret Marshall Saunders’s classic tale of Beautiful Joe, considered the Black Beauty of dog novels. Inscribed to Rev. O.C.S. Wallace a Halifax Baptist minister, in the year of publication. Told through the perspective of Joe, a real-life dog that was rescued from an abusive owner, the novel was an instant bestseller, and sold over 7 million copies, and was translated into more than seven languages, in the three decades following its initial publication.

$200 - 300

214 Mead Schaeffer

(American, 1898–1980)

Sailing Ship, 1935 oil on board

17 x 4 1/4 in. (43.2 x 10.8 cm)

Provenance

Illustration House, New York

May 6 1995, Lot 195

$2,000 - 3,000

215

Schulz, Charles. Manuscript Mock-Up, Inscribed with Original Drawing

Early Mock-Up of Snoopy as the World War I Flying Ace: “Here I am flying high over the enemy lines”

No place, ca. 1965. One sheet folded to make four-pages. Manuscript booklet, completely in the hand of Charles Schulz, featuring a full-page drawing, in pencil, of Snoopy as the World War I Flying Ace; manuscript text in pencil on facing page, “Here I am flying high over the enemy lines. Inscribed by Schulz on first page to Frank Close, sales manager at Schulz’s publisher, Holt, Rhinehart and Winston: “Frank--How would this be for actual page size? I think colored stock would be good, too.” 7 x 7 in. (178 x 178 mm).

A fantastic and rare mock-up by Charles Schulz, given by him to Frank Close, a sales manager at his publisher Holt, Rhinehart and Winston. Schulz writes to Close suggesting a square format and colored paper stock for a possible book-form publication of Snoopy as the World War I Flying Ace. He includes a wonderful fullpage drawing of Snoopy as the World War I Flying Ace in hot pursuit of his nemesis, the Red Baron. Both of Schulz’s suggested design elements would feature in his series of square-shaped Peanuts books, printed on bright multi-colored paper-stock, and published by Determined Publications throughout the 1960s.

Snoopy first appeared as the Flying Ace in Schulz’s October 10, 1965 Peanuts comic strip, where he climbed atop his doghouse--reimagined as his Sopwith Camel--clad in aviator cap, goggles, and scarf, to do battle with the Red Baron. The Flying Ace would become one of Snoopy’s most beloved and enduring characters, first featured in book-form in 1966, in the animated special It’s the Great Pumpkin, Charlie Brown (1966), and more.

$3,000 - 5,000

216 [Science, Medicine & Mathematics] Group of Four Atomic Age Publications

1. Blackett, P.M.S.

The Atom and The Charter (London: The Hereford Times, 1946). 8vo. (12) pp. Limp printed color wrappers.

2. Potter, Robert D.

The Atomic Revolution

New York: Robert M. McBride & Company, (1946). First edition. 4to. 165 pp. Illustrated with black and white photographs. Cover art by Arthur Politzer. Pictorial paper-covered boards, extremities and spine worn, corners bumped.

3. The Protection of workers from Radiation Hazards in atomic energy plants and other establishments using radioactive substances London: Labour Research Department. 1948. 8vo. 21 pp. Limp printed wrappers, lightly soiled. Foreword by Sir Ernest Rock Carling.

4. Davies, Harold Death Stands at Attention... (London: Housemans, for the author. 1957). 8vo. 15 pp. Stiff printed color wrappers.

Group of four works published during the Atomic Era, some warning against the dangers of Atomic energy use, while others provide history or background on its development.

$150 - 250

217

[Science, Medicine & Mathematics] Borelli, Giovanni Alfonso. De Motu Animalium

Rome: Angeli Bernabo, 1680-81. In two volumes. First edition. 4to. (xii), 376, (12); (iv), 520 pp. Illustrated with 18 engraved folding plates. Full contemporary vellum, title in ink on each spine, some discoloration and staining; dark speckled edges; armorial book-plate of Lister Holte of Aston in Warwickshire on front paste-down of each volume; inscribed by Ippolito de Hencini of Pistoia at front of each volume: “Ippoliti de Hencinis Pistoriensis ex Legato Authoris”; scattered spotting and toning to text (largely in second volume); several plate folds repaired, scattered wear along edges of same. Carli and Favaro 344 and 350; Dibner 190; Horblit 13; Garrison and Morton 762; Norman 270; Osler 2087

Handsome first edition--inherited from the estate of the author--of this foundational work on biomechanics. “Borelli originated the neurogenic theory of the heart’s action and first suggested that the circulation resembled a simple hydraulic system. He was the first to insist that the heart beat was a simple muscular contraction. One of the founders of biomechanics, Borelli was a representative of the Iatro-Mathematical School, which treated all physiological happenings as rigid consequences of the laws of physics and mechanics” (Garrison-Morton)

$2,000 - 3,000

218 Searle, Ronald. Crossed Paths: Edgar Allan Poe Meets Ernest Hemingway

No place, 1990. Pen and ink drawing on thick wove paper, by English cartoonist Ronald Searle, signed by him bottom right. 15 1/4 x 18 3/4 in. (385 x 480 mm). Depicting Edgar Allen Poe and Ernest Hemingway, published in The New Yorker, May 6, 1991. Inscribed on verso by Searle, with his copyright stamp to same.

A whimsical preliminary study drawing for Ronald Searle’s Crossed Paths series for The New Yorker magazine, later collected and published in Marquis De Sade Meets Goody Two-Shoes (London, 1994.)

$1,500 - 2,500

220

219

Sem (Georges Goursat). Au Palais de Glace (Paris, ca. 1900). First and limited edition, #77/250 numbered sets. Comprising 27 color lithographic prints with pochoir, depicting ice skaters. Each 18 1/2 x 13 1/2 in. (470 x 343 mm). Loose as issued within publisher’s quarter cloth over pictorial paper-covered board portfolio, blue cloth ties, lightly worn; scattered light toning. Contemporary French newspaper in laid-in.

Complete set of prints by French caricaturist Georges Goursat (1863-1934), who drew under the name Sem, and achieved fame during the Belle Epoque era.

$600 - 900

Sendak, Maurice. Higglety Pigglety Pop! Or There Must Be More To Life

(New York): Harper & Row, (1967). First edition. Square 12mo. (vi), 69 pp. Presentation copy, inscribed by Maurice Sendak on front free endpaper in the year of publication to children’s book author and reviewer, Lavinia Russ, and with an original ink illustration by him of Mother Goose: “Nov. ‘67 For Dear Lavinia With Love! [Within a pink colored heart] Maurice Sendak & Ma Goose”. Publisher’s brown cloth, pictorial cover label depicting the terrier protagonist Jennie; top edge stained brown; in original dust-jacket, separated along spine, scattered chipping along edges, spine and flaps toned. Hanrahan A68

A charming presentation copy of Sendak’s tale of the adventures of Jennie, a Sealyham terrier. Inscribed by Sendak to Lavinia Russ (1905-92), children’s book author, lecturer, and juvenile editor at Publisher’s Weekly

$500 - 800

221

Sendak, Maurice. In the Night Kitchen

(New York): Harper & Row, no date. Presentation copy, inscribed by Sendak on front free endpaper to “The Magic Lynn” (Lynn Caponera), Sendak’s caretaker for more than 30 years, and with a superb full-page color illustration by him of the book’s protagonist, Mickey, naked and floating in a hot air balloon: “Happy Birthday! With all my love--always & always Maurice April 9, 91” Publisher’s beige linen-covered boards, pictorial color cover label, in original dust-jacket, with Caldecott medal on front panel.

A superb presentation copy, inscribed by Sendak and with a magnificent full-page illustration by him, for “The Magic Lynn” (Lynn Caponera), his long-time caretaker. The illustration shows the book’s protagonist, Mickey, naked and wearing a birthday hat and holding a flute, and with arms and leg outstretched, while floating above the clouds in a hot air balloon. As Justin Schiller notes, “This is the most elaborate inscription I have ever known Maurice doing for anyone. It demonstrates how important Lynn was to his life and daily living.”

A fine copy.

$3,000 - 5,000

222

Sendak, Maurice. Where the Wild Things Are

(New York): Harper and Row, Publishers, 1963. First edition (with Library of Congress catalog card number “63-21253” printed on title page). Oblong 4to. Unpaginated. Presentation copy, inscribed and dated by Sendak on verso of front free endpaper in the month and year of publication, “For Adam, Who knows where the Wild Things are!!”, and with an original illustration of Max below same. Illustrated by Sendak. Publisher’s quarter grey cloth over illustrated paper-covered boards, boards lightly soiled, corners and extremities worn, short tear in cloth at bottom of spine, spine ends lightly worn; patterned endpapers; front hinge starting; faint tidemark in fore-edge, affecting most leaves; dust-jacket wanting. Hanrahan A58

Sendak’s most famous book, inscribed in the month and year of publication and with an original illustration by him of Max, the book’s protagonist. Uncommon thus.

