珍本书籍 手稿收藏

BOOKS AUTOGRAPHS AND MANUSCRIPTS 珍本书籍 手稿收藏

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珍本书籍、手稿、亲笔签名收藏

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目 录 Contents

1 阿莫依特，约瑟夫，玛丽等------------------------------------------------04 Amiot, Joseph Marie and others.

2 ［北京］------------------------------------------------------------------------07 [Beijing] 3 ［布劳，琼］. 马尔蒂诺 · 马尔蒂尼--------------------------------------08 [Blaeu, Joan]. Martini, Martino 4 博尔热，奥古斯特------------------------------------------------------------10 Borget, Auguste 5 布列东（让 · 巴蒂斯特 · 约瑟夫）----------------------------------------12 Breton de la Martiniere, Jean Baptiste Joseph 6 ［中国 · 皇室印刷厂］-------------------------------------------------------14 [China – Imperial Workshop] 7 杜赫德， 让 · 巴普蒂斯特---------------------------------------------------16 Du Halde, Jean Baptiste 8 菲德维克 , W. （版本）------------------------------------------------------18 Feldwick, W. (ed.).

9 ［格雷由，让 · 弗朗索瓦］-------------------------------------------------20 [Gleyo, Jean-François 10 德经，克瑞森 - 路易斯 - 约瑟夫-------------------------------------------22 Guignes, Chrétien-Louis-Joseph de 11 赫尔曼，伊西多尔 · 斯坦尼斯拉斯 亨利---------------------------------24 Helman, Isidore Stanislas Henri.

12 ［赫尔曼，伊西多尔 - 斯坦尼斯拉斯］----------------------------------26 [Helman, Isidore-Stanislas] 13 赫尔曼，伊西多尔 - 斯坦尼斯拉斯----------------------------------------28 Helman, Isidore-Stanislas 14 ［香港］------------------------------------------------------------------------30 [Hong Kong] 15 康德，伊曼努尔---------------------------------------------------------------33 Kant, Immanuel 16 莱布尼兹，戈特弗里德 威廉------------------------------------------------34

L[eibniz], G[ottfried] W[ilhelm] 17 里格斯坦因 · 乔治-------------------------------------------------------------37 Liegelsteiner, Georg 18 艾尔 （德利勒斯），约瑟夫 - 尼古拉斯 德 和 亚历山大 盖伊 平葛尔 ------------------------------------------------------------------------------------38 L’Isle (Delisle), Joseph-Nicolas de and Alexandre Guy Pingré 19 玛尔皮尔·弟·巴赞---------------------------------------------------------40 Malpiere, D. Bazin de.

20 毛泽东---------------------------------------------------------------------------42 Mao Zedong 21 马可 · 波罗----------------------------------------------------------------------44 Marco Polo 22 卡尔 · 马克思-------------------------------------------------------------------46 Marx, Karl 23 卡尔 · 马克思-------------------------------------------------------------------48 Marx, Karl 24 约翰内斯 · 诺伊霍夫----------------------------------------------------------51 Nieuhof, Johannes 25 ［影集］------------------------------------------------------------------------52 [Photograph album] 26 普拉蒂纳，巴托洛马斯------------------------------------------------------54 Platina, Bartolomaeus 27 乾隆，中国皇帝---------------------------------------------------------------56 Qianlong, Emperor of China 28 里奇，马泰奥 / 金尼阁，尼古拉斯----------------------------------------58 Ricci, Matteo / Trigault, Nicolas 29 沙尔［文 · 贝尔］，约翰 · 亚当-------------------------------------------61 Schall [von Bell], Johann Adam 30 汤姆森，约翰------------------------------------------------------------------62 Thomson, J[ohn] 31 12 份由帕格尼尼、罗西尼以及其他作曲家签名的亲笔原稿所组成的

集册，主要包括完整歌曲和钢琴曲，一共 22 页。--------------------65 Album of 12 autograph manuscripts signed by Paganini, Rossini and others, containing mainly complete songs and piano pieces 22 pages 32 安徒生，汉斯 克里斯蒂安---------------------------------------------------66 Andersen, Hans Christian 33 波德莱尔，查尔斯------------------------------------------------------------68 Baudelaire, Charles 34 贝多芬，路德维希 · 凡-------------------------------------------------------71 Beethoven, Ludwig van 35 贝多芬，路德维希 · 凡-------------------------------------------------------72 Beethoven, Ludwig van 36 卡萨诺瓦 · 德 · 塞恩加尔，吉亚科莫 · 吉罗尼莫-----------------------74 Casanova de Seingalt, Giacomo Girolamo 37 爱因斯坦，阿尔伯特---------------------------------------------------------76 Einstein, Albert 38 弗洛伊德 · 西格蒙德----------------------------------------------------------78 Freud, Sigmund 39 嘉宝，葛丽泰------------------------------------------------------------------80 Garbo, Greta 40 高斯，卡尔 · 弗里德里希----------------------------------------------------82 Gauß, Carl Friedrich 41 海顿，约瑟夫------------------------------------------------------------------84 Haydn, Joseph 42 海涅，海因里希---------------------------------------------------------------86 Heine, Heinrich 43 乔伊斯，詹姆斯---------------------------------------------------------------88 Joyce, James 44 勒 · 柯布西耶-------------------------------------------------------------------90 Le Corbusier 45 莱布尼茨，戈特弗里德 · 威廉----------------------------------------------92 Leibniz, Gottfried Wilhelm

46 马格里特，勒内 ---------------------------------------------------------------94 Magritte, René 47 纳尔逊，霍雷肖---------------------------------------------------------------96 Nelson, Horatio, 1st Viscount Nelson 48 帕格尼尼，尼科罗------------------------------------------------------------98 Paganini, Niccolò 49 彼得一世，大帝------------------------------------------------------------- 100 Peter I, the Great 50 普契尼，吉亚卡摩---------------------------------------------------------- 103 Puccini, Giacomo 51 卢梭，让 - 雅克-------------------------------------------------------------- 104 Rousseau, Jean-Jacques 52 舒曼，罗伯特---------------------------------------------------------------- 107 Schumann, Robert 53 舒曼，罗伯特---------------------------------------------------------------- 108 Schumann, Robert 54 塔索，托尔夸多------------------------------------------------------------- 110 Tasso, Torquato 55 柴可夫斯基，彼得 · 伊里奇----------------------------------------------- 111 Tchaikovsky, Pyotr Ilyich 56 柴可夫斯基，彼得 · 伊里奇----------------------------------------------- 112 Tchaikovsky, Pyotr Ilyich 57 托尔斯泰，列夫 · 尼古拉耶维奇----------------------------------------- 114 Tolstoy, Leo Nikolayevich 58 图卢兹 - 劳特雷克，亨利 · 德-------------------------------------------- 116 Toulouse-Lautrec, Henri de 59 屠格涅夫，伊凡 · 谢尔盖耶维奇----------------------------------------- 118 Turgenev, Ivan Sergeevich 60 瓦格纳，理查德------------------------------------------------------------- 119 Wagner, Richard

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当代镀金牛皮统装版 阿莫依特，约瑟夫，玛丽等。对中国历史、科学、艺术、风俗、习惯的回忆［...］：由北京、巴黎、尼翁 等地的传教士编撰记载。1776［-1791］。4-15 卷。有两个雕刻肖像标题页：乾隆皇帝（卷 1）和阿莫依特（卷 15），年雕刻板（折叠）、地图和表共计 151 个。当代，法国杂色牛皮。书籍烫金。 第一版的头十五卷记录了耶稣会传教士对 18 世纪中国人生活情状的见证。这部作品由西博、布儒瓦、白罗、 柯以及阳等传教士合作完成，其中包括中国经典法律作品、格言和谚语的翻译作品，以及关于中国语言学、时事、 科学观察的散文。第七卷是阿莫依特《中国军事艺术》（巴黎，1772 年）的再刊，这是第一部被翻译成欧洲 语言的古代中国军事战略作品。其中的第十二卷《孔子的一生》相比早期同类作品则更加完善准确。——阿莫 依特是本部作品的主要撰稿人，1740 年来到中国，并很快赢得了乾隆皇帝的信任，之后他一直待在北京，直 到 1773 年中国对耶稣会士进行镇压。他的中文和蒙文都很流利，首部传到西方的、有关东方生活哲学的作品 就是他的。——部分书卷边缘部分有褶皱和残损。出处：吉恩 •R. 佩雷特图书馆里衬页上的藏书票。 ¶ 巴比尔 III，182；布吕内 III，1596；科尔迪耶（中国学）I，54F；卢斯特 96（卷 1-16 整）；施特赖特， 3419n（339-341 段）；杰勒德 I，52

Uniform set in contemporary gilt calf Amiot, Joseph Marie and others. Mémoires concernant l’histoire, les sciences, les arts, les mœurs, les usages, […] des chinois: par les missionaires de Pekin. Paris, Nyon, 1776[-1791]. 4to. 15 vols. With two engraved portrait frontispieces: Qianlong Emperor (vol. 1) and M. Amiot (vol. 15), 151 engraved plates (some folding), maps and tables.

Contemp. French mottled calf. Spines gilt.

First edition of the first fifteen volumes of this monumental survey of Chinese life in the 18th century as witnessed by the Jesuit missionaries. This work by missionaries including Cibot, Bourgeois, Poirot, Ko and Yang comprises translations of classic Chinese works of law, maxims and proverbs, as well as essays on Chinese linguistics, current affairs and scientific observation. Volume VII is a reprint of Amiot’s "Art militaire des Chinois" (Paris 1772), the first translation into a European language of the ancient Chinese military strategy, while volume XII, the "Vie de Confucius", was more complete and accurate than any previous text on the subject. – Amiot, the main contributor, went to China in 1740 and soon won the confidence of the Qianlong Emperor, remaining for the rest of his life in Beijing after the suppression of the Jesuits in 1773. Fluent in both Chinese and Tartar, his works were amongst the first to bring the philosophy and life of the East to the western world. – Some wear to spine ends and at edges. Provenance: from the library of Jean R. Perrette with his bookplate on the pastedown. ¶ Barbier III, 182. Brunet III, 1596. Cordier (Sinica) I, 54f. Lust 96 (vols. 1-16 only). Streit VII, 3419n (pp. 339-341).

Cf. Quérard I, 52.

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北京的街道 ［北京］《北京街景集》。【北京，19 世纪】。50 幅水彩画（342×240 毫米）的中文版文集。 褐色布料装帧。长方形对开本。 这是一部富有趣味的文集，内含 50 幅水彩画，均是对北京街头各种生意人的人物写生，包括理 发师、街头小贩、木匠、杂技演员、雕刻家、乞丐、老鼠和老鼠捕手、报纸推销员以及扒手等。这 部文集还展示了不同类型的机器，如幻灯片和织机，以及各种各样的生活场景：偷老人帽子的小男孩， 捡拾富人丢弃食物的人，正在为逝者作画的画家。——这些作品都保存完好，上面附有中文文本的 德语翻译。

The streets of Beijing [Beijing]. Strassen-Bilder in Peking. [Beijing, 19th century]. 50 watercolours (342 × 240 mm) mounted on album paper, all captioned in Chinese. In brown cloth. Oblong folio.

Curious album of 50 watercolours, showing various portraits of people who do business in the streets of Beijing, among them a barber, street vendors, carpenters, jugglers, sculptors, beggars, mouse and rat catchers, newspaper salesmen, pickpockets, etc. The album also shows different types of machines such as slides and looms as well as everyday scenes: a young boy stealing the hat of an elderly man, another man collecting food discarded by the wealthy, a painter drawing the portrait of a deceased. – In very good condition, with handwritten German translations of the Chinese captions.

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布劳《中国新图志》精装彩印版 ［布劳，琼］. 马尔蒂诺·马尔蒂尼 . 马尔蒂诺·马尔蒂尼的中国新图志［...］ ［Nieuwe atlas van het groote rijck Sina, ...］.

Including: Golius, Jacob. ［Drop-title:］ Byvoeghsel van’t Koninckryck Catay. （琼·布劳，阿姆斯特丹，1655 年）。超 级皇家对开本（340×510 毫米）。刻标题页和 17 幅双刻地图均采用当代手法着色。富丽的漩涡装饰融入中国传统服装。 采用当代上等工具。略重叠的牛皮纸。保留了书带和书口烫金的设计。 布劳《中国新图志》的荷兰语单独发布版，是在欧洲发表的首部描绘中国地图和地理的作品。“十七幅地图无疑 是引人注目的，不仅因为其准确性和举世瞩目，还因为其印有中国旗袍、活动和动物这些地域性特征的精美涡轮装 饰［...］此外，它是首批真正的中欧出版物之一，它基于中国土地调查，却以欧洲版图的高度视觉格式呈现收集到的 地理数据”（里德 & 德玛黛）。第一幅地图是中国总图（包括日本和部分韩国），其次是中国 15 个省份的地图和一 个日本地图。——这些地图是基于耶稣会传教士马尔蒂诺·马尔蒂尼（1614 - 61）收集的中国地图资料而绘制的。马 尔蒂尼亲自编译地图并说服布劳推迟其他卷的工作，出版我们现下所看到的《中国新图志》一书。该书 1655 年出版， 有五个不同的语言版本，既是一个独立的集锦之作，也是布劳著名的作品《大地图集》中的第六卷（两者只有雕刻标 题页不同）。——虽然印刷雕刻标题页缺少凸版标题标签，193 页和 211 页的外缘页有两滴泪渍，且 11 页的边缘部分 有所破裂，这仍不失为一个很好的复印本。作品装订状况良好，只有书脊部分略脏，部分地方有所褪色。 ¶ 该藏品收藏于荷兰地图册Ⅱ 2：521A，史密特坎普，东方哲学 313C。

Coloured copy of Blaeu’s atlas of China, in richly gold-tooled contemporary vellum [Blaeu, Joan]. Martini, Martino. Novus atlas Sinensis a Martino Martinio [...] [Nieuwe atlas van het groote rijck Sina, …]. Including: Golius, Jacob. [Drop-title:] Byvoeghsel van’t Koninckryck Catay. [Amsterdam, Joan Blaeu, 1655]. Super royal folio (340 × 510 mm). With engraved title-page and 17 double-page engraved maps, all coloured by a contemporary hand.