$3,000 - 5,000

223

[Sendak, Maurice] Poems from William Blake’s Songs of Innocence

London: The Bodley Head, (1967). First and limited edition, one of 275 unnumbered copies. Presentation copy, inscribed by Maurice Sendak on front flyleaf: “For Mrs. Kane-All Superb best wishes! I’m feeling fine-& am spending my time happily & slowly illustrating another Little Bear book-feels like old times! Almost. Wishing you a Marvelous New Year! and Love to dear Martha-Maurice Sendak”. Narrow 8vo. 19, (5) pp. With 8 sepia-toned illustrations by Sendak. Publisher’s stiff printed French fold wrappers, light wear along bottom; in quarter burgundy and black cloth solander case. Hanrahan A69

A fine presentation copy, inscribed by Sendak to his friend Mrs. Kane, of this Christmas keepsake. One of only 275 copies printed at the Stellar Press for presentation by The Bodley Head in 1967. None were offered for sale and it remains one of the rarest and sought-after Sendak titles. As Justin Schiller notes, “Mrs. Kane and her daughter were friends of Sendak’s, who loved in the Seattle area. She supplied Maurice with his collection of colored pebbles.”

$1,000 - 1,500

224

[Sendak, Maurice] Brown, Margaret Wise, and Garth Williams. Little Fur Family (New York): Harper & Brothers Publishers, 1946. First edition. 12mo. Unpaginated (14 leaves). From the library of Maurice Sendak, and with his illustrated bookplate laid in at rear. Illustrated by Garth Williams. Bound in publisher’s full rabbit fur; in publisher’s die-cut pictorial cardboard box, tape repairs along lid sides. Scarce first edition of this Margaret Wise Brown classic, her first collaboration with illustrator Garth Williams. An unusual production, notable for being fully bound in real rabbit fur, which was replaced with imitation fur (or no fur) on later editions. From the library of American illustrator and author Maurice Sendak.

$600 - 900

226

225

[Sendak, Maurice] Brown, Margaret Wise, and Garth Williams. Little Fur Family

New York: Harper & Brothers, Publishers, 1946 (but later). Later printing. Presentation copy, inscribed by the illustrator Garth Williams on verso of frontispiece to Maurice Sendak: “To Maurice-Garth 1957”. Publisher’s blue cloth, stamped in brown, boards unevenly faded; in original pictorial dust-jacket ($2.50 on front flap).

A very special presentation copy, inscribed by one titan of children’s illustration to another, from Garth Williams to his friend, Maurice Sendak.

$800 - 1,200

[Sendak, Maurice] [Lindbergh, Charles] Lindbergh Kidnapping Souvenir Wooden Ladder

(Flemington, New Jersey, 1935). Miniature wooden ladder. Manuscript along left side “Flemington, N.J.”. 9 1/2 x 2 x 3/8 in. (241 x 51 x 9.5 mm). From the collection of Maurice Sendak.

The Lindbergh baby kidnapping and murder had a profound and unsettling effect on young Maurice Sendak. Although too young at the time to completely understand the matter, it imparted in him a fear of being kidnapped himself. This childhood experience would be reflected in many of his later books, in particular, Outside Over There (1981), a story about a young girl named Ida, who must rescue her baby sister after the child has been stolen by goblins. This connection to the Lindbergh kidnapping is itself shown on the book’s title-page, where three cloaked goblins approach Ida and her sister, one holding a version of the famous ladder.

During the 1935 trial of Bruno Richard Hauptmann for the kidnapping and murder of Charles Lindbergh’s son, the ladder that was used to enter the second story window of Lindbergh’s home quickly became a symbol and focal point of the trial. In Flemington, New Jersey, where the trial took place, souvenir ladders like the above were sold outside of the courthouse to curious spectators. “The streets of Flemington became a gouger’s paradise as out-oftown hawkers vied with local shopkeepers in peddling every kind of souvenir imaginable, from ‘autographed’ photos of Lindbergh to ‘certified’ locks of the dead infant’s hair. Among the best-selling novelty items was a miniature replica of the kidnapping ladder that was being built and sold by a local lad and his brother.” (Behn, Lindbergh: The Crime, 1994, p. 240). George Parker and his brother sold these very ladders for 25 cents apiece, and they were then often worn by court spectators on their lapel or hung around their neck.

Sendak, who was deeply obsessed with the sensationalism of the trial, for decades tried to obtain one of these souvenirs, only obtaining one in 2009, three years before his death.

Provenance

Hake’s Auctions, York, Pennsylvania, March 19, 2014, Sale 211, Lot 1042

$1,200 - 1,800

227

[Sendak, Maurice] Minarik, Else Holmelund. A Kiss for Little Bear

New York, etc.: Harper & Row, Publishers, (1968). First edition. 8vo. 32 pp. Presentation copy, inscribed by Maurice Sendak on front free endpaper, in the year of publication, to May, likely his English nurse, and with an ink illustration by him of Little Bear: “Oct. ‘68 For May- happy Birthday for the 22nd!! [within a talking bubble] and all my love! Maurice Sendak”. Illustrated by Sendak. Publisher’s pictorial light green papercovered boards; in original unclipped pictorial dust-jacket. Hanrahan A70

A warm presentation copy, inscribed by Sendak and with an original illustration by him of Little Bear, to May. According to Justin Schiller, May was likely Sendak’s “nurse from 1967 when he had his heart attack in Birmingham, UK, during his tour to promote the British first printing of Where the Wild Things Are. For the next few years he sent her a book for her birthday.”

$400 - 600

228

[Sendak, Maurice] Nicholson, William. The Pirate Twins

(London: Faber and Faber, 1929). First and limited edition, #56/60 numbered copies, signed by Nicholson in green ink on front paste-down. Oblong 12mo. 28 numbered pages. Publisher’s pictorial paper-covered boards, bottom corners bumped; illustrated paste-downs. From the library of Maurice Sendak. A near-fine copy.

$1,200 - 1,800

229

[Sendak, Maurice] Potter, Beatrix. The Tale of Peter Rabbit

Kingston, New York: Battledore Ltd, 1995. First and limited edition, #2/250 numbered copies, signed by Maurice Sendak and Iain Bain, and with a small drawing of Peter Rabbit by Sendak. Introduction by Sendak. Illustrated with 34 line block prints, printed from the original blocks used in the first private edition from 1901. Introduction and plates each separately bound in limp gray wrappers; in blue cloth fall-down-back box.

A fine and unique copy, with an original drawing by Maurice Sendak.

$400 - 600

230

[Sendak, Maurice] Potter, Beatrix. Ginger & Pickles

London and New York: Frederick Warne and Co, 1909. First edition. 12mo. 51, (1) pp. Presentation copy, inscribed by Maurice Sendak, on a laid in card, to Lynn Caponera, his long-time caretaker: “A very special book for a very special Lynn--on her birthday! With all my love Maurice May (April) ‘90”. Illustrated by Potter. Publisher’s tan paper-covered pictorial boards, stamped in green in the design of a shop facade with a pictorial paper cover label depicting Peter Rabbit, scattered soiling, extremities rubbed; all edges trimmed; pictorial endpapers; Sendak’s illustrated book-plate on verso of front free endpaper; light wrinkling to prelims. Quinby 17

Presentation copy of Beatrix Potter’s tale of a quaint village shop operated by Ginger, a yellow tom-cat, and Pickles, a terrier. Inscribed by Maurice Sendak to his long-time caretaker, and now President of the Maurice Sendak Foundation, Lynn Caponera.

$400 - 600

232

Maurice Sendak (American, 1928–2012)

The Master Thief, 1973 ink on paper signed Maurice Sendak (lower right) Image size: 4 1/2 x 3 5/8 in. (11.4 x 9.2 cm)

Literature

Maurice Sendak, The Juniper Tree and Other Tales, Farrar, Straus & Giroux, New York, 1973, Vol. 1, p. 120

231

[Sendak, Maurice] Bram Stoker’s Dracula

Philadelphia: Rosenbach Museum & Library, 1997. 4to. 34 pp. Exhibition catalogue, with limited edition color print, signed by Sendak (#94/100) laid in. Original wrappers. In the original mailing envelope.

$200 - 300

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 54, illustrated

Note

Sendak’s extraordinarily detailed alternate design for “The “Master Thief” for The Juniper Tree and Other Tales (1973).

$8,000 - 12,000

233

Maurice Sendak (American, 1928–2012) Rosie: “Take One” graphite and colored pencil on paper signed Maurice Sendak (lower right) 10 x 12 1/2 in. (25.4 x 31.7 cm)

Note

Original sketch created for Really Rosie, Maurice Sendak’s CBS-TV animation special, in 1975. According to Justin Schiller, this drawing was created “to instruct the animators on the uniqueness of his characters. In 1974 Sendak created a series of pencil studies showing expressions and body language, often annotated with brief commentary. The film premiered on CBS TV on February 19, 1975. Its success led to converting it to a live musical production on stage in 1980 and it has remained ever since in the repertoire of children’s musical theatre.”

$600 - 900

234

Maurice Sendak (American, 1928–2012)

Ida with Her Wunderhorn, 1977 etching on paper

Signed, dated and numbered A.P. III Maurice Sendak ‘02 (along lower edge)

image size: 8 7/8 x 10 in. (22.2 x 25.1 cm)

Literature

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 153, (another edition illustrated)

Note

This image would eventually feature on the dust-jacket of Sendak’s Outside Over There, depicting Ida with her Wunderhorn (New York, Harper & Row, 1981). This image was etched and printed in 1977, and signed by Sendak in 2002.

$2,000 - 3,000

235

Maurice Sendak

Maurice Sendak (American, 1928–2012)

Me and Mickey/Growing Up with Mickey, 1978 graphite on opaque tracing paper signed Maurice Sendak (lower right) and dated Aug 28, 78 (lower right)

Image size: 7 x 6 in. (17.8 x 15.2 cm)

Literature

TV Guide, Vol. 26, No. 45: Issue #1337, November 11, 1978, pp. 16-18

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 168, illustrated

Note

This work was a preliminary drawing for a TV Guide article by Sendak on his affinity with Mickey Mouse. The design was subsequently used for a limited edition poster produced by the Rosenbach Museum & Library (1981) for their exhibition Maurice Sendak: The Artist’s Collection of Children’s Toys, Books, and Drawings.

$15,000 - 25,000

236

Maurice Sendak (American, 1928–2012)

Wild Thing, ca. 1979 etching on arches paper signed Maurice Sendak (lower right) plate size: 20 3/4 x 16 3/4 in. (52.7 x 42.5 cm)

Literature

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 154, illustrated

Note

Depicts “Moishe” Wild Thing, in the moonlight with a sunflower. Etched and printed in 1979, and signed by Sendak in 2002.

$10,000 - 15,000

237

Maurice Sendak (American, 1928–2012)

Original Sketch for Hansel and Gretel Poster, ca. 1997 graphite on opaque tracing paper signed Maurice Sendak (lower right) Image size: 4 x 4 in. (10.2 x 10.2 cm)

Literature

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 132, illustrated (colored finished work).

Note

This sketch was created for a 1997 production of Hansel and Gretel at the Houston Opera House, whose costumes and sets were designed by Sendak.

$1,200 - 1,800

238

Maurice Sendak

(American, 1928–2012)

Sundance Childrens Theater, 1988 watercolor, ink, and pencil on paper signed and dated M. Sendak ‘88 (lower left)

24 1/2 x 20 in. (62.2 x 50.8cm)

Literature

J.G. Schiller, D.M.V. David, L.S. Marcus. Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, pp. 112-13, illustrated

Note

This work was created by Sendak when he was working with Robert Redford’s Sundance Institute to develop a national repertory theater for children. Eventually the venture proved too difficult to organize and Sendak went on to create his own Night Kitchen Theater with Arthur Yorinks.

$50,000 - 70,000

239

Maurice Sendak (American, 1928–2012)

Study for Sundance Childrens Theater, 1988 graphite on opaque tracing paper signed and dated M. Sendak ‘88 (lower left) 24 x 19 in. (61 x 48.3cm)

Literature

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 112, illustrated.

Note

$15,000 - 25,000

240

Maurice Sendak

(American, 1928–2012)

Little Bear’s New Friend, 2001 pencil on paper and watercolor and pencil on paper signed Maurice Sendak (lower left); signed Maurice Sendak (lower right) Image size: 8 1/8 x 6 1/4 in. (20.6 x 15.9 cm) each

Exhibited

The Society of Illustrators, New York, “Maurice Sendak, Genius of American Picture Books Exhibition and Sale,” April 1-July 10, 2021

Literature

J.G. Schiller, D.M.V. David, L.S. Marcus, Maurice Sendak: A Celebration of the Artist and His Work, New York, 2013, p. 176, illustrated (finished work)

Note

An original watercolor illustration for a story by Else Minarik, published in Nick Jr. magazine (December/January 2002, p. 61). It was the first Little Bear story to be published since 1968. Together with a full-page preparatory pencil sketch of the same image.

$7,000 - 10,000

241

[Sendak, Maurice] Presentation Album of Original Mickey Mouse Production Drawings (Burbank, California): The Walt Disney Company, 1988. Oblong folio. 12 grey wove paper sheets. Presentation album from The Walt Disney Company to Maurice Sendak. Comprising nine original graphite production drawings on paper of Mickey Mouse and other Disney characters (ca. 1933-38), by Ben Sharpsteen, Dick Lundy, Huszti Horvath, Les Clark, Dick Huemer, and Hardie Gramatky; each with Disney production numbers at bottom in pencil, and laid in a protective vinyl sleeve; with gilt printed title-page and list of included drawings. Original padded red calf-covered boards, front board printed in yellow cartoon-letters “Mickey Mouse”; in velvet bag with gold tasseled drawstrings, and in red cardboard box.

A superb presentation album of original 1930s Mickey Mouse production drawings, gifted to Maurice Sendak in 1988 by The Walt Disney Company. As Justin Schiller explains, “Sendak and the Disney Studio worked together for a short period during the middle 1980s, during which time Disney proposed an animated version of Where the Wild Things Are. Sendak rejected it and the project was shelved. Sometime later the Where the Wild ThingsAre cartoon was discovered and, without asking permission, it was included on a nation-wide Disney TV broadcast. This album of original studies for early Disney films was given by the Studio to Sendak as an apology for this error. It includes work by most of the pioneering animators, including Hardie Gramatky (who did “Little Toot”).” In 1988, Sendak would also contribute the introduction to a reprint of the Mickey Mouse Movie Stories, a book featuring story adaptations of classic Mickey Mouse cartoons from the 1930s.

The nine images within are as follows:

Three stills from Mickey’s Gala Premiere (1933), including Scene 8 (#78): animated by Ben Sharpsteen, and depicting Minnie and Mickey Mouse strutting up the red carpet, and showing Mickey with leash attached to Pluto’s head. Scene 27 (#46): animated by Sharpsteen, and depicting Mickey reacting with alarm. Scene 48 (#117): animated by Dick Lundy, and showing Greta Garbo about to kiss Mickey.

Three scenes from The Band Concert (1935), including Scene 1 (#81): animated by Huszti Horvath, and showing a tight and crowded scene with Mickey as bandleader among a crowd that includes Horace Horsecollar, Clarabelle Cow, Dippy Dawg (Goofy) and others. Scene 5 (#82): animated by Les Clark, and depicting a full body image of Mickey as bandleader. Scene 12, (#29): animated by Dick Huemer, and depicting Mickey as bandleader, with a look of anger on his face.

Three full and partially colored scenes from Thru The Mirror (1938), including two drawings from Scene 20, animated by Dick Lundy, including (#26): a full-color drawing of Mickey in top hat bowing, with extensive production notes; (#254), partially-colored drawing showing Mickey balancing his top hat on a cane on his nose. Scene 34, animated by Hardie Gramatky, (#150): partially-colored and showing a full-body Mickey sword fighting with an anthropomorphized King of Hearts card.

A fantastic and unique piece.

$10,000 - 15,000

243

Seuss, Dr. (Theodor Suess Geisel). The Mulberry Street Unicorn

New York: Dr. Suess Zoo, Inc., 1938. Hand-painted plaster and wood sculpture, mounted to original circular wooden base; original printed descriptive label mounted on bottom of base, “The Mulberry Street Unicorn...Mounted by the Dr. Suess Zoo, Inc...New York City...” Rubbing and chipping to paint; short but stable cracks near base; sculpture sometime reattached to original base.

“Although he has contacted strange and perplexing wild life in all parts of the globe, Dr. Suess frankly admits that the habits of the Unicorn leave him absolutely baffled. ‘The Unicorn,’ writes Dr. Suess, ‘seems to do nothing but just sit and think. About what, no one knows. One can only eliminate certain thoughts as improbable, such as thoughts about xylophones, zippers and Zog of Albania.’”

242

Theodor Seuss Geisel (Dr. Seuss) (American, 1904–1991)

Please Do Not Ask for Breakfast in Bed... watercolor on paper laid to board signed Dr. Seuss (lower right) 11 x 11 3/4 in. (27.9 x 29.8cm)

Provenance

Illustration House, New York, May 8, 1999, lot 21 Joan Hill, Thousand Oaks, California

Note

This work purportedly hung in the artist’s guest bedroom.