With richly decorated cartouches often showing several Chinese in traditional garb. Contemporary richly gold-tooled, slightly overlapping vellum, remains of ties, gilt edges.

Separately published edition, with the text in Dutch, of Blaeu’s atlas of China, the first atlas and geography of China to be published in Europe. "The seventeen maps are noteworthy not only for their accuracy, remarkable for the time, but also for their highly decorative cartouches featuring vignettes depicting regional Chinese dress, activities, and animals [...] In addition, it is one of the first true Sino-European publications, based on Chinese land surveys but presenting geographic data in a highly visual European cartographic format" (Reed & Demattè). The first map is a general map of China (including Japan and parts of Korea), followed by 15 maps of the provinces of China and a general map of Japan. – The maps are based on Chinese cartographic sources collected by the Jesuit missionary Martinus Martini’s (1614-61). Martini compiled the maps himself and convinced Blaeu to postpone the work on other volumes and publish the present atlas of China. It was published in 1655, in five different language editions, as a separate atlas and as the sixth volume of Blaeu’s celebrated Atlas Maior (only differing in the engraved title-page). – Lacking the letterpress title-label on the engraved title-page, two tears in the outer margin of pp. 193f. and 211f. and small corner off p. XI torn off; a very good copy. Binding also in very good condition, with only the spine slightly soiled and the tooling on spine slightly faded at a few points. ¶ V. d. Krogt, Koeman’s Atlantes Neerlandici II, 2:521A. Reed & Demattè 25. For Golius’s supplement: Smitskamp, Philologia Orientalis 313c.

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32 幅中国的壮丽山河图 博尔热，奥古斯特《中国和中国人》，1842 年在巴黎出版，库普莱以及维贝尔（施耐德＆朗格 朗的凸版印品，以及默西埃、伯纳德与柯的平版印刷）共同编撰。帝国开本（385×555 毫米）。平 版印刷扉页，有色石板印刷（附插图），平版印刷书页 2 页，欧仁·希瑟里将博尔热的手绘图制成 32 幅有色石板印刷的版画插图。当代半鞣羊皮，布边；重新包装，现代化扉页。 首版配有法国著名艺术家奥古斯特·博尔热（1808 - 77）插图的、共 32 幅描绘中国壮丽景色 的系列作品。奥古斯特·博尔热 1838-1840 年间在亚洲各地游览，包括 4 处香港景点，13 处澳门景 点和 12 处广州景点。“在这里，19 世纪 40 年代以前的那种典型的相对于中国的优越感荡然无存。 艺术通过全新的视角审视中国。” （卢斯特）。所有景点图片下面附有博尔热的凸版印刷解说文本。—— 已经清洗，但是仍然可见一些修补边条。在标题页、第 1 图版和第 4 图版存在一些已专业修复的撕 裂痕迹，在凸版文字页面则有一些已粗略修复的撕裂痕迹。修订本。插图保存状况良好。装订已修 复并重新包装，大部分的书页装在新的存根上。极为罕见。 ¶ 阿贝，旅行 540. 科尔迪耶，中国学， 79 页 . 卢斯特 2111 （英语版 .）. 并未在瓦尔拉芬斯。

32 magnificent views of China Borget, Auguste. La Chine et les Chinois. Paris, Couplet & Vibert (letterpress printed by Schneider & Langrand and the lithographs by Lemercier, Bernard & Co.), 1842. Imperial folio (385 × 555 mm). With lithographed title-page, tinted lithographed title-page (illustrational), 2 lithographed dedication leaves, lithographed list of plates and 32 tinted lithographed plates by Eugène Ciceri after drawings of Borget.

Contemporary half tanned sheepskin, cloth sides; recased, with modern endpapers.

First edition of a series of 32 magnificent views of China after drawings by the notable French artist Auguste Borget (1808-77), who travelled through Asia from 1838 to 1840, including views in the area of Hong Kong (4), Macao (13) and Canton (12). "The feeling of superiority to the Chinese, so characteristic of accounts from the 1840s, is absent here. The artist observes with a fresh eye" (Lust). Explanations to all views are found in the letterpress text in the form of letters by Borgett. – Washed, but with some foxing still visible; professionally restored tears in the margins both title-pages and plates 1 and 4 and more crudely restored tears in the letterpress text leaves; a fair copy, the illustrations are however still in very good condition. Binding restored and recased and with most of the leaves mounted on new stubs. Rare. ¶ Abbey, Travel 540. Cordier, Sinica, 79f. Cf. Lust 2111 (English ed.). Not in Walravens.

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中国缩影 布列东（让·巴蒂斯特·约瑟夫）微缩中国，服饰选择，这个帝国的艺术与工艺品 . 巴黎，内普弗，1811. 4 卷 . 12 开本 . 4 张手工雕刻的标题页，76 幅铜板画，全原版手工上色。 牛皮精装，书脊分区烫金，附烫金中文介绍，书脊烫金，全书口刷金。卷首和卷尾带大 理石花纹。 第一版的部分图版是从 G•H• 梅森的《中国服饰》临摹得来，包括各种服装、惩 罚方式、乐器、武器、船只、大米加工、木偶剧、各种职业（烟草商、理发师、玩具商等）、 猎野鸭、编织布、售陶瓷等图版。1812 年发表了另外两卷，科拉斯宣称“最初的四卷恰 好构成完整的一套”。标题页一共只需 74 个图版。——存在部分小污渍；边缘部分有一 定程度的磨损。来自吉恩 R. 佩雷特图书馆的彩色装订套装，封里内衬附佩雷特的藏书标 签。 ¶ 科尔迪耶（中国学） I, 64. Lipperheide Le 23（1524）. 科拉斯 433. 布鲁内特 II, 1225. Quérard I, 505. Cf. 卢斯特 1243（1812 英语版）.

China in minature Breton de la Martiniere, Jean Baptiste Joseph. La Chine en Miniature, au Choix de Costumes, Arts et Métiers de cet Empire.

Paris, Nepveu, 1811. 4 vols. 12mo. With 4 hand-colored engraved frontispieces and 76 plates, all in original hand-colour. Contemp.

French calf gilt, spines gilt-stamped in compartments with giltstamped Chinese figures, leading edges gilt, inner dentelle gilt. Marbled endpapers.

First edition. – The plates, some of which are copied after G. H. Mason’s "Costumes of China", include various costumes, punishments, musical instruments, weapons, boats, rice processing, puppet shows, professions (tobacconist, barber, toysalesmen, etc.), hunting wild ducks, weaving cloth, porcelain selling, etc. While two additional volumes of the work were published in 1812, Colas states that "les quatres premiers volumes forment un ensemble complet." The title-pages call for a total of only 74 plates. – Some minor occasional spotting; extremities insignificantly rubbed. A beautifully coloured and bound set from the library of Jean R. Perrette with his bookplate on the pastedown. ¶ Cordier (Sinica) I, 64. Lipperheide Le 23 (1524). Colas 433.

Brunet II, 1225. Quérard I, 505. Cf. Lust 1243 (1812 English ed.).

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Unique drawings of military formations

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独特的军事结构图纸 ［中国·皇室印刷厂］. 中国军事结构文集（“五颗星和新月”）。北京，皇室印刷厂，ca. 1850 年，对开本（565×300 毫米）。9 寸双开手绘插图。扇形褶皱装订，深红色丝包板材，封面有手稿标题（镀金褪色）。

展示中国军队编队与演习的统一格式的独特手稿。“五颗星和新月”（月球）可能指军事演习中排成的某个星座或模仿的某个星群 图案。这部文集由皇室印刷厂的宫廷画家制作而成，当时中国军队无论是纪律还是与西方竞争时的军事技术都骤降。太平天国起义早期， 清朝军队遭受了一系列灾难性的失败，最终导致 1853 年地区首府南京沦陷。此后不久，太平天国远征军北上到达天津的郊区（被认为 是帝国的心脏地带）。绝望中，清廷下令中国汉人曾国藩，将地方军队和民兵组织为常备军，称为“团练”，以此来平定叛乱。曾国藩 的策略是依靠受太平天国叛乱直接威胁的省份的官绅发展一种新型军事组织。这股力量称为“湘军”，是当地民兵和常备军的合编组织。 1860 年第二次鸦片战争中，英国和法国军队占领北京，洗劫了颐和园。被动摇的清廷寻求通过购买欧洲的技术实现其军事现代化和工 业机构现代化。——每幅插图手写毛笔字都是从右至左竖行排列，如下所示：“将军擂鼓，列阵吹号。每队五人，队长负责整队的对齐 问题。遵循改变队列的规则。禁止交谈，全神贯注地关注各项军令。每列的负责人负责将队形从鸳鸯转变为直线”。——由于年代久远， 丝带和书板有部分磨损。总体情况很好。

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[China – Imperial Workshop]. Album showing Chinese military formations ["Five Stars and the Crescent"]. Beijing, Imperial Workshop, ca. 1850.

Folio (565 × 300 mm). With 9 large double-page hand-painted illustrations. Fan fold binding, crimson silk-covered wooden boards with the manuscript title (gilding faded) on front cover.

Unique manuscript album in accordion format showing Chinese military formations and drills. "Five Stars and the Crescent" (moon) may refer to a constellation or pattern of stars imitated by a military manoeuvre. The album was produced by court artists of the Imperial Workshop during a time when the Chinese army was facing rapid decline, both in terms of discipline and in terms of competing with Western military techniques. Early during the Taiping Rebellion, Qing forces suffered a series of disastrous defeats culminating in the loss of the regional capital city of Nanjing in 1853. Shortly thereafter, a Taiping expeditionary force penetrated as far north as the suburbs of Tianjin in what was considered the Imperial heartlands. In desperation the Qing court ordered a Chinese mandarin, Zeng Guofan, to organise regional and village militias into a standing army called ‘tuanlian’ to contain the rebellion. Zeng Guofan’s strategy was to rely on local gentries to raise a new type of military organisation from those provinces directly threatened by the Taiping rebels. This force, called the "Xiang Army", was a hybrid of local militia and standing army. In 1860 British and French forces in the Second Opium War captured Beijing and sacked the Summer Palace. The shaken court sought to modernise its military and industrial institutions by buying European technology. – The hand-written brush pen text for each illustration runs vertically to the top right side of each page as follows: "Drum is played on the general’s stage and the bugle calls for the standing in line. Each captain of the five posts sees to the straightness of the line. Rules of the running array are followed. No one should talk and all should listen to the order. The line leader leads the mandarin-duck formation and then changes to a straight line". – Some wear to silk and boards, as commensurate with age. Minor repairs. Overall in very good condition.

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杜赫德关于中国的回忆作品，附分册出版的地图册 杜赫德，让·巴普蒂斯特 . 中国帝国的地理，历史，年代， 政治和自然描述［...］。《中华帝国全志》又名《中华帝国 及其所属鞑靼地区的地理、历史、编年纪、政治及博物》包括： 唐维尔，让 - 巴普蒂斯特布吉尼翁。中国，中国鞑靼和西藏 的新地图集：含有这些国家的概括和具体地图，以及朝鲜王 国的地图［...］。阿戈：亨利 . 石勒尔 1736-1737。4 卷文字 和图谱。4 卷文字正反页（图谱） 红黑色的印刷标题页，均 附雕刻装饰图案，刻花图版、地图和风景照共 53 幅，文字介 绍中附 11 幅刻花插图，另有若干题头装饰。地图集包括 42 幅刻画地图（12 双开或折叠）。当代杂色羊皮纸，书籍烫金， 精美的黄蓝相间的标题标签，红边，糊纸的书籍卷首及卷尾 之空页贴纸（文本卷）；当代精装纸，烫金书脊，卷首及卷 尾之空页贴纸有大理石色彩纹理。 杜赫德对中国历史文化百科全书式介绍的首个四开版 本，该版本中还包括对韩国、西藏和阿拉斯加的介绍。“从 历史角度来看，该部作品堪称不朽之作。它的伟大在于内容 之广之丰富之有趣，让读者领略到中华帝国的辉煌和中国人

Du Halde’s monumental work on China, here with the separately published atlas Du Halde, Jean Baptiste. Description géographique, historique, chronologique, politique, et physique de l’Empire de la Chine [...]. Including: D’Anville, Jean Baptiste Bourguignon. Nouvel atlas de la Chine, de la Tartarie chinoise, et du Thibet: contenant les cartes générales & particulieres de ces pays, ainsi que la carte du royaume de Corée [...]. The Hague, Henri Scheurleer, 1736-1737. 4 text volumes & atlas. 4to (text vols) and folio (atlas). Title-pages printed in red and black, each with engraved vignette, further with 53 engraved plates, maps and views, 11 engraved illustrations in the text, including several headpieces. The atlas with 42 engraved maps (12 double-page or folding). Contemporary mottled calf, richly gold-tooled spine, with goldtooled yellow and blue title labels, red edges, paste-paper endleaves (text volumes); contemporary blindtooled calf, gold-tooled spine, marbled endleaves (atlas volume).

First quarto edition of Du Halde’s encyclopaedic account of Chinese history and culture, also touching on Korea, Tibet and Alaska. "Historically, this work must be regarded as monumental. Its strength lies in the vast amount and variety of interesting details, which must have given its readers an impression of the magnificence of the Chinese empire, and the wide range of achievements of the Chinese people in literature, science, philosophy and art" (Löwendahl). The atlas was published to accompany the four text volumes.

– Du Halde, who became a Jesuit priest in 1708, was entrusted by his superiors to edit the published and manuscript accounts of Jesuit travellers in China. The present work records the narratives of 27 of these missionaries. – Overall in very good condition, with a few waterstains and some browning. Bindings slightly worn and some corners slightly damaged. The title-page of the atlas volume slightly dirty, otherwise in very good condition, with the binding worn and the spine damaged at head and foot. ¶ Cordier (Sinica) 48f. Howes D-546. Löwendahl 398 & 401. Walravens, China illustrata 26 & 37.

民在文学、科学、哲学和艺术上所取得的巨大成就”（罗文 达尔）。出版该地图集作为四卷文本读物的辅助书。杜赫德 于 1708 年成为耶稣会神父，他的上级委托他对已经出版的中 国境内的耶稣会信徒出版的作品进行编辑。我们目前看到的 这部作品包含了 27 位传教士的叙述。—— 书籍总体情况很 好，有数处水渍和一些褐变。装订略有磨损，书的四角轻微 受损。地图册的标题页略脏，其他的都非常不错，装订略有 磨损，书脊两端略微受损。 ¶ 科尔迪耶（中国学） 48 页 . 豪斯 D-546. 罗文达尔 398 & 401. 瓦尔拉芬斯，《中国图志》26 & 37.

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20 世纪早期的中国、香港、印度支那、马来半岛和荷属 东印度群岛 菲德维克 , W. （版本）.《今日远东印象及海内外华人的卓 越与进步：中国、香港等地的历史、人民、商业、工业及资源》。 伦敦，全球百科全书项目，1917 年出版。对开本（31×26×10 厘米）。彩色平版印刷标题页，卷头插画为乔治五世的自画像（凹 版印刷），许多从摄影作品转换而成的文本作品。烫金革制出版 作品，书边镀金。 关于中国、香港、印度支那、马来半岛和荷属东印度群岛的 百科全书式的作品，全方位展示了这些国家和地区 20 世纪早期 的面貌。解释详细，附大量摄影作品的复制品。该全球百科全书 出版公司单独出版的作品。——画像稍微变色，书脊褪色，其他 状况良好。

China, Hong Kong, Indochina, Malaya and the Dutch East Indies in the early 20th century Feldwick, W. (ed.). Present day impressions of the Far East and prominent and progressive Chinese at home and abroad. The history, people, commerce, industries and resources of China, Hongkong […].

London, the Globe Encyclopedia Project, 1917. Folio (31 × 26 × 10 cm). With chromolithographed title-page and frontispiece portrait of George the 5th (photogravure), numerous photographic reproductions in text. Publisher’s gold-blocked leather, gilt edges.

Encyclopedic work on China, Hong Kong, Indochina, Malaya and the Dutch East Indies, giving a comprehensive view of the state of these countries in the early twentieth century. Extensively illustrated, including numerous reproductions of photographs. A separate publication by the company that published the Globe Encyclopedia.

– Portrait slightly foxed, spine discoloured, otherwise in very good condition.

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格雷由在中国的悲惨遭遇的叙述手稿 ［格雷由，让·弗朗索瓦］，传教士 （1734-1786）. 格雷由先生在中国传教的所见和启示。 由于信仰的原因，他被关进监狱八年，从 1769 年至 1777 年 .［可能是法国，1800 章］纸质手稿（棕 色墨水）。两卷。8vo。（标题页），445（但：444） 页（标题页）。446 - 764 页，91，（2） 页。附纸板的 18 世纪的牛皮纸手稿。红色纸边。 18 世纪由不明人士独立完成的手稿，记述了格雷由先后关押在秦头（Ching-Tou）和云昌 的经历。格雷由出生于圣布里厄，是弗朗索瓦·格雷由船长的儿子，随后成为圣叙尔皮斯的祭司。 1764 年他从洛里昂来到中国，最先抵达澳门，他在澳门学习中文，由此了解中国，并从事传教 士的福音传播工作。1769 年，他被指控与 Pelen-Kiao 叛军有牵连，被囚禁和虐待多年，他将自 己的幸存归结于自己的信念和神秘的异象。1777 年，葡萄牙耶稣数学家与朝廷斡旋后将其释放， 并恢复了他的使徒身份。在他的《外交使团通史》一书中，洛奈·格雷由写到，“他回忆起伟 大的修行者、最无畏的使徒、圣人和其他有信仰的忏悔者。”目前的手稿记载他在监狱的情况， 以及收到的来自天主的安慰。其中有一些拉丁语和汉语词汇（尤其是获得释放后他写给让·马 丁·摩耶的信件中，该信件附在作为最后一节第二卷的末尾）。这些信件收录在著名的耶稣会 收集《启发与好奇》中出版。手稿原稿保存在原始的手稿保存在传教士外交使团的档案中，圣 叙尔皮斯的神学院中尚保留着多人合作而成的复印本。如今这个手稿很有可能就是从这些副本 复印得来。这些手稿复印件并未列在国家图书馆手稿目录上，因此极为罕见的。——来源：让·佩 雷特的图书馆的附有其藏书标签的封里衬页。

Manuscript account of the sufferings of Gleyo in China [Gleyo, Jean-François, missionary (1734-1786). Visions et revelations de Mr. Gleyo missionnaire en Chine. Pendant les huit années quil a eté en prison pour la cause de la religion, depuis l’an 1769 jusqu’en l’an 1777. [Probably France, ca. 1800]. Manuscript (brown ink) on paper. 2 vols. 8vo.

(Title page), 445 (but: 444) pp. (Title page), 446-764 pp., 91, (2) pp. Bound in 18th-century vellum manuscript over boards. All edges red.

A manuscript written in a single, unidentified hand during the last years of the 18th century, describing Gleyo’s imprisonment in Ching-Tou, then Yuin-Tchang. J.-F. Gleyo was born in SaintBrieuc, the son of master mariner François Gleyo, and became a Priest of St. Sulpice. He sailed from Lorient to China in 1764, first arriving in Macao, where he learned Chinese and became associated with the evangelical work of the missionary Alary. In 1769 he was denounced and accused of links with the Pélén-Kiao rebels. Imprisoned and abused for several years, he owed his survival to his faith and mystical visions. He was released in 1777 after a Portuguese Jesuit mathematician intervened with the Emperor and resumed his apostolic labours. In his General History of the Foreign Missions, Launay states of Gleyo that "he recalls the great contemplatives, the most intrepid apostles, saints, and other confessors of the faith." The present manuscript recounts his encarceration and the consolations he received from heaven. It is sprinkled with Latin sentences and Chinese terms (especially in his letters written to Jean-Martin Moÿe after his release, included as a final section at the end of the second volume, with separate page numbers). The letters were published in the famous Jesuit collection of "Lettres édifiantes et curieuses". The original manuscript is kept in the Archives des Séminaires des Missions Étrangères, and a copy by various hands exists in the library of the Seminary of St. Sulpice; it is very likely that the present manuscript was copied from one of these sources. It is not listed in the catalogue of Manuscripts in the National Library and is thus of the utmost rarity. – Provenance: from the library of Jean R. Perrette with his bookplate on the pastedown.

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First edition of a voyage to China and the Philippines, with 92 engraved illustrations and 6 engraved maps

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《中国和菲律宾群岛游记》第一版，附 92 刻花插图和 6 幅刻花地图 德经 , 克瑞森 - 路易斯 - 约瑟夫 . 1784 年至 1801 年内在，北京、马尼拉和巴黎旅游［...］. 巴黎，皇家印刷（J.J. 马荷塞） 给丘黛 勒和伍尔兹 , 1808. 3 卷文字 （8vo） & 图谱卷 （正反页）. 地图集包含 92 幅刻花插图，这些插图作为装饰由德·圭内斯创作，分布于

Guignes, Chrétien-Louis-Joseph de. Voyages a Peking, Manille et l’Île de France, fait dans l’intervalle des années 1784 à 1801 [...].

Paris, l’Imprimerie Impériale (J.J. Marcel) for Treuttel and Würtz, 1808. 3 text volumes (8vo) & atlas volume (folio). Atlas with 92 engraved illustrations on 61 leaves by De Guines after Deserve and 6 engraved maps (4 folding) by d’Houdan. Contemporary gold-tooled tree calf with marbled endpapers (text vols.), modern gold-tooled half sheepskin, marbled sides (atlas).

The atlas untrimmed, leaving deckles intact.

First edition of an esteemed and wellillustrated account of China and the Philippines by the French sinologist and lexicographer Chrétien-Louis-Joseph de Guignes. De Guignes lived in China for 17 years, partly as Resident of France in China and consul at Canton. He was attached as interpreter to the Dutch embassy to Beijing (1794-1795), led by Titsingh and Van Braam. His engaging travelogue recounts his experiences in China, with illustrations after sketches that he made on the spot. A German translation appeared in Leipzig in 1809-1810. – De Guignes was the son of the distinguished sinologist Joseph de Guignes, and a correspondent for the Académie des Sciences and the Académie des Inscriptions et BellesLettres. He authored the important dictionary Dictionnaire Chinois-Français et Latin (1813).

– Slightly browned, plates in the atlas spotted and slightly dirty, the bindings slightly worn, otherwise in good condition. ¶ Cordier, Sinica, cols. 2351-2352; Gay, Bibl. de l’Afrique et l’Arabe 3307; Löwendahl 738; Lust 336; Morison II, 104; Reed & Demattè 11.

61 页上，还包括 6 幅刻花地图（4 折）。当代精美树叶皮材质，书籍卷首及卷尾之空页有大理石纹理（文本卷），现代精装半羊皮纸质， 书边（地图集）有大理石纹路，地图集未裁剪，保留毛边。 第一版由法国汉学家和词典编纂者克瑞森 - 路易斯 - 约瑟夫创作的《中国和菲律宾群岛游记》，该书备推崇且配有精美插图。德·德 经在中国生活了 17 年，既是驻华法裔，也是驻广州的领事。同时也是荷兰驻中国大使馆的口译工作者，受德胜和万·范百兰领导。他 将自己在中国的经历编撰为游记，并根据当场画的草图配上插图。1809-1810 年莱比锡出现他这部作品的德文版。——德·德经是杰出 汉学家约瑟夫·德·德经的儿子，是科学学院和语言文学学院的一名记者，他是著名字典《中法中拉美字典》（1813）的编纂人——书 籍略黑，地图集的板面上有些污点和污渍，装订略有磨损，其他状况良好。 ¶ 科尔迪耶，中国学，cols. 2351-2352；盖伊，非洲及阿拉伯的圣经 3307；罗文达尔 738；Lust 336；莫里森 II，104；里德 & 德马 特 11.

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《孔子的一生（图文版）》 赫尔曼 , 伊西多尔·斯坦尼斯拉斯 亨利 . 孔子一生主要特点的历史缩影 . 巴黎，作家之家 和彭斯先生，［1788］. 4 卷文字刻花标题页，24 幅由赫尔曼刻花的刻板，并附有赫尔曼文字说 明。当代杂色羊皮纸质。 第一版。其中说明孔子一生的插图是由当时的北京部长让 - 约瑟夫 - 皮埃尔 - 阿米欧特 （1718 - 93）从中国寄往巴黎的系列画作中的一部分，保存在国王内阁里面。配文是对孔子这 位哲学家一生的简要概括。——来源：托马斯·菲利普·德格雷伯爵，斯特公园（纹章藏书票）； 后来在吉恩 R. 佩雷特的图书馆中（他的藏书票）。——书籍下边有淡淡的水渍。 ¶ 科恩 / 德·里奇 479.

The life of Confucius illustrated Helman, Isidore Stanislas Henri. Abrégé historique des principaux traits de la vie de Confucius.

Paris, chez l’auteur and M. Ponce, [1788]. 4to. Engraved title page, 24 engraved plates by Helman, with accompanying engraved text. Contemporary French mottled calf gilt.

First edition. Comprises engravings illustrating the life of Confucius, from a set of drawings sent from China to Paris by Jean-Joseph-Pierre Amiot (1718-93), Minister of Beijing, and kept in the Cabinet du Roi. The accompanying text is an abridged version of the philosopher’s life. – Provenance: Thomas Philip Earl de Grey, Wrest Park (armorial bookplate); latterly in the library of Jean R. Perrette (his bookplate). – Pale dampstain in lower margin. ¶ Cohen/De Ricci 479.

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为天朝皇帝创作的 24 幅雕刻图，显示天朝领土向西扩张 ［赫尔曼 , 伊西多尔 - 斯坦尼斯拉斯］. ［续十六版画代表中国皇帝的征服，附带他们的注解］. ［增补 1：17-20 图］和［增补 2： 21-24 图］。巴黎，伊西多尔·斯坦尼斯拉斯·赫尔曼以及尼古拉·庞塞，1783 - 1788。长方形对开本（35×48.5 厘米）。乾隆皇帝征 服西部省份新疆的系列作品共 24 幅编号雕刻图（板大小 27×43 厘米；图像尺寸 24×41 厘米）；征服新疆后中国的领土扩张至如今中国 哈萨克斯坦边界，还包括一些之后北京等各地庆祝的作品图。还有一些解释这些版图的作品图的复印件，包括之前的 1-16 图和之后的 1-24 图。均保存在文件夹里，收入现代化的档案盒中。 一系列（共 24 幅）展示乾隆皇帝（1711 - 1799）领土向西扩张后的版图的、庞大而精雕细琢的、完整而精美的作品图。乾隆是满 族清廷皇帝康熙最喜欢的孙子，在位时间为 1735-1796 年。之后，乾隆退位，尽管实际上他一直把控着实权，直到 1799 去世。最初的 16 幅图描绘记载的是 1754 年到 1760 年间的大事件，这段时间也是乾隆皇帝军事行动辉煌鼎盛的几年。从当时的朝廷所在地北京出发， 乾隆率领自己的军队穿越戈壁滩，深入准噶尔盆地，在准噶尔他打败了西部游牧民族蒙古族，并且将天朝的版图扩张至新疆省，建立起 我们如今所知的中国西部边界。这些军事行动大大加强了清廷对蒙古和西藏的统治，建立了清廷对西藏极具权威的达赖喇嘛的控制，为 统治该省南部地区的突厥 - 伊斯兰人民创造了条件，这些也都包括在如今的图册版本中。这些图册详细描绘了这些战争，大规模的步兵 和骑兵，使用西洋长枪（大炮）对抗使用弓箭的准噶尔军队的中国军队。这些图册还展示了军队、服装、武器、双方阵营和防御工事、 骆驼的使用和其他负重的牲畜，所有这一切都和壮观的地区山地景观一起展示出来。最初 16 幅中的最后三幅展示的是清廷羁押的伊斯 兰囚犯，以及清廷的庆祝胜利的场景。——乾隆皇帝与欧洲有着密切的联系，并把几个传教士（主要是耶稣会士）召到朝廷上。1765 年， 他下令生产一系列（共 16 幅）欧洲铜板印刷作品纪念抗击准噶尔军队的战役，画作主要由当时在中国的欧洲艺术家完成：首先是米兰 耶稣会的乔治白·卡斯蒂廖内由（1688-1766），然后是当时中国境内最著名的欧洲画家罗马奥古斯丁·让·大马士革（萨鲁思迪）、 罗马耶稣会让·丹尼斯巴德尼（1702 - 1768）和波西米亚耶稣会的伊格纳茨·艾启蒙 （1708 - 1780）。第一版是 1769 年 -1774 年在查 尔斯·尼古拉斯·柯枝的监督下在巴黎刻在巨大的盘子上的，但是这些作品极少一部分传到中国，所以现在才想要用更加实际的方法发 行一个新的版本（内容仍然是这些图），这一个版本是 1783 年 -1785 年间由伊西多尔·斯坦尼斯拉斯·赫尔曼在巴黎雕刻的。这一个 版本取得了极大的成功。和原本的 16 幅图的版本相比，赫尔曼的版本增补了两套内容，每套包括 4 幅画，所以加起来一共是 24 幅图。 增补的第一套内容（1786）展示的是牛犁地技术取得重大突破的庆祝场面，余下来的三幅组合起来是一副北京行军全图。增补的第二套 内容（1788）展示的是皇帝各种各样的庆祝活动和场面，大多数是祭祀祖先。——作品保存状况良好。是一套极为罕见的、不凡的展示 乾隆时期各种场景的系列作品，大多是是展示乾隆领土西扩的场景。