$2,000 - 3,000

A rare and original Dr. Seuss unicorn sculpture. Inspired by a visit in 1931 to Dartmouth’s Winter Carnival, where he saw ice sculptures of animals and other creatures, Geisel began creating a series of unusual mounted animal trophy heads he called “The Seuss System of Unorthodox Taxidermy”. Using real horns and beaks acquired from his father, who was park superintendent of the Forest Park Zoo, in Springfield, Massachusetts, by 1937 Geisel had constructed dozens of three-dimensional beasts. As his sister Marnie described, with some alarm, “He uses them as models for his drawings...or else sells them as decorations for taprooms and bars. They are his main hobby. He makes them out of some pliable material which, after modelling, becomes set and hard. He picks up real horns and puts them onto heads where I am positive horns never grew before. Then he paints them all colors of the rainbow.” (Cohen, The Seuss, the Whole Seuss and Nothing But the Seuss, Later, in the fall of 1937, an exhibition of these pieces was held in New York in order to promote Geisel’s new book, to Think That I Saw It on Mulberry Street. Demand for these sculptures led Geisel to create a series of these peculiar heads for purchase, and in April 1938, an ad appeared in Judge magazine announcing “Dr. Suess Returns From The Bobo Isles...with Rare and Amazing Trophies for the Walls of your Game-Room, Nursery or Bar!” This sculpture was one of three creatures created by Seuss for these purposes, the others being “Blue-Green Abelard” and “Tufted Gustard”. Following their creation Look magazine declared Geisel “The World’s Most Eminent Authority on Unheard-Of Animals.”

Very rare, typically only the posthumous 1990s reproductions are found. This is one of the finest and most well-preserved of these “unicorns” we have seen.

$6,000 - 9,000

[Space] [Snoopy] Armstrong, Neil, and Buzz Aldrin, and Michael Collins. Typed Letter, signed Houston, Texas: National Aeronautics and Space Administration, June 23, 1969. Single sheet, 10 1/2 x 8 in. (267 x 203 mm). One-page typed letter, signed by the Apollo 11 crew, Neil Armstrong, Buzz Aldrin, and Michael Collins, to Dayton’s Advertising Department: “We certainly enjoyed the news clipping of Snoopy which you recently sent us. Your enthusiasm is delightful and we trust your interest will continue as the Apollo Program progresses.” Creasing from when folded. In frame, 11 1/8 x 8 5/8 in. (282 x 219 mm).

A fine typed letter, signed by all three members of the Apollo 11 crew--Neil Armstrong, Buzz Aldrin, and Michael Collins--less than a month before their historic moon landing. The letter makes reference to Charles Schulz’s Snoopy, who by this time was unofficial mascot of NASA. Snoopy first joined NASA in 1968 as a mascot for the Manned Flight Awareness program, an initiative to promote flight safety within the space program. Space was the natural trajectory for the intrepid beagle, who had already shown his fearlessness and flight skills as the World War I Flying Ace. He first appeared on motivational posters and other internal NASA material aimed at boosting morale and continued high performance standards amongst the NASA workforce, and was typically depicted in a spacesuit. In furtherance of the Flight Awareness program, later in 1968 NASA began awarding the Silver Snoopy award (given in the form of a silver lapel pin depicting a space-suited Snoopy), given to members of NASA’s workforce who made valuable contributions to flight safety. Still awarded today, it has since become one of NASA’s most highly coveted prizes, and whose stringent requirements make it one of the most difficult to attain. Charles Schulz was all too happy to lend Snoopy’s likeness as a symbol for the space program, and donated drawings for their use free of charge.

Since his debut in 1968, Snoopy has been used in a myriad of ways in the space program, including by Apollo astronauts, who referred to their communications headgear as the “Snoopy cap” because of its resemblance to the aviator helmet worn by the canine as the World War I Flying Ace. During Apollo 10, crewmembers used “Snoopy” and “Charlie Brown” as their call signals for their Command and Lunar modules, while also bringing illustrations of Snoopy and Charlie Brown aboard their spacecraft. Furthermore, Snoopy plush dolls have made frequent excursions into space, as recently as 2022 while on board Artemis’s journey to the moon.

$3,000 - 5,000

245 [Space] Schulz, Charles, and Alan Bean, and Dick Gordon, and Charles Conrad, et al. Signed Snoopy Doll

No place, ca. 1969. Stuffed Snoopy doll, signed by Charles Schulz, with a drawing of Snoopy by him, as well as Apollo 12 crewmembers Alan Bean, Richard “Dick” Gordon, and Charles Conrad; also signed by Apollo 16 Command Module Pilot, Thomas Kenneth Mattingly, and Mercury and Gemini crewmember Gordon Cooper. Measuring approximately 10 in. (254 mm) in height.

A fine Snoopy doll, signed and doodled by Charles Schulz with a drawing of Snoopy, as well as the entire crew of Apollo 12, the second crewed flight to land on the moon. Also signed by Apollo 16 crewmember Ken Mattingly, and Mercury and Gemini crewmember Gordon Cooper.

Snoopy first joined NASA in 1968 as a mascot for the Manned Flight Awareness program, an initiative to promote flight safety within the space program. Space was the natural trajectory for the intrepid beagle, who had already shown his fearlessness and flight skills as the World War I Flying Ace. He first appeared on motivational posters and other internal NASA material aimed at boosting morale and continued high performance standards amongst the NASA workforce, and was typically depicted in a spacesuit. In furtherance of the Flight Awareness program, later in 1968 NASA began awarding the Silver Snoopy award (given in the form of a silver lapel pin depicting a space-suited Snoopy), given to members of NASA’s workforce who made valuable contributions to flight safety. Still awarded today, it has since become one of NASA’s most highly coveted prizes, and whose stringent requirements make it one of the most difficult to attain. Charles Schulz was all too happy to lend Snoopy’s likeness as a symbol for the space program, and donated drawings for their use free of charge.

Together with:

The Moon is Made of American Cheese! Snoopy

No place: United Feature Syndicate, 1969. Orange felt banner, depicting space-helmeted Snoopy on the lunar surface, printed in black. 33 1/4 x 15 in. (844 x 381 mm).

Following the return of Apollo 8, the first manned spacecraft to orbit the moon, someone asked the crew if the moon was made of green cheese, to which crewmember William Anders replied, “the moon is made of American cheese!”

Lot also includes an Apollo Launch Team Sticker (1969); 4 1/4 x 3 5/8 in. (108 x 92 mm).

$6,000 - 9,000

247

246

Staton, Joe, and Dave Hunt. Original Art for “Superboy and the Legion of SuperHeroes”

New York, 1979. Ink over graphite on Bristol board, manuscript title label mounted at upper center, other small mounted text slips, signed by the artist, Joe Staton, in blue ink, in upper right; production tape along bottom edge with printed production notes mounted to same; scattered blue production marks and white-out corrections. With an original black and blue marker illustration of Superman on reverse of frame, signed by Staton and dated 3/20/24. Old tape residue on verso. Approximately 15 1/2 x 10 1/2 in. (394 x 267 mm). In frame, 21 3/8 x 16 1/4 in. (543 x 413 mm).

A fine original Superman illustration by Joe Staton, created for the opening page of Superboy and the Legion of Super-Heroes issue “A Madman Shall Lead Them” (New York: DC Comics Inc., August, 1979. Vol. 31, No. 254).

$2,500 - 3,500

Steig, William. Original Maquette for “The Agony in the Kindergarten” (New York, ca. 1950). Original maquette for Steig’s The Agony in the Kindergarten. 8vo. Comprising 222 numbered pages of early original pencil and ink sketches by Steig for the work; heavily annotated by him noting placement of images and captions; with typed slips for prelims mounted at front; three pages with mounted photostats of his illustrations. Original black leatherette sketch book, stamped “Sketch Book” in gilt on front board; scattered light wear.

Lot includes an additional 71 finished loose pen and ink and graphite drawings for the book (including two in colored pencil); some mounted to sheets; five signed by Steig; seven loose photostats of same. Each image with typed caption at bottom; each heavily annotated with printing notations, by Steig; most sheets with pencil notations on verso, some with discarded pencil and pen and ink sketches on same, by Steig.

The original maquette for beloved American cartoonist William Steig’s harrowing adult book on the traumas of childhood, The Agony in the Kindergarten. One of his most important and emotionally complex works, it explores the effects of adult repression on childhood development. Steig’s stark and expressively disturbing black and white drawings, shown here in their earlier and more finished states, depict children in a variety of grotesque forms, and are coupled with insensitive and often cruel remarks that adults make about children (“That brat needs a good spanking,” “Shut up!,” “What the hell does she want now”, and “I need that kid like I need a hole in the head”). Dedicated to controversial Austrian psychiatrist Dr. Wilhelm Reich, whom Steig was a lifelong acolyte of, and whose influence is palpable throughout.

“The surreal drawings of The Agony in the Kindergarten were perhaps (Steig’s) most brilliant breakthrough into a purer kind of art, but his representations of childhood have always implied a continuity with adult experience; children are not a zoo of entertainingly exotic creatures but an array of mirrors in which the human predicament leaps out at us” (John Updike, “Introduction,” in The World of William Steig, 1998, p. 6).

Lot also includes a first edition copy of The Agony in the Kindergarten (New York: Duell, Sloan and Pearce, 1950; in price-clipped dust-jacket).

Provenance

William Steig, thence by descent

Bonham’s, New York, Fine Literature, Featuring Two Private Collections, December 5, 2019, Lot 121

$8,000 - 12,000

248

Stein, Gertrude. The World is Round

New York: William R. Scott Inc., (1939). First and limited edition, one of 350 copies signed by Stein and illustrator Clement Hurd. Multiple in-text blue and white illustrations. Text printed in blue on rose-colored paper. Publisher’s cream-colored paper-covered boards, lightly soiled, stamped in gilt, spine browned; in matching slip case, extremities worn. Wilson, A32b

Limited edition of Gertrude Stein’s only book for children, signed by her and Clement Hurd, bestknown for his illustrations for Goodnight Moon

$600 - 900

249 [Taillandier, Yvon] Massenet, Jules. Herodiade

Paris: Au Menestrel, ca. 1884. Extra-illustrated copy, with approximately 160 color gouache illustrations by French artist Yvon Taillandier, signed by him on title-page. 4to. 355 pp. Three-quarter light green cloth over floral paper-covered boards, stamped in gilt with initials “A.M.”, cocked, spine perished, boards starting, original spine laid-in, extremities rubbed.

Opera libretto for French composer Jules Massenet’s Herodiade, with approximately 160 original handpainted gouache illustrations by artist and critic Yvon Taillandier (1926-2018).

$500 - 800

250

Thompson, Hunter S. Hell’s Angels A Strange and Terrible Saga

New York: Random House, 1967. First edition. 8vo. (iv), 278, (1) pp. Publisher’s black cloth, stamped in silver and in red; top edge stained black; ownership stamp to bottom of title-page; in publisher’s first state dust-jacket.

Fine copy of Hunter S. Thompson’s first book, on the notorious biker gang the Hell’s Angels.

$300 - 500

251

Thompson, Kay, and Hilary Knight. Eloise

THE Presentation Copy of This Timeless Classic, Inscribed by Author Kay Thompson to Illustrator Hilary Knight

New York: Simon and Schuster, 1955. First edition. 4to. 65 pp. Presentation copy, warmly inscribed by Thompson on front free endpaper to her illustrator, Hilary Knight: “For my darling Hilary--My God...can you even believe it...Isn’t it wonderful--Oh Hilary--I love you Kay and Me Eloise.” Profusely illustrated by Knight. Publisher’s cream pictorial cloth, stamped in red and in black, unevenly toned, extremities lightly rubbed; illustrated endpapers; in original illustrated dust-jacket, small chipping and wear along edges, rear panel separated, spine chipped and starting, closed tear at top of front panel.

An important and fantastic presentation copy of this enduring classic, inscribed by the author, Kay Thompson, to the book’s illustrator, Hilary Knight.

“Eloise never would have happened as a book had it not been for D.D. Ryan badgering Kay and putting us together”, explained Hilary Knight (Irvin, Kay Thompson, 2010, p. 205). Kay Thompson first devised the Eloise character as a child and later used the persona to entertain friends and party guests. D.D. Ryan, a friend of Thompson’s and a junior fashion editor at Harper’s Bazaar, believed that this alter ego was ripe for a book adaptation—especially if the right illustrator could be found (Irvin, p. 205). Ryan was neighbors with Knight, who would frequently slip drawings under her apartment door. One drawing in particular caught her attention, that of “a fat little prissy pretty girl with frizzy blonde corkscrews. She had a satin ribbon in her hair and a bulging belly, and she was facing a girl who looked just like Eloise.” (Irvin, p. 206).

Keen to connect the two, Ryan arranged for them to meet at the Persian Room in the Plaza Hotel, in December 1954. “When Kay saw Hilary’s drawing of the two little girls, she was intrigued. ‘The prissy one Kay would call Dorothy Darling,’ Hilary explained. ‘The other suggested the wicked school girls of Ronald Searle.’” (Irvin, p. 206). From this meeting would blossom one of the greatest writer-and-illustrator collaborations in American publishing, and result in one of the most beloved characters ever put to page, the Plaza Hotel’s enfant terrible, Eloise.

When conceiving Eloise, Thompson and Knight culled from a variety of artistic and real-life sources. For her look, Knight looked to his artistic influences, including his own parents (artists in their own right), as well as illustrators such as Ernest Shepard, Edmund Dulac, and Louis-Maurice de Boutet Monvel. Thompson would later claim (and disclaim) Eloise was based on herself, but also drew inspiration from her many famous friends and theatrical colleagues. Shortly after their first meeting, Knight sent Thompson an illustrated Christmas card depicting Santa soaring through the sky on a Christmas tree. Thompson later reflected, “On the end of the tree, grinning a lovely grin, her wild hair standing on end, was Eloise. It was immediate recognition on my part. There she was. In person. I knew at once Hilary Knight had to illustrate the book.” (Irvin, p. 207)

Eloise was published in November 1955 and became an instant runaway sensation, selling over 40,000 copies by early the following year. The book eventually spawned four sequels by Knight and Thompson (Eloise in Paris, Eloise at Christmas, Eloise in Moscow, and Eloise Takes a Bawth), a music record and televised play, as well as an abundance of Eloise-themed toys and merchandise. To date the book has sold more than two million copies.

Provenance

Hilary Knight, from Kay Thompson

Bonhams, New York, Fine Books and Manuscripts, including the World of Hilary Knight, December 5, 2018, Lot 10

$10,000 - 15,000

252

Thurber, James, and E.B. White. Is Sex Necessary? Or Why You Feel The Way You Do

New York and London: Harper & Brothers Publishers, 1929. Thirteenth Printing. 8vo. xxix, (iii), 197, (1) pp. Presentation copy, humorously inscribed by both Thurber and White to Margaret Thurlow, at the time a secretary and copy editor at The New Yorker: “For Margaret Thurlow this book has an ancient theme, now almost forgotten. / EB White” and “Yeh, as forgotten as Lincoln’s Gettysburg address. / as ever / James Thurber.” With an additional drawing of a couple embracing with a concerned looking dog at their feet, by Thurber, on front paste-down, inscribed by him, “Sex 1940 TH”. Publisher’s quarter black cloth over brown paper-covered boards, extremities and boards worn and faded, gilt on spine faded; rear hinge starting; frontispiece loose; in orange cloth slip case and chemise. From the library of William S. Reese, and with his book-plate on inner front panel of chemise.

A charming presentation copy, inscribed by James Thurber and E.B. White to Margaret Thurlow, secretary and copy editor at The New Yorker. Thurlow worked in this position for 10 years, and among her many responsibilities, assisted the office manager in handling Thurber’s correspondence from readers and publishers. Thurber and White joined The New Yorker staff in 1927, and it was White who discovered Thurber’s drawings and had them first published. They would both contribute to the magazine for decades, and White would go on to publish such classics as Stuart Little (1945) and Charlotte’s Web (1952).

Provenance

Christie’s, New York, The Private Collection of William S. Reese Part Three, June 2, 2022, Sale 20530, Lot 425

$1,500 - 2,500

254

253

William Mitcheson Timlin (South African, 1893–1943)

Legal Proceedings watercolor on paper signed William M. Timlin (lower right) 18 x 24 3/4 in. (45.7 x 62.8 cm)

Provenance

Strauss & Co, South Africa, July 6 2020, Lot 307

$1,000 - 1,500

[Titanic] Proceedings Before The Right Hon. Lord Mersey...On a Formal Investigation Ordered by the Board of Trade Into the Loss of the S.S. “Titanic.”

The Official British Government Report on the Sinking of the Titanic, From the Library of a Director of the White Star Line’s Chief Rival

London: Published by His Majesty’s Stationery Office, May-June, 1912. Comprising 36 reports and one appendix, bound into two volumes. Tall 4to. 479; (1), (xiv), (2); (481)-959, (1). Full contemporary blue buckram, ruled in blind, each front board stamped in gilt with crest of a stag’s head, boards unevenly faded, spines faded; bookseller’s ink stamp at top of front paste-down (Henry Young & Sons Liverpool); scattered foxing to text; vertical crease at center of most sheets. From the library of Sir Percy Elly Bates, 4th Baronet, and with his family crest in gilt on front board of each volume.

Bound with:

Shipping Casualties (Loss of the Steamship “Titanic.”)

London: Published by His Majesty’s Stationery Office, 1912. (ii), 74 pp. With an in-text engraving of the Titanic. Original blue printed limp wrappers bound in; scattered light foxing.