24 engraved views made for the Emperor of China, showing the campaign expanding his western territories [Helman, Isidore-Stanislas]. [Suite de seize estampes représentant les conquêtes de l’Empereur de la Chine, avec leur explication]. With: [Supplement 1 with views 17-20]. And: [Supplement 2 with views 21-24]. Paris, Isidore Stanislas Helman, Nicolas Ponce, 1783-1788. Oblong Imperial folio (35 × 48.5 cm). A series of 24 numbered engraved views (plate size 27 × 43 cm; image size 24 × 41 cm) of the conquests of the Qianlong Emperor of China in today’s Xinjiang province in western China, advancing to the area around the modern Chinese-Kazakhstan border, and the celebrations that followed in Beijing and elsewhere. With reproductions of the engraved explanation of the views, both in the earlier state covering views 1-16 and the later state covering views 1-24. Loose prints in folders in a modern archival box.

A fine complete series of 24 large and meticulously engraved views of the western conquests by the Qianlong Emperor (1711-1799), the favourite grandson of the Kangxi Emperor in the Manchu Qing dynasty, who ruled China officially from 1735 to 1796. In the latter year he took the title of Emperor Emeritus, though in fact he held the reins of power to his death in 1799. The first series of 16 views illustrates events from 1754 to 1760, the first and most important of what the Chinese termed Qianlong’s ten great military campaigns. From his base in Beijing, he took the Chinese army across the Gobi desert and into the Dzungar Khanate, where he decimated the Zunghars, a nomadic western Mongol people, and made the region into Xinjiang province, establishing the western border of China as we now know it. The campaign also greatly increased Chinese influence over Mongolia and Tibet. It largely established Chinese control of the highly influential Dalai Lama and set the stage for the suppression of the Turkic-speaking Islamic peoples in the southern part of the province, also covered in the present series. The views give very detailed images of the battles, with large numbers of foot soldiers and cavalry, often with the Chinese troops using Western long guns (as well as cannons) against the Zunghars’ bows and arrows. It shows the troops, clothing, arms, camps and fortifications of both sides, and the use of camels and other beasts of burden, all in the spectacular mountainous landscapes of the region. The last three plates of the original sixteen show the presentation of Islamic prisoners to the Emperor, and celebrations of the victory. – The Qianlong Emperor had close relations with Europe and brought several missionaries into his court, mostly Jesuits. In 1765 he ordered the production of a series of 16 European copperplate prints commemorating the campaign against the Zunghars, drawn by the leading European artists in China: the Milanese Jesuit Giuseppe Castiglione (1688-1766), then the most famous European painter in China, the Roman Augustinian Jean Damascène (Sallusti), the Roman Jesuit Jean Denis Attiret (1702-1768) and the Bohemian Jesuit Ignaz Sichelbart (1708- 1780). The first edition was engraved on enormous plates under the direction of Charles-Nicolas Cochin in Paris in the years 1769 to 1774, but few of his prints ever reached China and it was decided to have the present new edition of the same

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views produced at a more practical scale. It was engraved in Paris from 1783 to 1785 by Isidore Stanislas Helman, who published it together with Nicolas Ponce. This edition was a great success. While the original series comprised 16 views, Helman added two supplementary series to his edition, each with four views, resulting in a total of 24. The first supplement (1786) shows the ceremonial breaking of new ground with an ox-drawn plough and three views that could be assembled to form one panoramic view of the Emperor’s procession through Beijing. The second supplement (1788) shows the Emperor’s various celebrations, mostly in honour of his ancestors. – In fine condition. A rare and remarkable series of views made for the Qianlong Emperor, mostly showing his conquests in western China.

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展示中国皇帝和孔子一生的两个精装系列刊物 赫尔曼 , 伊西多尔 - 斯坦尼斯拉斯 . 提取自中国编年史，纪念中国皇帝，［...］铺设［...］根据中国的原创设计［...］提取自贝丹 先生工作室 . 巴黎，埃勒曼和尼古拉斯 . 彭斯，1788. 4 文字卷。 完全雕刻系列，包括一个标题页，题献，24 幅插图和 24 个文本页面， 所有东西都印在一侧。孔子，中国著名哲学家，一生主要特点的历史缩影［...］铺设［...］根据中国原创设计，由阿弥欧先生传教士在 北京寄到巴黎［...］. 巴黎，埃勒曼和尼古拉斯 . 彭斯，［1788］。（与）II：相同的。完全雕刻系列，包括一个标题页，24 幅插图和 28 个文本页面，除 8 张文本页面外，所有的内容都印在同一侧。每卷包含两部作品。后部烫金，杂色羊皮纸质，书脊烫金，有书边，装订 条和丝带，书边镀金。 精装刊物，布纹纸材质，有着精美刻花的系列印刷物，每一个印刷物都有刻画文本页。——第一个系列是对 Dijian tushuo 版本的彻 底改编，旨在吸引受过教育的巴黎人。这部极受欢迎的中文作品在英国被称作“皇帝的镜子”，主要包含展示中国各位皇帝是与非的故 事与事件，最初是为年轻的万历皇帝的提供借鉴用的。法国财政部长亨利·贝尔获得了这部作品最初的手稿，赫尔曼仿照这个手稿创作 出了自己的版本。除了为法国观众重塑中国历史轶事外，赫尔曼完全重新构思了整个插图。尽管赫尔曼打算分四次出版，但是至今为止 还只出了第一部——“在巴黎出版后，仅仅一年之后就爆发了法国大革命，或许这本书的出版其目的不仅仅是对路易十六的政策的含蓄 批评，也是对他的妻子玛丽·安托瓦内特的委婉批评”（里德 & 德玛黛）。——第二个系列也是基于贝尔坦图书馆的许多图纸而创作 出来的，贝尔是从法国耶稣会传教士约瑟夫·玛丽·阿莫伊特那里获得这些东西的。阿莫伊特写了一部很长的孔子传记，1786 年出版 的时候定名为《孔丘（俗称孔子）的一生》，传记附赫尔曼的雕刻，与此同时还附有目前这个版本的最初手稿。书板上的配文从“古代 道德家集锦”缩减为“孔子回忆录”。——该复制品有几个小点的污渍，上边缘有些小的修补，其他状况良好。装订虽然沿书脊两端有 一些磨损，但也非常好。 ¶ 出版于巴黎日报，1786 年 10 月 9 日，p. 1167. 吉凯·马瑞， “纪律与文化的可视穿越”，绿色可视化反思穿越出版（2013），21-22 页·温 达尔 647 & 654. 729 & 1133. 里德 43-45 页。

Deluxe issue of two print series illustrating the Chinese emperors and the life of Confucius Helman, Isidore-Stanislas. Faits memorables des empereurs de la Chine, tirés des annales chinoises [...] gravées [...] d’après les dessins originaux de la Chine [...] tirés du cabinet de Mr. Bertin. Paris, Helman and Nicholas Ponce, 1788. 4to. Wholly engraved series, consisting of a title-page, dedication, 24 illustrations and 24 text pages, all printed on one side of a leaf. (With) II: The same. Abrégé historique des principaux traits de la vie de Confucius célebre philosophe chinois [...] gravées [...] d’après des dessins originaux de la Chine envoyés à Paris par M. Amiot missionaire à Pékin [...]. Paris, Helman and Nicholas Ponce, [1788]. Wholly engraved series, consisting of a title-page, 24 illustrations and 28 text pages, all except 8 of the text pages, printed on one side of a leaf. 2 works in 1 volume. Later gold-tooled, mottled calf, gold-tooled spine, sides, binding edges and dentelles, gilt edges.

Deluxe issue, printed on wove paper, of two handsomely engraved print series, with each print accompanied by an engraved text leaf. – The first series is a radically revised version of Dijian tushuo, designed to appeal to educated Parisians. Known in English as “The emperor’s mirror”, this very popular Chinese work comprises stories and illustrations of the praiseworthy and blameworthy actions of Chinese emperors, originally composed for the instruction of the young Wanli emperor. A manuscript version of this work was sent to the French minister of finance Henri Bertin, after which Helman modelled his edition. Apart from reframing Chinese historical anecdotes for a French audience, Helman also completely reconceived the illustrations. Although Helman intended to publish four instalments, only the present first one appeared. "Published in Paris just a year before the French revolution, perhaps the volume was meant as a veiled criticism not only of Louis XVI’s policies but also of his wife, MarieAntoinette" (Reed & Demattè). – The second series is also based on a collection of drawings from the library of Bertin, who had received them from the French Jesuit missionary Joseph-Marie Amiot. Amiot wrote a lengthy biography of Confucius, which was published as “Vie de KoungTsée, appellé vulgairement Confucius”, together with the engravings by Helman, in 1786, simultaneously with the first impression of the present print series. The accompanying text to the plates are short "morales de Confucius" from the “Collection des moralistes anciens” (1782). – A couple of occasional spots and some very minor foxing in the upper margins, otherwise a very good copy. The binding has some minor wear along the extremities of the spine, but is also very good. ¶ Cohen/De Ricci 479. Cordier, La Chine en France au XVIIIe siècle, pp. 59f. Cordier, Sinica, 587f. Journal de Paris, 9 oct. 1786, p. 1167. J. K. Murray, "Narrative and visual narrative across disciplines and cultures", in: A. Green, Rethinking Visual Narratives from Asia (2013), pp. 21-22.

Löwendahl 647 & 654. Lust 729 & 1133. Reed & Demattè 21f. & pp. 43-45.

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Four albumen prints of Hong Kong in the late 19th century [Hong Kong]. A fine collection of four late 19th century original photographs of scenes in Hong Kong.

Circa 1890. 4 albumen prints, 190 × 725 mm and 205 × 270 mm, all mounted on contemporary paper (285 × 40 mm) with manuscript titles in French.

"Hong-Kong / Panorama général": a fine, large-scale panorama embracing all of the capital Victoria from the perspective of the harbour. The scene is centred upon the major buildings along the grand quayside of the Praya, including the City Hall, the Hongkong & Shanghai Bank Building and the Hong Kong Hotel, the six-storey building featured in the centre-right of the panorama. Notably, the hotel seems to still be in a partially-completed state, as construction of the edifice was not completed until 1892. Numerous boats can be seen plying the harbour in the foreground, evidence that Hong Kong was one of Asia’s busiest ports. Victoria Peak rises above the city, and the thin white line shown ascending the mountain, above City Hall, is the famous Peak Tram, completed in 1888. – "Hong-Kong / La Rade prise de Bowen Road": an engaging view looking down upon Hong Kong harbour from the perspective of Bowen Road. The Peak Tram is shown running up the slope of Victoria Peak, while numerous ships ply the harbour in the background. – "Hong – Kong / Anniversaire de la naissance de la Reine": this fascinating view captures the pageantry of the celebration of the birthday of Queen Victoria. Spectators are shown observing vast lines of troops as they fire an armed salute in honour of Her Majesty, while tall ships decorated with banners are moored in the harbor, in the foreground. Another example of the same photograph, entitled in manuscript, "Queen’s Birthday Parade Hong Kong," can be found in the collections of the Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY (accession no. 86.140.310).

– "Hong-Kong / Une Rue dans la ville Chinoise": this photograph captures an interesting street scene in Hong Kong’s traditional "Chinatown", otherwise known as the Wan Chai District, located to the east of Victoria. While Victoria had a more "anglicized" appearance, befitting the centre of British colonial administration, Chinese modes of building construction, signage and ways of life prevailed in Wan Chai.