The official British government report on the Titanic disaster. Conducted by the Wreck Commission on behalf of the Board of Trade, the investigation was overseen by High Court Judge Lord Mersey. The inquiry began on May 2, 1912--less than a month after the ship’s sinking on April 12--and took place at the London Scottish Drill Hall. The investigation continued for 36 near-consecutive days and interviewed 96 witnesses, whose testimony is printed within. The appendix at rear of the first volume provides tables listing the number of passengers per class, and survivors, as well as information regarding the ship’s crew and operational components.

The Shipping Casualties report bound in at the rear of the second volume provides a highly detailed account of the entire event, including notes on the Titanic’s composition, its crew, the ship’s journey, as well as reports on its speed, the weather, iceberg warnings, and a description of its collision (“The injuries to the ship...were of such a kind that she foundered in two hours and forty minutes”). The report further describes damages to the ship, its sinking, an account of the rescue operations, the number of those saved, and of causalities. The final section lists recommendations from the Commission, regarding water-tight compartments, lifeboats and rafts, etc.

Sir Percy Elly Bates, 4th Baronet (1879-1946) was a Liverpool shipbuilder. In 1910 he became a director of the English ship building firm Cunard, then the chief rival of the White Star Line, builders of the Titanic. He became deputy chairman of Cunard in 1922, and chairman in 1930, a position he held until his death. During the Great Depression, the White Star Line and Cunard merged to become the Cunard-White Star Line

$800 - 1,200

256

255

[Travel & Exploration] Osborne, Sherard, and Geo(rge). F. McDougall. Facsimile of the Illustrated Arctic News, Published on Board H.M.S. Resolute: Captn. Horatio T. Austin, C.B. In Search of the Expedition Under Sir John Franklin London: Published by Ackermann & Co., 15th March, 1852. First edition. Tall folio. Lithographed title-page with hand-colored vignette, lithographed Preface, and 57 completely lithographed pages. Illustrated with numerous in-text lithographic vignettes, some hand-colored, as well as one full-page hand-colored lithograph, all largely by McDougall. Publisher’s blue cloth-covered pictorial boards, ruled in blind, decorated in gilt on front board, rebacked, soiling to boards, corners moderately worn; all edges trimmed; light spotting and creasing to title-page; scattered light wear and short closed tears along edges, heavier on pp. 54/55; sheets lightly toned. From the Arctic and Antarctic Collection of Gerald F. Fitzgerald, and with his illustrated book-plate on front paste-down. Abbey, Travel 639; Arctic Bibliography 22800; Sabin 1921

Scarce and lovely first edition of this lithographic reproduction of the manuscript newspaper created onboard the H.M.S. Resolute during its search mission for Sir John Franklin’s lost Arctic expedition. Created by Lieutenant Sherard Osborne and George McDougall during the Resolute’s forced wintering in Barrow Strait, in 1850-51, all five monthly issues are here reproduced, and provide an important first-hand glimpse into the daily life of the crew and its findings, including the first traces of Franklin’s first winter quartering on Beechey Island.

$2,000 - 3,000

[Travel & Exploration] Sams, J(oseph). Ancient Egypt. Objects of Antiquity, forming part of the Extensive & rich collections from Ancient Egypt...

London: Executed for, & under the immediate Inspection of the Proprietor, 1839. First and only edition (one of only 60 copies printed). Folio. Illustrated with a hand-colored lithographed title-page and 33 hand-colored lithographed plates, by J.B. Cranwell. Contemporary three-quarter brown calf over marbled paper-covered boards, stamped in blind, green morocco cover label, lettered in gilt, front board starting, boards and extremities worn and dry, portions of marbled paper perished or starting on front and rear board; all edges trimmed; matching marbled endpapers; armorial bookplate of H.T.M. Witham on front paste-down; fore-edge of title-page lightly worn; scattered light thumb soiling in margins; leaves lightly toned. Smith, Friends’ Books, p. 533

A very rare and early work on Egyptology.

OCLC and Library Hub locate only nine copies worldwide. According to RBH, this is only the fourth copy to ever come to auction.

$6,000 - 9,000

257

[Travel & Exploration] (Thomas, Herbert). A Relation of Some Yeares Travaile, Begunne Anno 1626. Into Afrique and the greater Asia, especially the Territories of the Persian Monarchie: and some parts of the Orientall Indies, and Iles adjacent...

London: Printed by William Stansby, and Jacob Bloome, 1634. First edition. Small folio. (x), 225, (15) pp. Illustrated with an additional engraved title-page by William Marshall, 36 in-text engraved plates, as well as engraved initials, head-pieces, and printer’s device on title-page and terminal leaf. Full contemporary speckled brown calf, ruled in blind, boards and extremities rubbed and moderately worn, staining to front and rear boards, loss at foot of spine; circular armorial ink stamp of Sir Walter John Trevelyan, 8th Baronet of Nettlecombe and High Sheriff of Cornwall, on front free endpaper; edges of prelims creased; small closed tear in bottom edge of E4; scattered very light soiling to text. STC 13190; Sabin 31471; Alden & Landis 634/68; STC 13190

A handsome copy of Sir Herbert Thomas’s travels, a significant early account of the Middle East and Asia. An historian and courtier to King Charles I, Herbert accompanied Sir Dodmore Cotton on a diplomatic mission to Persia in 1726. Following the latter’s death, Herbert and others traveled extensively throughout the region, where he made observations on the people, their customs, as well as the region’s animal life and flora and fauna. Upon his return to England in 1630, he compiled his account and published the above first edition. Of note are the engravings of the flying fish and the extinct dodo, as well as the section at the end recounting Welsh King Madoc ab Owain Gwynedd’s mythic discovery of America.

$1,500 - 2,500

258

Andy Warhol

(American, 1928-1987)

Some Men Need Help, ca. 1982 color screenprint on Lenox Museum Board

40 x 32 in. (101.6 x 81.3cm)

Provenance

Estate of Andy Warhol

Andy Warhol Foundation for the Visual Arts

Christie’s New York, Andy Warhol @ Christie’s: Andy’s Eye Candy; 10 Jun 2014; lot 117

Literature

Feldman & Schellmann IIIB.8

Note

Depicts actors Treat Williams and Philip Bosco. Some Men Need Help was a two-man play written by John Ford Noonan, starring Bosco and Williams, and produced in association with Jane Holzer, a former Warhol “superstar”. It opened at the 47th Street Theatre in New York on October 28th, 1982, but closed the following night. This screen-print was based on a publicity photo of the two actors.

$10,000 - 15,000

259

Andy Warhol

(American, 1928-1987)

Some Men Need Help, ca. 1982 graphite on paper

31 ¾ x 23 ¾ inches (80.6 x 62.9 cm)

Provenance

Estate of Andy Warhol

Andy Warhol Foundation for the Visual Arts

Christie’s New York, Andy Warhol @ Christie’s: Andy’s Eye Candy; 10 Jun 2014; lot 113

Literature

Accompanied by letter from the Andy Warhol Foundation for the Visual Arts

Note

$15,000 - 25,000

Warhol, Andy, and Corkie (Ralph Thomas Ward). Love is a Pink Cake

Andy Warhol’s First Published Book

(New York: Privately Printed, 1953). First edition (one of only approximately 100 copies). Comprising the complete set of 25 off-set lithographs, printed on pale blue wove paper, loose as issued. Scattered light wear and some chipping along edges; edges lightly and unevenly toned; scattered spotting on versos. Each sheet measuring 11 x 8 1/2 in. (279 x 216 mm). Without wrapper. Feldman & Schellman IV. 27-50

Andy Warhol’s first published book, one of only approximately 100 copies printed. The first work Warhol created in collaboration with a writer, it is one of two self-published books created by him and poet Ralph Thomas Ward (Corkie), an early New York friend and unrequited lover. The work depicts 12 famous historical and literary lovers, with accompanying couplets written by Ward. Printed on blue paper, signifying the sadness or tragedy of each couple, they include Frederic Chopin and George Sand, Napoleon Bonaparte and Josephine, Desdemona and Othello, Oscar Wilde and a young man, and others.

Lot includes a 2017 reprint, published by the Andy Warhol Foundation.

$3,000 - 5,000

261

Warhol, Andy (Warhola, Julia). Holy Cats by Andy Warhol’s Mother

(New York: Privately Printed, 1954). First and only edition. 8vo. Inscribed by Andy Warhol on front free endpaper, and with two small heart drawings by him: “to inga and Miss Meow from Andy Warhols mother’s son”. Illustrated with 20 off-set lithographs on various colored paper, after Julia Warhola. Original drab boards, off-set lithographic illustration on front board, spine perished, front board detached, rear board starting, boards soiled and toned; in grey cloth slip case and chemise.

A rare copy of Julia Warhola’s delightfully illustrated book of cats, inscribed by her son Andy Warhol. An artist in her own right, Julia Warhola and Andy frequently collaborated on his artistic projects during his early career, where she often provided her unique handwriting to accompany his drawings. Three years following Andy’s move to New York from Pittsburgh in 1949, Julia followed him there, where they lived together until her death in 1972. Their shared apartment at 242 Lexington Ave was remembered for the ever-increasing population of cats, all named Sam, with the exception of Hester, to whom this book is dedicated.

$6,000 - 9,000

263

Whitman, Walt. Leaves of Grass

262

Wells, H.G. De Strijd der Werelden

Amsterdam: Cohen Zonen, (1899). First edition in Dutch, and first book-form edition with original commissioned illustrations. 8vo. 287 pp. Illustrated with 10 plates by Jacobus Hendrik Speenhoff. Publisher’s cream cloth, decorated in green, lettered in gilt, unevenly toned and lightly worn; contemporary bookseller’s ticket at bottom of front paste-down; text leaves lightly toned; scattered minor spotting.

Very rare illustrated edition of H.G. Wells’s classic science fiction novel, The War of the Worlds Wells’s story first appeared in nine issues of Pearson’s Magazine in 1897-98, and featured illustrations by Warwick Goble. These same illustrations were reprinted in the first American edition, published in 1898. The first and second English editions, published in London in 1898 and 1899, were not illustrated. This Dutch translation, published in 1899, is thus the first bookform edition to feature original commissioned illustrations, and were created by poet, cabaret singer, and artist J.H. Speenhoff (1869-1845). Inspired by the works of Edward Tennyson Reed, Degas, and Caran D’Ache, Speenhoff’s fantastical and proto-psychedelic illustrations here evoke a world unlike any seen for the work of Wells.

$800 - 1,200

Boston: Thayer and Eldridge, Year 85 of The States, (1860-61). Third edition, first printing (with first state frontispiece and with imprints of Boston Stereotype Foundry and George C. Rand & Avery on copyright page). 8vo. 456 pp. Illustrated with an engraved frontispiece portrait of Whitman, on light brown background, signed in plate “Schoff” (first state in BAL and Myerson), with original tissue guard. orange cloth-covered beveled boards (Myerson binding D; BAL binding C), stamped in blind on front and rear boards and in gilt along spine, scattered soiling to boards, wear and rubbing to corners and extremities; all edges trimmed; light yellow endpapers; light foxing to frontispiece; scattered soiling to text. Myerson A2.3a1; BAL 21397; Well and Goldsmith, pp. 7-8

Scarce and handsome third edition of Walt Whitman’s masterpiece.

$800 - 1,200

264 (Wilde, Oscar). The Ballad of Reading Gaol by C.3.3.

New York: Brentano’s, no date (ca. 1898). Original 8vo sheets inlaid to heavy quarto leaves. Illustrated with 19 original illustrations in pen and ink, graphite, gouache, and watercolor, by Isabel Lyndall, George Gibbs, Walter Faucett, F.V. Wilson, E. Horter, H.S. Pullinger, M.C. Craven, James Preston, T.H. Wilkinson, J.L.G. Ferris, Victor Bruce, D. Wiggins, and others; several text leaves adorned with additional pencil and watercolor drawings. Finely bound in brown morocco, grey morocco panel on front cover, pictorially decorated in gilt, and with light brown, black, and orange onlay, depicting a prison yard scene; spine lettered in gilt and with four red morocco heart-shaped onlay; all edges gilt; elaborate gilt and blue morocco pictorial dentelles, depicting a prisoner kneeling in their cell at front and of a spider web at rear; light blue moiré silk endleaves; by Hyman Zucker; scattered light spotting and offsetting to text; original cloth bound in at rear.

A fine extra-illustrated copy of Oscar Wilde’s poem, written following his imprisonment in Reading Gaol, in England. Finely bound in a pictorial morocco binding by Hyman Zucker, and featuring 19 original illustrations by leading American illustrators of the time, showing various prison scenes.

$3,000 - 5,000

265

Wilde, Oscar. The Picture of Dorian Gray

London, New York, etc.: Ward Lock and Co., 1891. Deluxe first edition, #43/250 copies signed by Wilde. 8vo. (ii), vii, (i), 334 pp. Superbly bound in full modern crimson morocco, finely decorated in silver, black, and in gilt, with a gilt stamped portrait of Wilde on front board, lettered in gilt and in silver on rear board; edges stained teal with gilt speckling; full black French chagrin doublures: front doublure decorated in gilt, red, and blue, rear doublure decorated with gilt and leather mosaic onlay depicting a “grotesque” style mirror-portrait of Wilde; gray reverse calf endleaves; marbled and red paper front and rear blanks; in black gilt morocco and marbled suede-lined slip case and chemise; housed in grey linen slip case and chemise; by Robert Wu, Toronto, 2019; minor spotting to text. Binders typed specs and letter laid in.

Rare signed deluxe edition of Oscar Wilde’s only novel, exquisitely bound by Robert Wu.

$8,000 - 12,000

266

[Witchcraft] Glanvil, Joseph, and Henry More, and Anthony Horneck. Saducismus Triumphatus: Or, full and plain Evidence Concerning Witches and Apparitions...

London: Printed for A.L. and Sold by Roger Tuckyr, 1700. Two parts in one volume. The Third Edition with Additions. 8vo. (vi), 31, (1), (vi), 53, (1), (2), 48, (3), 53, (1); (12), 175, (1), (2), 39, (1), (2), 22, 37-39, (1), (12), 16 pp. Ownership signature of English caricaturist Henry William Bunbury at top of title-page. Illustrated with an engraved title-page, engraved frontispiece, some in-text illustrations, and one engraving on Ii8r. Bound to style in full brown calf, decorated in blind, brown morocco spine label, lettered in gilt; top edge stained black, other edges trimmed; small loss in top corner F2 and F3; M1-8 toned; top edge of Hh3 repaired; scattered foxing and light toning.

Scarce copy of this important and highly popular English work on witchcraft and the supernatural. First published posthumously in 1681, Glanvil (1636-80) asserts the actual existence of witches and evil spirits, and delineates their powers and dangers through various supposed real-life and mythical accounts. Features lengthy contributions from Henry More (1614-1687) and Anthony Horneck (1641-1697), and notably contains an account of the Drummer of Tedworth, one of the earliest accounts of a poltergeist.

$500 - 800

267 [Witchcraft] Pellatt, T(homas). The Witch-Finder

London: Smith, Elder, & Co., 1896. First edition. 8vo. vi, 194, (6, ads) pp. Publisher’s maroon clothcovered boards, stamped in blind, lettered in gilt, boards, joints, and extremities rubbed, scattered soiling to same; brown endpapers, abrasion and wear on front endpapers; old ownership inscription at top of front paste-down, residue and abrasion on same from now removed book-plate; scattered creasing in top corners; scattered light soiling in margins.

Rare first edition of Thomas Pellatt’s witchcraft novel set in 17th century England. We can find no copies at auction according to RBH, and, according to OCLC, only nine institutional copies.

$300 - 500

Fine Books & Manuscripts

DARREN WINSTON SVP, HEAD OF DEPARTMENT, PHILADELPHIA

267.414.1247

DWINSTON @FREEMANSAUCTION.COM

GRETCHEN HAUSE SVP, HEAD OF DEPARTMENT, CHICAGO

312.334.4229 GRETCHENHAUSE @HINDMANAUCTIONS.COM

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ADAM DIAS DEPARTMENT COORDINATOR

267.441.6033 ADIAS @FREEMANSAUCTION.COM

ALYSSA D. QUINLAN

CHIEF EXECUTIVE OFFICER

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Guide for Prospective Sellers and Buyers

GUIDE FOR PROSPECTIVE SELLERS

Evaluation of Property

Freeman’s | Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

Our specialists are eager to help you learn more about your collection and current auction sale estimates.

To begin an estimate, our specialists will need:

• At least 3 photos

• Detailed description

• Details on signatures or marks

Shipping Arrangements

Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

In the interest of our clients, Freeman’s | Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Appraisals

Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research. Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax

• Gift Tax

• Charitable Contribution

• Insurance

• Appraisals for Corporate Valuation Needs

Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

Please contact our Appraisals Department (appraisals@hindmanauctions.com) for more information.

Estate Services

Estate settlement is a meticulous and multi-faceted process. Freeman’s | Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS.

We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

GUIDE FOR PROSPECTIVE BUYERS

Conditions of Sale

All bidders with Freeman’s | Hindman must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Viewing Auction Items

It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Freeman’s | Hindman for further images or to schedule an appointment to view objects in person.

Estimates

Freeman’s | Hindman provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Condition Reports

We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Bidding at Auction

The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments

Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction.