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有关于 19 世纪香港的四部出版图文集 ［香港］. 19 世纪末有关香港的各种场景的原始照片的精美系列。大约 1890 年。四部出版图文集，190×725 毫米和 205×270 毫米，均采用现代纸 （285×40 毫米）手稿标题为法语。 “香港纵览”：一幅壮丽的全景图，将从维多利亚港港口所看到的整 个香港的景象包括在内。图像的中心是沿着海港的成排成排的建筑，主要 包括市政厅、香港银行和汇丰银行大楼和总共六层、能俯瞰香港中部和右 面全景的香港酒店。值得注意的是，酒店似乎还未完工，直到 1892 年才竣 工。可以看到许多船只从前面港口通过，证据表明，香港是亚洲最繁忙的 港口之一。太平山顶高于城市，灰白的天际线就在群山之上，在市政厅之 上是著名的山顶电车，1888 年完成。——“香港 / 博文路的栖息之地”： 从博文路往下看，能够看到一幅美得惊心动魄的香港俯瞰图。山顶电车显 示出了太平山顶的倾斜坡度，背景中许多船只从港口驶过。香港 - 香港 / 纪念女王的生日”：这幅美丽的图画展示了维多利亚女王庆生时的壮观景象。 观众能够看到庞大的军队游行，敬军礼，向女王致敬，高大的船舰都装饰 着横幅，停泊在港口中，位于前台。展示了同一张照片的另一个例子在手 稿中的标题是“女王生日游行香港”，可以在纽约伊萨卡岛的赫伯特·f·约 翰逊康奈尔大学艺术博物馆的藏品（（登录号：86.140.310））中找到。—— “香港 / 唐人街”：这张照片展示的是香港传统的唐人街（或称为湾仔区， 位于维多利亚的东部）上的街道景观。维多利亚有其西化的一面，这源于 英国的殖民统治，同时也有着传统中式建筑的一面，带有中国特色的生活 方式在湾仔地区盛行起来。

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康德最为人推崇的作品的第一版 康德，伊曼努尔 . 纯粹理性批判。里加，约翰·弗里德里希·卡特罗斯 1781。8vo。 刻标题装饰图案，文本中有一些小雕花。当代带大理石纹路的有纸质封面的书板，平脊， 烫金的橙色标签，红色书边。现代布框，橙色标签。 哲学历史上最具影响力的作品之一。第一版的序言中，康德对自己提出的纯粹理性批 判进行了解释说明：“我并不是指对书籍和系统的批判，而是从所有经历后收获的知识的 角度，对整体的有理性的教职人员的批判。”——“在现代哲学批判方法中，康德的影响 无疑是至关重要的。任何其他思想家都没能像他这样坚定地强调思考和实证之间地平衡。 他对各个元素综合性的深刻洞悉，以及个体意识中这些元素所进行的主观行为，都证明了 “纯粹理性”的运作，并且他的论证方式简洁而又中肯，因此他立即获得了极高的名声。 康德在哲学其他分支的成就同样杰出而富有成果［...］他的方法［...］主导了整个 19 世纪 的西方哲学思想，现在依然如此”（PMM）。——来源：施莱辛格图书馆，韦威（书商 的小门票）。书的边缘部分有一些小的污渍，边缘有部分褐变和褪色。书的四角及周边略 有磨损。 ¶ 瓦尔达 59. 诺曼 1197. PMM 226.

First edition of Kant’s most highly regarded work Kant, Immanuel. Critik der reinen Vernunft. Riga, Johann Friedrich Hartknoch, 1781. 8vo.

Engraved title vignette and a few small engraved vignettes in text. Contemporary marbled papercovered boards, flat spine with orange label lettered in gilt, edges red. Modern cloth box, orange label.

One of the most influential works in the history of philosophy. In the preface to this first edition Kant explains what he means by a critique of pure reason: "I do not mean by this a critique of books and systems, but of the faculty of reason in general, in respect of all knowledge after which it may strive independently of all experience." – "The influence of Kant is paramount in the critical method of modern philosophy. No other thinker has been able to hold with such firmness the balance between speculative and empirical ideas. His penetrating analysis of the elements involved in synthesis, and the subjective process by which these elements are realized in the individual consciousness, demonstrated the operation of ‘pure reason’; and the simplicity and cogency of his arguments achieved immediate fame. Kant’s achievements in other branches of philosophy were equally distinguished and fruitful [...] His methods [...] dominated western philosophical thought throughout the 19th century, as they do today" (PMM). – Provenance: Librarie Schlesinger, Vevey (bookseller’s small ticket). Some light marginal spotting, occasional light marginal browning or staining. Extremities rubbed, sides scuffed. ¶ Warda 59. Norman 1197. PMM 226.

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耶稣会到中国的传教 莱布尼兹 , 戈特弗里德 威廉 . Novissima Sinica historiam nostri temporis illustratura in quibus de Christianismo publica nunc primum autoritate propagato missa in Europam relatio exhibetur［...］. Secunda editio. Accessione partis posterioris aucta. ［Hannover, Nikolaus Förster］, 1699. 8vo. 第二部分包括：［Joachim Bouvet］, Icon regia monarch·Sinarum nunc regnantis. 两个部分都有单独的标题页和卷头插画（多幅康斯皇帝肖像）；书卷开头附刻花的题献卷头插画（皇家字母 刺绣）。当代全牛皮纸纸质，书脊字墨有所褪色。 莱布尼兹收集有关耶稣会到中国传教、中国和俄罗斯之间最新条约、在满族皇帝康熙（d.1721）的统治下中国繁 荣而昌盛的科学文化的作品汇总的第二版。在他的序言中，莱布尼兹写道 :“我认为这是一种注定的奇特的命运，人 们的教化和文雅再次汇聚，正如他们曾经做的那样，在我们这片大陆的两端，在欧洲和中国（正如他们称呼的那样）， 这是对东方世界（中国）的点缀与装饰，因为欧洲确实处在地球的另一端。”与耶稣会传教士克劳迪奥·菲利普·格 里马尔迪会面后，莱布尼兹就对中国的文化产生了浓厚的兴趣。克劳迪奥·菲利普·格里马尔迪曾被任命为在北京法 院任职的数学家。格里马尔迪和莱布尼兹互相通信，一封地址写着格尔的寄到格里马尔迪手中的信件，也被收录在这 本作品之中。莱布尼茨还收录了一个从费迪南德·韦尔比耶斯特截取的用拉丁文写的内容即“欧洲天文学鞑靼族统治 者 Sinico Cam Hy”。韦尔比耶斯特全权负责将西方天文学引入中国。首次出版于 1697 年，第二版增补了一个耶稣会 传教士白晋·布维对中国皇帝的评价，这一部分内容在沃芬比特和柏林的副本中缺失。——作品上有一些小的污渍和 褐变。书上有整洁的钢笔手写的莱布尼兹的字母全大写的名字；书籍卷首空白处有早期笔记标注；用红墨水加以强调 的痕迹。出处：G M 和 J.H.- 法雷尔（藏书票）；悉尼罗斯（藏书票）；后见于吉恩·R 佩雷特图书馆 （藏书票）。 极其罕见的：市面上至今没有里昂第一版的复印本，第二版的复印本也只出现过一次。。 ¶ VD 17, 39:123687S. BL（ 德 语 书）L398. 科 尔 迪 耶（ 中 国 学）835, 634. 施 特 莱 斯 V, 2779. 德· 巴 克 尔 / Sommervogel II, 56.

The Jesuit mission to China L[eibniz], G[ottfried] W[ilhelm]. Novissima Sinica historiam nostri temporis illustratura in quibus de Christianismo publica nunc primum autoritate propagato missa in Europam relatio exhibetur [...]. Secunda editio. Accessione partis posterioris aucta. [Hannover, Nikolaus Förster], 1699. 8vo. 2 parts in one volume. Second part contains: [Joachim Bouvet], Icon regia monarchæ Sinarum nunc regnantis. Both parts with separate title pages and frontispieces (repeated portrait of the Emperor K’ang-hsi); additional engraved dedicatory frontispiece (royal monogram) at the beginning of the volume. Contemp. full vellum with faded ink title to spine.

Second edition of Leibniz’s collection of texts relating to the Jesuit mission to China, the recent treaty between China and Russia, and the remarkable flowering of scientific culture at Beijing under the Manchu emperor K’ang-hsi (d. 1721).

In his preface, Leibniz writes: "I consider it a singular plan of the fates that human cultivation and refinement should today be concentrated, as it were, in the two extremes of our continent, in Europe and in Tschina (as they call it), which adorns the Orient as Europe does the opposite edge of the earth." Leibniz had become interested in China after a meeting with the Jesuit missionary Claudio Filippo Grimaldi, who had been appointed mathematician to the court of Beijing. Grimaldi and Leibniz corresponded, and a letter from Grimaldi, addressed from Goa, is reproduced in the work. Leibniz also includes an extract in Latin from Ferdinand Verbiest’s "Astronomia Europea sub Imperatore Tartaro Sinico Cam Hy". Verbiest had been entirely responsible for the reintroduction of Western astronomy to China. First published in 1697, this second edition has an additional appreciation for the Emperor by the Jesuit Joachim Bouvet appended which is lacking in the Wolfenbüttel and Berlin copies. – Some minor spotting and browning throughout. Leibniz’s name supplied in neat ink manuscript after initials on title; early notations on front free endpaper; an underlining in red ink. Provenance: G. M and J. H. Farrell (bookplate); Sydney Ross (bookplate); latterly in the library of Jean R. Perrette (bookplate). Extremely rare: no copy of the Lyons first edition has appeared on the market, and this second edition only once. ¶ VD 17, 39:123687S. BL (German books) L398. Cordier (Sinica) 835, 634. Streit V, 2779. De Backer/Sommervogel II, 56.

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盆栽 里格斯坦因·乔治 培育良好的盆景树或详细教学应如何照料弗朗茨的树［...］. 莱比锡，沃尔夫冈·德尔， 1747. 8 开本，展示着锯头和修枝刀的精美卷头插画，1 个雕花折板，30 幅木刻文本插图。当代变羊皮纸材质， 斑点板，烫金书脊，镀金标签。 西方第一本培养矮树，或者说“盆景”的书籍。乔治·里格斯坦因是奥地利萨尔茨堡大主教弗朗茨·安 东·哈拉齐的园丁。他关于矮树的书，虽然现在很大程度上在植物和园艺文学上被遗忘和忽略了，在它那个 时代却是极为成功的一本书，共发行了六个版本，包括 1705 年的原版。里格斯坦因”将矮树描述为只是小很 多的美丽的大树“。他理解树的生理，如今却只有少数的盆景爱好者了解这样的知识。他详细解释了如何经 常缩短根和移植树木，如何缩短分支，如何纠正片面的树。他解释了如何将树修剪到树桩的高度，发出新芽， 了解哪些地方需要剪掉，让新的芽生长，修剪他们。正是中国”修剪 - 生长“技术。他用图纸解释如何最好 地培育矮树”（w·帕尔，《乔治里格斯坦因的矮树之道》：盆景杂志 3［2000］）。此处提供的版本是最后 一个，是原作者去世后出版发行的，这本书是对欧洲矮树历史研究的一次有趣的尝试。这表明 17 世纪末期凡 尔赛的矮树越来越多。凡尔赛宫的园丁格罗登德夫定居在柏林，并对此进行了更多尝试。最终他被任命为富 商兼议员的乔治·博泽位于莱西比的克莱恩波斯特花园的首席园丁。里格斯坦因向格罗登德夫寻求关于矮树 种植的建议。——极其罕见。很好的版本。 ¶ 非多克纳，亨特，林德利图书馆处，尼森，普莱奇，普里兹尔，奥克·斯普林可·席尔瓦 .

Bonsai Liegelsteiner, Georg. Wohlgezogener Zwerg-Baum oder Gründlicher Unterricht wie die Frantz-Bäume gewartet werden müssen [...]. Leipzig, Wolfgang Deer, 1747. 8vo. With fine woodcut frontispiece showing saw and pruning knife, 1 engraved folding plate, and 30 woodcut text illustrations. Contemp. half calf and speckled boards, spine richly gilt with gilt lettered label.

The first western book on the cultivation of dwarf trees, or "bonsai". Georg Liegelsteiner was court gardener to the Archbishop of Salzburg in Austria, Count Franz Anton Harrach. His book on dwarf trees, although now largely forgotten and overlooked in botanical and horticultural literature, proved extraordinarily successful in its day, achieving six editions including the original edition of 1705. Liegelsteiner "writes about dwarfing trees so that they look like a very beautiful big tree, but only much smaller. He understands tree physiology like only a small minority of bonsai enthusiasts today. He explains in detail how to shorten roots and transplant trees often, how to shorten branches, how to correct a one-sided tree. He explains how to cut back a tree to a stump, let the new shoots grow, cut them back at strategic points, let the new shoots grown again and cut them back. It is exactly the ‘Chinese’ clipand-grow technique. He makes drawings which explain the development of a dwarf tree in a way that could not be improved" (W. Pall, “Dwarf Trees of George Liegelsteiner”, in: Bonsai Magazine 3 [2000]). The edition offered here is the final one, published after the death of its author, with a very interesting new preface which attempts to sketch a history of dwarf trees in Europe. It suggests that the art of growing Bonsai trees came to Versailles in the late 17th century. One of the Versailles gardeners, Grottendorf, settled in Berlin and experimented more on it. Eventually he was appointed head gardener to the wealthy merchant and Councillor Georg Bose’s garden, the "Kleinbosischer Garten", in Leipzig. Liegelsteiner received advice from Grottendorf about the art of growing dwarf trees. – Exceedingly rare. A very good copy. ¶ Not in Dochnahl, Hunt, Lindley Lib., Nissen, Plesch, Pritzel, Oak Sprink Sylva.

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A description of Beijing, with six accurate plans

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北京之貌，附六幅准确的平面图 艾尔 （德利勒斯）, 约瑟夫 - 尼古 拉斯 德 和 亚历山大 盖伊 平葛尔 . 服务 于这座城市的智能计划，伊斯勒先生的

L’Isle (Delisle), Joseph-Nicolas de and Alexandre Guy Pingré. Description de la ville Peking, pour servir à l’intelligence du plan de cette ville, gravé par les soins de M. de l’Isle. Paris, (colophon: J. Th. Herissant), 1765.

4to. With woodcut vignette on title-page, and 6 engraved folding plans (16 × 12 to 23.5 × 25 cm). 19th century half sheepskin, marbled endpapers.

First edition of a description of Beijing, illustrated with six accurate plans. The French cartographer and astronomer Joseph-Nicolas de L’Isle (1688-1768) had been corresponding about Chinese astronomy and geography with Jesuit missionaries for more than 30 years, collecting a vast amount of valuable information. The Jesuit father Patouillet asked him to compose a map of Beijing, based on these memoirs, to illustrate a description of the city he was preparing. Unfortunately, Patouillet was unable to complete his description, and De L’Isle, assisted by the French astronomer and geographer Alexandre Guy Pingré (1711-96), continued and finished it.

Astronomical observations helped them to determine the position of Beijing. The work starts with a description of the foundation of the city, the palace, other buildings and the suburbs, followed by some observations on the Li, also called the Chinese mile: the traditional Chinese unit of distance. – Some leaves slightly browned, some spots throughout and one plate with a small tear in the margin just touching the image. Binding slightly rubbed along the corners. A good copy, only slightly trimmed. ¶ Cordier (Sinica) 210f. Morrison II, 67. Löwendahl 537 (lacking 1 plan). Lust 187.

精心铺设 . 巴黎 , （高勒封 : J. Th. 埃希 桑），1765. 4 文字卷。标题页有木刻装 饰图案，6 幅雕刻折叠平面图（16×12 到 23.5×25 厘米）。19 世纪半羊皮纸纸质， 书籍卷首及卷尾之空页有大理石纹路。 第一版关于北京之貌的作品，配有 六幅准确的平面图。法国制图师和天文 学家约瑟夫 - 尼古拉斯 - 艾尔（1688 1768）曾就中国天文学和相应的地理与 耶稣会传教士信件往来 30 多年，收集了 大量的有价值的信息。耶稣会神父帕图 列请他在这些回忆录的基础之上画一幅 北京地图，为他将要写的关于北京这个 城市的作品配图。不幸的是，帕图列最 终没能无法完成他对北京之貌的描写， 德·艾尔则在法国天文学家和地理学家 历山大 盖伊 平葛尔（1711-96）辅助下， 完成了这一任务。在这个过程中，天文 观测帮助了他们确定北京的位置。他们 首先描述了一下北京的基本构成，包括 故宫 , 其他建筑和郊区 , 接着他们已“里” 这一中国计量单位为指标进行观察。 “里” 是传统的中国计量距离的单位，相当于 英语中的英里的地位。——有些书页略 微发黑，书上有一些小的污点，其中一 块书板的边缘部分有小面积的撕裂，撕 裂处正好延伸到图像上方。装订边角处 有磨损。但是仍不失为一个好的复印本， 稍微磨边。 ¶ 科尔迪耶（中国学）210f. 莫里森 II, 67. 罗文达尔 537 （缺 1 幅平面图）. 卢斯特 187.

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180 幅中国手绘石版画 玛尔皮尔·弟·巴赞 . 中国的风俗，习惯， 服装，艺术和工艺品，民用和军事、宗教仪式、 古迹和风景［...］. 巴黎，德玛勒皮耶荷，构 迥 & 福尔芒坦 , 和费荷曼 . 迪多 , 1825-27. 2 卷 . 4 大本文字卷 （34×25.5cm）。 180 幅手 绘平版画板（包括标题页卷和一幅北京平面图） 4 个刻花板材（第一版手绘插图和 3 个乐谱）。 缺 1 板及其凸版印刷文字，包括复写。当代半 鞣山羊皮材质，精美书脊。 第一版“有着巨大吸引力的、描绘清朝中 期时中国的生活场景的平板画”（卢斯特）。 插图展示了日常生活、船舶、视图、内饰，（军 事）服装等场景，每一个场景都附有文字说明。 板块从 1825 年到 1827 年间分 30 次出版，每 次包括 6 幅手绘板，很少发现完整的版本。这 个版本只缺一个板及其描述。所有插图都是之 前打印的平版画版本，包括亚历山大的《中国 着装和礼仪的优美展示》（1814），钱伯的《中 国建筑设计》（1757），梅森的《中国服饰》 （1800）和《中国刑罚》（1804），以及卡斯 蒂廖内和其他人的作品。北京的描述在第二卷 内容里，附有一幅平面图。第二版于 1848 年 问世。——路易斯·贝克尔的藏书票 , 巴黎。 装订的两端有刮痕，但是情况还好。缺一板及 文字页（如上所述），有修补痕迹，有部分褐 变；不失为很好的一个版本。 ¶ 布吕内 III，1346-1347. 科拉斯 1957. 科 尔迪耶（中国学）69. 里坡海德 1531. 罗文达 尔 845. 卢斯特 60.

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180 hand-coloured lithographs of China Malpiere, D. Bazin de. La Chine, moeurs, usages, costumes, arts et métiers, peines civiles et militaires, cérémonies religieuses, monuments et paysages [...]. Paris, De Malpiere, Goujon & Formentin, and Firmin Didot, 1825-27. 2 vols. Large 4to (34 × 25.5 cm). With 180 lithographed plates in publisher’s hand colour (including a frontispiece to both volumes and a plan of Beijing), 4 engraved plates (the first with hand-coloured illustration and the other 3 with musical scores). Lacking 1 plate and its accompanying letterpress description, facsimile included. Contemporary half tanned goatskin, gold-tooled spine.

First edition of "a huge collection of attractively lithographed copies of scenes from Chinese life of the mid-Ch’ing period" (Lust). The illustrations show scenes of everyday life, ships, views, interiors, (military) costumes and much more, each with one leaf of descriptive text. The plates were issued from 1825 to 1827 in 30 instalments, each consisting of 6 hand-coloured plates, and are seldom found complete. This copy lacks only one plate and description. All the illustrations are lithographed copies of earlier prints, including Alexander’s "Picturesque representations of the dress and manners of the Chinese" (1814), Chamber’s "Designs of Chinese buildings" (1757), Mason’s "The costume of China" (1800) and "The punishments of China" (1804), the works of Castiglione, and others. A description of Beijing is included in the second volume illustrated with a plan. A second edition appeared in 1848. – With the bookplate of Louis Becker, Paris. Binding rubbed along the extremities, but otherwise good.

Lacking one plate and text leaf, as noted, foxing throughout, and some occasional browning; a good copy. ¶ Brunet III, 1346-1347. Colas 1957. Cordier (Sinica) 69. Lipperheide 1531. Löwendahl 845. Lust 60.

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Signed by Chairman Mao Mao Zedong, Chinese statesman (1893-1976). Quotations from Chairman Mao TseTung. Beijing, Foreign Languages Press, 1966. 12mo. With half-tone portrait frontispiece and facsimile plate of inscripzion by Lin Pao. Original red vinyl over paper boards, titled and stamped with a star in blind on the upper cover.

First English edition, signed by Chairman Mao alongside his portrait. While it is estimated that five billion copies of the "Little Red Book" were printed by the close of the 20th century, merely a handful were actually signed by Mao. According to a document included with the book, the volume was likely signed in December 1967, towards the beginning of the Cultural Revolution, when a delegation of the China-Albania friendship association visited Beijing. As the owner writes, "My father was one of the delegation members. Later on, my father asked some associated person if Chinese could present a signed ‘Quotations From Chairman Mao Tse-Tung’ as a souvenir. Afterwards, my father was much honored to receive this present. I have been preserving this book till now." The undated letter (probably 1980s) to Mr. Michael Moore of 1 Cromwell Place, London, is signed "Maskat" (?). Only three other signed copies appear in book auction records, all signed on 2 July 1967 for a delegation of journalists from the leftist New Zealand weekly "People’s Voice".

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毛泽东亲笔签名的《毛主席语录》 毛泽东 , 中国政治家（1893 - 1976）。《毛主席语录》。北京外文出版社，1966 年。12 月。胶印版肖像标题页和林彪铭文。封面 为红色人造皮革，封面上面有暗纹五角星，以此充当标题。 这是一本毛主席肖像旁附其亲笔签名的英文版语录。据估计，到 20 世纪结束，共印刷五十亿本“红宝书”，只有极少是毛泽东亲 笔签名的。根据来源证明描述：毛应该是在 1967 年 12 月文化大革命开始的时候在这本书上签署自己的名字的，当时一个阿尔巴尼亚代 表团访问北京。原藏家写道：“我的父亲是代表团成员之一。后来，我的父亲询问中方工作人员，是否能得到一本毛主席亲笔签名的《毛 主席语录》用来留念。后来父亲很荣幸收到了这礼物。这本书我一直保存到现在。“一封无日期的（可能是 1980 年代）写给住在伦敦 克伦威尔区 1 号的迈克尔·摩尔先生的信，上面签着“马斯喀特”的名字。至今为止，书籍拍卖记录上至今出现过三本有毛泽东亲笔签 名的红宝书，签名日期都是 1967 年 7 月 2 日，其中有的是为了纪念来自左翼新西兰记者代表团每周的“人民的声音”。

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安德烈亚斯·穆勒关于中国的伟大编译 马可·波罗 . Historici fidelissimi juxta ac praestantissimi, de regionibus orientalibus libri III ［...］. Berlin, Georg Schultz, 1671. 4to. 3 个部分合集，红黑色凸版印刷标题。附同样的雕刻标题。从标题页到第二部分（缺乏阿拉伯语字符的板块）； 附装饰头带和名字的首字母。18 世纪的烫金书脊小牛皮纸质。边缘红色。 第一版。“整理勃兰登堡选民图书馆里的手稿，前言，地理指数，术语表，等等。”（卢斯特）。极有天赋的东 方学者安德烈亚斯穆勒（1630 - 94）将这部游记和有关中国的信息编译在一卷中：第一部分是马可波罗柏林手稿的版本， 包括和 Grynaeus（1532）以及拉穆西奥（1559）两个版本的比较。第二部分，往往最后 , 是穆勒编著的百科全书式中国， 基于一些中国资料和其他东方国家的资料（cf 罗文达尔 153）列举了一些“中国特性”。第三部分是亚美尼亚海顿·科 利卡斯（d.1308）编撰的一部拉丁版的“东方史学家”。——根据洛奇所说，穆勒是“最具有国际化的［...］是他那个 时代具有全球意识的欧洲人，虽然他从没去过欧洲之外的地方。他与基歇尔就语言问题发生争执，当中国写作被神学 家作为违反第二条诫命的语言时，他的理论在柏林就站不住脚了。他在 1685 年辞去圣尼古拉教务长一职，搬到了什切青， 将余生都用在做私人研究上。——作品上有些褐变和斑点。从当皮耶尔酒庄德德鲁尼斯公爵图书馆拿出来时仍然是一 个非常不错的版本：他们的藏书票体现了吕伊内 （安德尔 - 卢瓦尔省）的查尔斯·玛丽·阿尔贝 （1783 - 1839）的影 响力，吕伊内公爵 7 世，在封里衬页上；最近收录在吉恩 R·佩雷特的图书馆（他的藏书标签） ¶ VD 17, 12:108208R. 科尔迪耶（中国学） III, 1968. 卢斯特 288. 罗文达尔 153. 莫里森 II, 535. 艾伯特 17665. 亨策 IV, 380. ADB XXII, 513. 布吕内 III, 69 & 1406 （“相当珍贵的文集”）

Andreas Müller’s great compilation on China Marco Polo. Historici fidelissimi juxta ac praestantissimi, de regionibus orientalibus libri III [...]. Berlin, Georg Schultz, 1671.

4to. 3 parts in one volume. Letterpress title printed in red and black. With additional engraved title and engr. frontispiece to part 2 (lacking plates of Arabic characters); ornamental head bands and initials. 18th-century calf with gilt spine. All edges red.

First edition. "Collated with a manuscript in the library of the Elector of Brandenburg, preface, geographical index, glossary, etc." (Lust). The gifted orientalist Andreas Müller (1630-94) compiled in a single volume this collection of travel accounts and information on China: Part I is an edition of a Berlin manuscript of Marco Polo, including comparisons with editions

by Grynaeus (1532) and Ramusio (1559). Part II, often bound last, is an encyclopedia of China by Müller, listing "Chinese peculiarities" based on Chinese and oriental sources (cf. Löwendahl 153). Part III is a Latin version of the "Historia orientalis" by the Armenian Hayton of Corycus (d. 1308). – According to Lach, Müller was “one of the most cosmopolitan of [...] worldconscious Europeans” of his time, although he never travelled outside of Europe. He fell out with Kircher over a linguistic issue, and when Chinese writing was described by theologians as a breach of the Second Commandment, his position in Berlin became untenable. Having resigned his position as provost of St. Nicolai in 1685, he relocated to Stettin and spent the remainder of his life with private studies. – Some browning and spotting throughout. Still a fine copy from the library of the Ducs de Luynes at the Château de Dampierre: their bookplate reproducing the arms of Charles Marie d’Albert de Luynes (1783-1839), 7th Duc de Luynes, on pastedown; latterly in the library of Jean R. Perrette (his bookplate). ¶ VD 17, 12:108208R. Cordier (Sinica) III, 1968. Lust 288. Löwendahl 153. Morrison II, 535. Ebert 17665. Henze IV, 380.

ADB XXII, 513. Brunet III, 69 & 1406 ("receuil assez recherché").

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《资本论》-《资本论》- 资本 -《共产党宣言》-《共产党宣言》第二部分 -《共产党宣言》 卡尔·马克思 《资本论》和《共产党宣言》德语版合集，俄罗斯，第一个法语版本。汉堡、伦敦、巴黎、日内瓦、圣彼得堡， 1848（1861）-1895。共 9 卷，均收入定制的半摩洛哥式的翻盖盒或书套中。 这是两部具有主要历史意义和影响的书籍，均被列入人类历史上出版书籍中最有影响力的书籍：卡尔·马克思的开创性“资本论” 和“共产党宣言”，在这两本书中，他写道，他的朋友弗里德里希·恩格斯今年参加了革命。这是一个保存完好的德语原装版，以及影 响力巨大的俄译本 （1869、1872）和法译本（1872、1895）。《共产党宣言》写于 1848 年，目前它的第三个版本，也是最为罕见稀有 的一个版本实际上写于 1861 年。几乎有价无市的第一个俄译本（无政府主义米哈伊尔巴枯宁译）最终于 1869 年由波兰流亡人士路德维 克·泽尔尼克其在日内瓦印刷发行。第一个独立的法译本（马克思的女儿劳拉·拉法尔格译，恩格斯修订）是超现实主义安德鲁·布勒 东的私人物品（他本人是《超现实主义宣言》的起草人）。第一个德译本《资本论》包括第二和第三卷，作为一套而存在，就像初版那 样，这个德译本在马克思去世后由恩格斯出版发行。如有需要，可以提供关于所有物品的详细说明。一套极棒的作品。 ¶ PMM 326 & 359.

Das Kapital – Kapital’ – Le Capital – Manifest der Kommunistischen Partei – Manifest Kommunisticheskoj partii – Manifeste du Parti Communiste Marx, Karl. Collection of the "Kapital" and the "Communist Manifesto" in the German, Russian, and French first editions. Hamburg, London, Paris, Geneva, St. Petersburg, 1848 (1861)-1895. A total of 9 volumes, all stored in custom-made half-morocco clamshell boxes or slipcases.