The standard bidding increments are:

$0 – 1000

$1000 – 2,000

$2,000 – 5,000

$5,000 – 10,000 $500

$10,000 – 20,000

$20,000 – 50,000

$50,000 – 100,000

$100,000 – 200,000

$1,000

$2,500

$5,000

$10,000

$200,000+ AT AUCTIONEER’S DISCRETION

In-House Bidding

Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Live Bid Online

Freeman’s | Hindman allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding

If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Freeman’s | Hindman will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding

You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Freeman’s | Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

Updated 8.1.24

Conditions of Sale

These Conditions of Sale set out the terms upon which Freeman’s | Hindman, a dba of Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES

Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS

We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Freeman’s | Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check our website and be aware of where each lot is located, for both viewing and for shipping purposes.

4. ESTIMATES

Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL

We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

GENERAL

We reserve the right to reject any bid. By participating in the sale, you represent and warrant that:

(a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and

(c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS

New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of

current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

3. RETURNING BIDDERS

If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

4. BIDDING FOR ANOTHER PERSON

If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

5. BIDDING IN THE SALEROOM

If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

6. OUR BIDDING SERVICES

We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services.

(a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids.

(b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites.

(c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

7. CREDIT CARD AUTHORIZATION HOLD

When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION

(a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted

once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Freeman’s | Hindman sole discretion.

2. AUCTIONEER’S DISCRETION

The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES

Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Freeman’s | Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Freeman’s | Hindman prior to the sale.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots except for those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & Militaria auctions we charge twenty-seven percent (27%) of the hammer price up to and including $1,000,000; twenty-one percent (21%) of any amount in excess of $1,000,001 up to and including $4,000,000; and fifteen percent (15%) of any amount in excess of $4,000,001. For all lots offered in Coins, Medals & Banknotes we charge a buyer’s premium of twenty-one percent (21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria auctions we charge a buyer’s premium of twenty percent (20%) of the hammer price. If the bidder bids through a third-party platform, then the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

2. TAXES

The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT

(a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date.

(b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name.

(i) Wire transfer.

(ii) Bank checks: You must make these payable to Freeman’s | Hindman, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed.

(iii) Personal checks: You must make these payable to Freeman’s | Hindman, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

(iv) Credit card: Credit card payments may not exceed $25,000 and a convenience fee of 3% will be added to each credit card payment.

(v) ACH Bank Transfer

(d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Freeman’s | Hindman, 1550 West Carroll Avenue, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU

Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a thirdparty warehouse.

6. YOUR FAILURE TO PAY

If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion:

(a) We can charge interest from the due date at a rate of up to one and onehalf percent (1.5%) per month on the unpaid amount due.

(b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation.

(c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law.

(e) We can reveal your identity and contact details to the seller.

(f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids.

(g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us.

(h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE

(a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. Freeman’s | Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping.

(b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance

Conditions of Sale

costs; (ii) move the lot to another Freeman’s | Hindman location or to a thirdparty warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate.

(c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES

(a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot.

(b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

9. FEDERAL FIREARMS LICENSE HANDLING POLICY

(a) Freeman’s | Hindman complies with all federal, state, and local regulations pertaining to the sale and transfer of firearms. We will allow no exception to the rules stated below.

(b) Buyer Responsibility. It is the sole responsibility of the buyer to know and comply with all state and local firearms regulations in the jurisdiction where the buyer resides

(c) Federal Law. All firearms not classified as antique under federal law will require compliance with the following agencies, as noted with asterisks in our printed and online catalogues:

* Indicates the weapon is regulated by Federal Firearms laws.

** Indicates the weapon is regulated by Curio & Relic classification of the Federal Firearm laws

*** Indicates the weapon is regulated by the National Firearms Act of 1934. (d) Handguns. Non-Ohio resident buyers of handguns must pay for their purchases before leaving the auction. All modern handguns must be retained by an agent. All buyers must arrange with a local firearms dealer in their resident state to provide Freeman’s | Hindman with a copy of the FFL license holder to whom any modern handgun will be shipped. Upon receipt of the copy of this license, a purchase will be packaged and shipped (at the buyer’s expense) to the appropriate FFL holder. This is a federal law and must be complied with regardless of the buyer’s resident state. Please allow up to four weeks for delivery. Transfers of modern handguns to Ohio residents must take place at the location where the auction takes place. Ohio residents may take possession of a modern handgun immediately after their purchase, provided they successfully complete a NICS background check which can occur on the auction premises or afterwards.

(e) Modern Long Guns. Both residents and non-residents of Ohio may take possession of modern long arms after payment, the filing of an ATF form 4473, and completion of a NICS background check. In most cases, the NICS process can be approved or denied on the same day. For further information regarding delays, you may contact the NICS information line at 304.625.2750 or view the information on their website at: http://www.fbi.gov/program/nics/ index.htm

(f) Antique Guns. Antique firearms are defined as those produced in 1898 or prior. Antique guns may be purchased and removed from the auction premises on the day of sale by a resident or non-resident of Ohio.

(g) Disclaimer. Neither Freeman’s | Hindman, their consignors, employees, or agents warrant the safety, or the shoot ability of any firearm sold. All firearms in this catalog are sold as collector items. Buyers wishing to fire ANY firearm purchased in this auction are strongly advised to have the weapon(s)

examined by a competent gunsmith who will test the weapon for its shoot ability and also to ensure that the caliber of the breech is, in fact, the caliber that it is thought to be.

(h) Collection and Shipping. Freeman’s | Hindman offers in-house, fullservice shipping. Shipping costs are provided with your finalized invoice 24-48 hours after auction. For more information, contact cowansshipping@ hindmanauctions.com. All pickups are by appointment only. To make an appointment, please call 513-871-1670 or email cincinnati@hindmanauctions. com. There are special rules for the following buyers:

i. California and New Jersey: Due to recent changes to California and New Jersey laws, we require all firearms, whether modern or antique, be shipped to a licensed FFL dealer.

ii. New York: We require all firearms, whether modern or antique, be shipped to a licensed FFL. Curio and Relic licenses are not valid for this purpose.

iii. International: We will only ship a firearm to a United States address regardless of the weapon’s antique status. It is the responsibility of the buyer to organize the export of their firearms to their country of residence. The buyer is separately responsible for the cost of export shipping and all shipping quotes provided by Freeman’s | Hindman are for domestic shipping only.

(i) Freeman’s | Hindman Class III License Policy. Freeman’s | Hindman in Cincinnati, Ohio is a recognized dealer in Class III items and is recognized as a (63) NRA Firearms Dealer and will comply with all applicable regulations regarding the sale of Class III firearms.

(j) Buyer Responsibility. Buyers are expected to know their state’s laws and regulations on machine guns prior to bidding. The following states currently do not allow individuals to own machine guns: California, Hawaii, Illinois, Iowa, Kansas, Maine, Michigan, Mississippi, New Jersey, New York, and Rhode Island. For more details and an up-to-date list of states, please visit the website for the Bureau of Alcohol, Tobacco, Firearms and Explosives at www. atf.gov. The buyer shall assume all transfer fees relating to the purchase of Class III weapons.

(k) Paperwork. The three forms required for the purchase of machine guns will be supplied to the bidder/buyer by Freeman’s | Hindman. These forms are: 1) ATF Form #4 (and possibly ATF Form #5) 2) Fingerprint Card, and 3) ATF form 5330.20 Certificate of Compliance. All buyers are expected to promptly fill out paperwork and comply with all related laws and regulations.

E. WARRANTIES

1. SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Freeman’s | Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

2. OUR LIMITED AUTHENTICITY WARRANTY

Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Freeman’s | Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Freeman’s | Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows:

(a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty.

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type.

(c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or

by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty.

(d) It applies to the Heading as amended by any saleroom notice.

(e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.

(f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot.

(g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else.

(h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.

(j) No employee or agent of Freeman’s | Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

3. ADDITIONAL WARRANTY FOR BOOKS

If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances:

(a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms:

(i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale.

(ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale.

(iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Freeman’s | Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY

(a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time.

(b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report.

(c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement

or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.

(d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys.

(b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue.

(c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use.

(d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES

You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties.

(b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.

(c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH.

(d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services.

(e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.

(f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found

Conditions of Sale

to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security interest over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6. PERSONAL INFORMATION

We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER

No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES

This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of New York. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be New York, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material.

buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

due date: has the meaning given to it in paragraph D(3)(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two.

hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2).

limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic.

other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law.

purchase price: has the meaning given to it in paragraph D(3)(a).

provenance: the ownership history of a lot.

qualified: has the meaning given to it in paragraph E(2), subject to the following terms:

(a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.

(b) “Attributed to” means, in our opinion, a work probably by the artist.

(d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist.

(e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work.

(f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot.

saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. Updated 1.30.24

AUCTIONS & APPRAISALS SINCE 1805