Two seminal historical documents ranking among the most influential books ever published: Karl Marx’s groundbreaking "Kapital" and the "Communist Manifesto", which he wrote with his friend Friedrich Engels in the year of the revolution. A wonderfully preserved and magnificently presented collection of first editions in the German original and the highly influential Russian (1869, 1872) and French (1872, 1895) translations. The "Manifest der Kommunistischen Partei", dated 1848, is present in its third and rarest variant, which was in fact produced in 1861. The almost unobtainable first Russian translation (prepared by the anarchist Mikhail Bakunin) was printed by the Polish emigré Ludwik Czerniecki in Geneva in 1869. The first separate French edition (an effort of Marx’s daughter Laura Lafargue, revised by Engels) is the personal copy of the surrealist André Breton (himself the author of the "Manifeste du Surréalisme"). The German first edition of "Das Kapital" includes as a set the second and third volume, likewise in their first editions, which Engels published posthumously from Marx’s papers. Detailed descriptions of all items are available upon request. An outstanding assemblage. ¶ PMM 326 & 359.

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第一版，赠给埃卡留斯 卡尔·马克思 资本论。对政治经济学的批判［...］。第一卷。［作者给约翰·格奥尔格·埃卡留斯的赠送本］。汉堡，奥托·迈斯纳， 1867，8 开本。封面标题下底部处有题字“给格奥尔格·埃卡留斯 / 伦敦。1867 年 9 月 18 日。卡尔·马克思”。两处小的铅笔修改痕迹， 一处钢笔修改痕迹，想必是埃卡留斯改的。当代半羊皮纸纸质。存储在定制的摩洛哥箱子里。

第一版。出版发行四天后为第一国际总书记约翰·格奥尔格·埃卡留斯题字 ,“我的一个老朋友和追随者”：市场上最重要的卡尔·马 克思（Karl Marx）赠送本。“世界历史上最具影响力的作品之一”（阿姆斯特丹国际社会主义历史研究所），在《资本论》大英博物馆 多年收藏工作的一个小高潮。这第一卷是唯一一个马克思去世前发表的，后来的几卷都是恩格斯根据马克思的手稿分别于 1885 和 1894 年整理编辑出版的。马克思自己带注释版本，连同唯一幸存的手写的《共产党宣言》，被著名的联合国教科文组织成员约翰·格奥尔格·埃 卡留斯（1818 - 89）2013 年编入《世界遗产名录》。约翰·格奥尔格·埃卡留斯（1818 - 89）是一位德国流亡裁缝和劳工维权人士， 在 1848 年的国际联盟第二次大会的时候遇到了马克思和恩格斯，并当选为中央委员会新成员三人联盟的一员。1864 年埃卡留斯出席了 国际工人协会的第一次会议，“第一国际”，被马克思提名代表他说话。三年后，在《资本论》发表之前， 埃卡留斯被选为该组织的 秘书长。同时，埃卡留斯有权在《资本论》快要完成时阅读部分的特权人士之一，他还告诉朋友“这些智慧的精髓先知也是刚刚才掌握” （引用 : 弗朗西斯·惠恩 , 卡尔·马克思 ,1999 年，p . 298）。很少有第一版《资本论》的复印版的赠送本，但至少有两本马克思当天在 伦敦就签了名，大概是从汉堡运来第一批到达的版本。——上边缘有一些褪色和湿渍，有一些弄脏和错位的地方。大英博物馆阅览室的 票和一些松散插入的家庭报纸。出处：约翰·格奥尔格·埃卡留斯（1818 - 89），及从继承人那里获得本书的直系亲人。 ¶ PMM 359.

First edition, inscribed to Eccarius Marx, Karl. Das Kapital. Kritik der politischen Oekonomie [...]. Erster Band. [Author’s presentation copy to Johann Georg Eccarius]. Hamburg, Otto Meissner, 1867. 8vo. Inscribed "Seinem Georg Eccarius / Lond. 18 Sept. 1867. Karl Marx" on verso of title, two small pencil corrections and one ink correction to text, presumably in the hand of Eccarius. Contemporary half calf. Stored in custom-made morocco case.

First edition. Inscribed four days after publication to the General Secretary of the First International, Johann Georg Eccarius, "one of my oldest friends and adherents": the most important Karl Marx presentation copy ever to have come to the market. "Amongst the most influential pieces of writing in world history" (International Institute of Social History in Amsterdam), "Das Kapital" was the culmination of many years’ work in the British Museum. This first volume was the only one published during Marx’s lifetime, the later volumes, edited by Engels from the author’s manuscript, appearing in 1885 and 1894.

Marx’s own annotated copy, along with the only surviving handwritten page of the Communist Manifesto, were inscribed on the prestigious UNESCO "Memory of the World Register" in 2013. – Johann Georg Eccarius (1818-89) was a German emigré tailor and labour activist who met Marx and Engels in 1848 at the second congress of the International League, when he was elected as member of the new threeman Central Committee of the League.– In 1864 Eccarius attended the first meeting of the International Workingmen’s Association, the "First International", and was nominated by Marx to speak on his behalf.

Three years later, just before "Das Kapital" was published, Eccarius was elected the organisation’s General Secretary. At the same time, Eccarius was one of those privileged enough to be shown parts of "Das Kapital" as it neared completion, and told friends that "the Prophet Himself is just now having the quintessence of all wisdom published" (quoted in: Francis Wheen, Karl Marx, 1999, p. 298). – Very few presentation copies of the first edition of "Das Kapital" are known to have survived, but at least two others were inscribed by Marx on the same day in London, presumably when the first batch arrived from Hamburg. – Light toning and dampstain in upper margins throughout, some occasional slight soiling and offsetting. British Museum reading-room ticket and some family papers loosely inserted. Provenance: Johann Georg Eccarius (1818-89); and thence by direct family descent; acquired from the heirs. ¶ PMM 359.

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采用当代色彩 约翰内斯·诺伊霍夫 . 荷兰东印度公司的代表团，拜见鞑靼可汗和中国皇帝［...］。 阿姆斯特丹，Jacob van Meurs, 1669。开本（300×190 毫米）。标题红黑打印。彩色雕刻 标题页，附中国皇帝坐在龙椅上的样子，他的左臂放在一个球状物上，脚下踩着被判有 罪的罪犯 , 整版彩色雕刻肖像，大型折叠中国地图，34 双刻盘，上面有巴达维亚、广州、 澳门、南关町、南京、北京等地的图，110 幅半版的雕刻的有关仪式，服装，动物，鱼 类和植物等的图和板材，文本均采用当代色彩。当代小猪皮革纸质附在木板上。 德语版。17 世纪非常稀缺的彩色复印品。诺伊霍夫记叙荷兰东印度公司（VOC） 第一个出使中国的贸易代表团的作品。中国是当时为数不多的非耶稣会地区之一。首先 1665 年在荷兰发表，很快受到人们的欢迎，不仅被翻译成德语 , 还翻译成法语、英语和 拉丁语。今天，它被认为是荷兰驻北京的权威报告。——约翰·诺伊霍夫进入荷兰东印 度公司工作后，曾于 1640 年到 1649 年间，代表荷兰东印度公司前往西印度群岛和巴西。 在荷兰东印度公司中担任管事的角色，用两年时间穿越东印度群岛，他被荷兰驻中国皇 宫大使馆派往中国，也可能因为大家都知道他是一个有一定成就的制图员。荷兰驻中国 皇宫大使馆，和蒙古、藏族和南鞑靼人等的使馆人员一起 , 用五个月的时间从广东来到 北京。其目的是在中国开展自由贸易。和以往一样，朝廷将它作为研究考察队来款待， 将其成员视为科学家。他们研究，描述旅途中一切有趣的自然之物，并且从中总结经验。 因此，当前版本附有丰富的沿途港口和地区的大幅图画（他们从巴达维亚开始他们的探 险航行），包括许多展示 17 世纪的中国的生活和习俗的雕花文字（详细描述），包括一 系列美丽的植物群和动物群的雕刻，全都是根据诺伊霍夫的图纸。同样，还包括著名的 瓷塔上雕刻，一座 1856 年太平天国运动时期被拆除，但是在中国商人王健林的数十亿的 捐赠下迅速重建的九层宝塔。 ¶ VD 17, 3:606778R. 敕勒 801. Graesse IV, 675. 科尔迪耶 2346. Cox I, 325, L. 包乐史 & R. 法肯堡 , 约翰· 诺伊霍夫 beelden van een China-reis 1655-1657 （1987）.

In contemporary colour Nieuhof, Johannes. Die Gesantschaft der Ost-Indischen Geselschaft in den Vereinigten Niederländern, an den Tartarischen Cham, und nunmehr auch Sinischen Keyser […]. Amsterdam, Jacob van Meurs, 1669. Folio (300 × 190 mm). Title printed in red and black. With coloured engraved title page with the Chinese Emperor seated on a throne, his left arm resting on a globe and a convicted criminal at his feet, full-page coloured engraved portrait, large folding map of China, 34 double-page engraved plates and views of Batavia, Canton, Macao, Nankan, Nankin, Beijing, etc., and 110 half-page engraved views and plates of ceremonies, costumes, animals, fishes and plants in the text all in contemporary colour. Contemporary blindstamped pigskin over wooden boards.

German edition. Very scarce coloured copy of the most important embassy to China in the 17th century. Nieuhof’s celebrated account of the first trade mission undertaken by the Dutch East India Company (VOC) to the Imperial Court and the Emperor of China is one of the very few non-Jesuit sources of the period. First published in Dutch in 1665, it soon became highly popular and was translated not only into German, but also into French, English and Latin. Today, it is regarded as the definitive account of the Dutch embassy to Peking. – Johannes Nieuhof entered the service of the VOC after having travelled in the service of the Dutch West India Company through the West Indies and Brazil from 1640 to 1649. After two years of travels through the East Indies as a steward of the VOC, he was sent on this Dutch embassy to the Chinese Imperial Court, probably also because he was known to be an accomplished draughtsman. The embassy, together with embassies from the Mogols, the Tibetans and the South Tartars, was received in Beijing after a five-month journey from Canton. Its object was to obtain free trade throughout China. As common, it also served as a research expedition, and several scientists were members. They studied, described and drew from nature everything interesting they passed en route. Thus, the present account is also richly illustrated with large views of all ports and places visited, starting with Batavia, whence the expedition sailed, and containing numerous text-engravings illustrating in detail 17th-century Chinese life and customs, including a beautiful series of engravings of the flora and fauna, all after Nieuhof’s drawings.

Also included is the famous double-page engraving of the Porcelain Tower, a 15th-century pagoda of nine storeys demolished in 1856 during the Taiping Rebellion, but soon to be rebuilt with the help of a billion-yuan donation by the Chinese businessman Wang Jianlin in 2010. ¶ VD 17, 3:606778R. Tiele 801. Graesse IV, 675. Cordier 2346. Cox I, 325, L. Blussé & R. Falkenburg, Johan Nieuhof beelden van een China-reis 1655-1657 (1987).

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第一本附有插图的中国题材的书籍 ［影集］. 中文影集。时间地点不明（但应是 1857 以前）4to. 平版印刷的标题页，41 张蛋白版制版法影像，图片下附图片说明。当 代黑色硬麻布质地，镀金封面标题和磨边。边缘部分均烫金， 第一本附有插图的中国题材的书籍。研究 19 世纪耶稣会的重新崛起的重要文献。这部文集有 41 张蛋白版制版法印像，其中 17 张 是原传教士摄影画像的复制品：8 张耶稣会士的肖像和 8 张极具中国特色的肖像（其他都是用来说明中国历史的雕刻或绘画复制品）。 世界猫（BnF 和盖蒂）的图书馆目录中仅提到两个复印本。法国国家图书馆认为他们的复印件的成书日期是在 1850 年和 1870 年之间， 但据传另一个复印本由一位 1857 年去世的收藏家收藏着。这套文集中有一副年文思教父的画像，年文思 856 年和 1862 年之间在上海担 任主教一职，所以我们可以根据这一点更加准确地推测这个复印本地成书日期应该在 1856 年和 1857 年之间。——文集背面有一些修补 的地方，但是总体来说保存得很完好。 ¶ 非帕尔 / 巴杰处， 照片书 1.

The first book illustrated with photographs to depict Chinese subjects [Photograph album]. Album chinois. No place or date (but before 1857). 4to. Lithographic title page, 41 albumen prints with captions pasted below the images. Contemporary black buckram with gilt cover title and blindstamped borders. All edges gilt.

The first book illustrated with photographs to depict Chinese subjects. An important document for the re-emergence of the Jesuit missions in China in 19th century. The album is composed of 41 albumen prints, 17 of which reproduce original photographic portraits taken by the missionaries: eight portraits of Jesuits and eight portraits of striking Chinese types (the others being reproductions of engravings or paintings illustrating the Chinese history). Only two copies are referenced by World Cat (BnF and Getty). The French National Library dates their copy "between 1850 and 1870", but another copy is known to have been in the library of a collector who died in 1857. One of the portraits in the set, that of Father Borgniet, who was bishop of Shanghai between 1856 and 1862 and who appears here as bishop, permits us to date this publication even more precisely between 1856 and 1857. – Occasional insignificant foxing to backing paper, but very well preserved altogether. ¶ Not in Parr/Badger, The Photobook I.

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第一本关于饮食的印刷书 普拉蒂纳， 巴托洛马斯 . De honesta voluptate. Cividale， Gerardus de Lisa de Flandria， 1480. 4to. 当代华丽的小牛皮纸固 定在木制板上，书脊有凸起的带子；雕刻工具上有两个金属扣雕刻。首字母全部用红色和蓝色大写。存放在定制的翻盖盒子里。 西方文明中这部里程碑式的作品缺乏早期版本：第一本关于饮食的印刷书。这本书也是文化历史学家研究东方早期贸易 路线的重要资料：铂的使用，对姜、大米、肉桂、藏红花、丁香、橙子等的讨论，这些都表示 15 世纪中期的时候东西方就 有频繁的贸易往来。文艺复兴时期的经典文本，过去 50 年的拍卖纪录中都没有其他完整的早期装订的副本的记录。——De Honesta Voluptate 的十本书讨论了烹饪原料的渊源、属性和使用，这些烹饪原料包括药草、香料、水果、蔬菜、鸟类、野兽和鱼。 普拉蒂纳记录了约 240 道运用了这些原材料的食谱；这不仅仅是一本烹饪书，书中还包含很多关于“良好的生活的艺术” 的建议：节制饮食，性交的价值等等。——作为当时唯一的打印记录书籍，De Honesta Voluptate 的内容对于研究早期欧洲烹 饪中的异域风情也有极大的启发作用。一直连接到遥远的中国的贸易线保证了富裕的欧洲国家能够获得多得令人惊讶的各种 香料、谷物和水果。也许东方烹饪对普拉蒂纳的烹饪技能最重要的贡献是糖——没有糖，他哀叹道，古罗马人就悲哀了。De Honesta Voluptate 于 1475 年首次在罗马印刷发行；随后，但未标明日期的版本被认为比现在这个第三版要早。第三版普拉蒂 纳 1481 年去世前印刷。所有早期版本在市场上都很罕见，目前的副本是唯一完整的近现代装订的复印本。——一有一两处 现代人做的标注。标题及其他页上有一些指纹印和水渍，仍然可以使用，非常让人惊喜的版本，因为有可能是原装的。前板 有点磨损；书脊两端有一些凿头。有一些小烧孔，只影响第 44 页几个字的阅读；一些小虫洞也影响检索第四页的部分内容 的阅读。封里内衬有雕刻的藏书标签， ca.1750 年，威森布鲁的修道院。 ¶ HC （增补） 13052. 戈夫 P-763. GW M33895. 普罗克特 7266. BMC VII，1094. BSB-Ink P-561. Opere di Gastronomia 1515. 魏卡尔 689.

The first printed book on food and drink Platina, Bartolomaeus. De honesta voluptate. Cividale, Gerardus de Lisa de Flandria, 1480. 4to. Bound in contemporary ornate blind-tooled calf over wooden boards, spine with two raised bands; remains of two metallic clasps with engraved devices. Initials calligraphed in red and blue throughout. Housed in a custom clamshell box.

Scarce early edition of this landmark work of western civilization: the first printed book on food and drink. Also an invaluable source for cultural historians tracing early trade routes with the East: Platina’s use and discussion of ginger, rice, cinnamon, saffron, cloves, oranges, etc. indicates the already substantial commercial relationship between East and West by the mid-15th century. A classic text of the Renaissance, no other complete copy in an early binding has been seen in auction records of the last 50 years. – The ten books of "De Honesta Voluptate" discuss the origin, properties, and uses of culinary ingredients ranging from herbs and spices to fruits, vegetables, and birds, beasts, and fish. Platina records some 240 recipes employing these ingredients; yet his guide is more than a mere cook-book, and contains much advice on ‘the art of good living’: of eating and drinking in moderation, of the value of sexual intercourse, and so on. – As the only such printed record of its time, the text of "De Honesta Voluptate" is a fascinating source on the use of exotics in European cooking at an early date. Trade routes reaching as far as China ensured that wealthy Europeans had access to a sometimes surprising variety of spices, grains, and fruits. Perhaps the most important Eastern contribution to Platina’s culinary repertoire was in fact sugar – without which, he laments, the ancient Romans suffered. – "De Honesta Voluptate" was first printed in 1475 at Rome; a subsequent, but undated edition is assumed to predate the present, third edition – the last printed before Platina’s death in 1481. All early editions are rare in trade, and the present copy is the only complete example we have seen in a contemporary or indeed near-contemporary binding. – One or two faint marginal annotations in a contemporary hand. Some finger-soiling and toning to title and scattered leaves – commensurate with use – but generally a fresh and very charming example, in what may be its original binding. Front board a little scuffed; some chipping to head and foot of spine. Small burn hole, affecting a few letters on f. 44; small wormhole also affecting a few letters through four leaves of index. Engraved bookplate on pastedown, ca. 1750, of the Cloister of Wessenbrunn. ¶ HC (Add) 13052. Goff P-763. GW M33895. Proctor 7266. BMC VII, 1094. BSB-Ink P-561. Opere di Gastronomia 1515. Vicaire 689.

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庆祝朝廷收服四川的系列印刷品的第一版 乾隆，中国皇帝 . ［平定西域展图］. 一套象征成功收服四川的雕刻［北京，吴英庭出版社］，1778-1785. 13 件套装（共 16 件）的大型镀铜雕刻板（每个约 505×864 毫米），放在比它稍大的板片上，每板上面有打印的中文诗（基于乾隆本人对 该次战役的评价）。晚期摩洛哥包装风格，四角为带大理石花纹的板材，有布带。 中国问题，采用帕里斯 1755-59 年印刷。“战争青铜印刷品“的历史可以追溯到 18 世纪下半叶。乾隆皇帝（1735-1796 年在位）委托制作。这些作品记录了乾隆皇帝 1772-6 年间由阿贵将军率领的对抗内部省份的金川部落的战役以及在四川内 西藏山区交界处作战的军事行动。主要插图是当时在北京朝廷任职的欧洲艺术家们绘制的，包括耶稣会乔治白·卡斯蒂廖内、 王志诚和依格纳茨·艾启蒙，以及奥古斯丁传教士乔瓦尼·达马谢诺·萨卢斯蒂。第一套共 16 幅画上的雕刻都不是在中国 完成的，而是在巴黎，那时候，巴黎是欧洲最优秀的艺术家们雕刻的工作场所。皇帝甚至下令，这些作品必须模仿奥格斯堡 雕刻家格奥尔格·菲利普·卢根达斯的风格。这位雕刻家的作品他是有所了解的。卡斯蒂廖内和他在北京的同事将这些画的 小幅复制品寄往巴黎，转印到铜版上，然后再和板材以及复印件一块寄回中国。后一套的雕刻则由北京耶稣会的学徒们完成， 在风格和花纹上都不同于在巴黎生产的那一批作品——中国艺术史上，铜印雕刻有其地位和历史。从政治背景来看，乾隆的 “战争青铜印刷品”代表自成一种独特的绘画流派，帝国国家权力自吹自擂的有力例证。——包括这一组作品的这些引人注 目的板块为中国之后的印刷提供了模板，板块内刻中文，在技术和风格上与早期的巴黎式的西化版本不同。从这个中国印刷 上的 16 件套中获得如此大的补足部分，极为罕见：市面上却有巴黎印刷的复制品（一套完整 2012 年 10 月 29 日在巴黎佳士 得出售），我们却买不到中国印刷的复制品。盖蒂研究所拥有一套描述乾隆最后一次打印委托的作品，是第一个系列“平定 廓尔克展图”（对抗廓尔克战役的图片）近 30 年之后创作的作品，这部作品也是体现采用欧洲图形技术制成的中国图像的 极好的例子。盖蒂的套件是之后美国民间收藏中唯一一部完整的作品。台北故宫博物院的一套完整的同一主题的配中文的系 列作品。——每一板的短边处都有撕裂痕迹，其他情况良好。来自于吉恩 R. 佩雷特的收藏。 ¶ 引用：石渠宝鸡，帝国的目录。壮族螭发，台北故宫博物院——乾隆皇帝的十次军事行动。w·福克斯 : 华裔学志赛 里斯人 4（1939 - 40），p . 122。保罗伯希和，“中国皇帝的征服”，：毛泽东 20（1921），页 183 - 183。s . l . 索肖帝国 印刷、22 页。中国人东京”，乾隆皇帝征服西部地区的铜版雕刻”，在 :70 年东京诈欺回忆录（2012）。

First edition of Chinese series of enormous prints celebrating the Emperor’s conquests in Sichuan Qianlong, Emperor of China. [Pingding Xiyu zhantu]. Suite of engravings representing the military campaigns at the conquest of Jinchuan. [Beijing, Wu Ying Ting Press], 1778-1785. Suite of 13 (out of 16) large copper-engraved plates (each measuring 505 × 864 mm approx.), laid down on slightly larger sheets, with a printed poem in Chinese within each plate (based on the Emperor’s own personal commentary on the battles). Later morocco-backed and cornered marbled boards, cloth ties.

Chinese issue, following the Paris printing of 1755-59. The "Battle Copper Prints" are a series of prints from copper engravings dating from the second half of the 18th century. They were commissioned by the Qianlong Emperor of the Qing dynasty, who ruled from 1735 to 1796. They depict his 177276 military campaigns, led by General A-Kuei, against the Jinchuan tribes in China’s inner provinces and along the country’s frontiers in the ethnically Tibetan mountain regions of Szechuan. The master illustrations for the engravings were large paintings executed by European missionary artists employed at that time at the court in Beijing. They included the Jesuits Giuseppe Castiglione, Jean-Denis Attiret, and Ignaz Sichelbarth, as well as the Augustinian missionary Giovanni Damasceno Sallusti. The engravings of the first set of 16 paintings were not produced in China but in Paris, at that time home to the best European artisans working in this technique. The Emperor even decreed that the work must emulate the style of the Augsburg engraver Georg Philipp Rugendas, whose work he knew. Small-scale copies of the paintings by Castiglione and his Beijing colleagues were sent to Paris to be transferred onto copperplates, printed, and then sent back to China, along with the plates and prints. Later sets of engravings were executed in Beijing by Chinese apprentices of the Jesuits and differ markedly in style and elaborateness from those of the Paris series. – In the history of Chinese art, copper-print engraving remained an episode. Seen in their political context, Qianlong’s "Battle Copper Prints" represent a distinct and exceptional pictorial genre and are telling examples of the self-dramatization of imperial state power. – The striking plates comprising this set appear to be examples of the Chinese versions printed later, with Chinese text within the plates and technical and stylistic differences which differ greatly from the earlier Paris "westernized" versions. Such a large complement from this suite of sixteen from the Chinese printing is extremely rare: while copies of the earlier Paris printing have appeared on the market (a complete set sold at Christie’s Paris, on 29 Oct. 2012), we have been unable to trace a comparable copy of the Chinese issue.

The Getty Research Institute owns a suite depicting one of Qianlong’s last print commissions, produced nearly 30 years after the first series, the "Ping ding Kuoerke zhan tu" ("Pictures of the Campaigns against the Gurkhas"), which likewise stands out as a highly unusual example of Chinese images executed with European graphic techniques. The Getty’s suite is the only complete set in American public collections of this later work. The Taipei Palace Museum has a complete set of this series with the Chinese text apparently of the same issue. – One plate with short marginal tear, otherwise in perfect condition.

From the collection of Jean R. Perrette. ¶ References: Shiqu Baoji, Imperial Catalogue. Chuang Chi-fa, Taipei Palace Museum – Ten Military Campaigns of Qianlong Emperor. W. Fuchs, in: Monumenta Serica, 4 (1939-40), p. 122. Paul Pelliot, "Les ‘Conquêtes de l’Empereur de la Chine’", in: Toung pao 20 (1921), pp. 183-274. S. L. Shaw, Imperial printing, p. 22. Takata Tokio, "Qianlong Emperor’s Copperplate Engravings of the ‘Conquest of Western Regions’", in: The Memoirs of the Tokyo Bunko 70 (2012).

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17 世纪上半叶最有影响力的描述中国的作品的第一版 里奇，马泰奥 / 金尼阁，尼古拉斯 . De Christiana expeditione apud Sina suspecta ab Societate Jesu. Augsburg，Christoph Mang，1615. Small 4to. 雕花标题页，雕花折叠平面图。19 世纪半鞣羊皮材质，精装书脊，带大理石纹理的书边。 17 世纪上半叶最有影响力的描述中国的作品的第一版（哈努头）。里奇是一名意大利耶稣会传教士，1582 年来到中 国。他接受了中国服装和中国话，这些别的传教士没做到的事他都做到了。他曾在南昌和南京任职，1610 年他获得允许， 可以在北京设一个传教士的职位。这些年间，他坚持记日记，记述 1585-1610 年间中国的耶稣会传教史。他于 1610 年去 世。他的继任者金尼阁后来将他的作品由意大利语翻译成拉丁语。金尼阁曾经试图在中国传教方面寻求帮助。然而，金 尼阁篡改了里奇日记里的很多内容，反而是根据几个葡萄牙人的报告增加了一些内容。最后，形成的书籍不仅仅是一部 耶稣会传教史，还是一部讲述中国的著作，其中有很多章节讲述的是中国的地理信息、人、法律、政府、宗教、学习、 商务等（哈努头）——标题页由沃尔夫冈·克里安雕刻，他将标题设计在门廊形状的布上，旁边是圣弗朗西斯泽维尔和 利玛窦的人物画像，底下是中国地图、韩国、日本、台湾与长城的图样。——上面有图书馆和收藏品的章。刻花的标题 页修剪过且颜色有些发褐；开头和结尾几页有指纹；整本书上有一些修补痕迹，但不影响阅读，其他情况都很好。书脊 两端的装订有一些刮痕，前面铰链部分破裂，其他状况良好。佩雷特复印本（第 183 份）2016 年 4 月以 $68,750 的价格 在纽约佳士得成交。 ¶ 科尔迪耶 （中国学） 809. 德·贝克 / 索姆维格尔 VIII，239. 卢斯特 836. 莫里森 II，466. 施特赖特 V，2094. 浩哥 阁 Howgego I，R40 & T66. Cf. 哈努头 14 （法语版第二版）.

First edition of "the most influential description of China to appear during the first half of the 17th century" Ricci, Matteo / Trigault, Nicolas. De Christiana expeditione apud Sina suspecta ab Societate Jesu. Augsburg, Christoph Mang, 1615. Small 4to. With engraved title page and an engraved folding plan. 19th-century tanned half sheepskin, gold-tooled spine, marbled sides.

First edition of "the most influential description of China to appear during the first half of the 17th century" (Hanotiau). Ricci, an Italian Jesuit missionary, arrived in China in 1582. Adopting Chinese dress and learning the language, he succeeded where other missionaries had failed. He served in Nanchang, Nanking, and received permission to establish a missionary post in Beijing in 1610. During these years, he kept a journal which presented the history of Jesuit mission in China from its beginning in 1582 to 1610, the year of his death. This manuscript was translated from the Italian into Latin by Ricci’s successor Trigault, who tried to elicit support for the mission in China. Trigault, however, changed many passages of Ricci’s journal and augmented it with information based on several Portuguese reports. "The resulting volume contains not only a history of the Jesuit mission but also includes a wealth of information about China in the chapters describing Chinese geography, people, laws, government, religion, learning, commerce and the like" (Hanotiau). – The title-page, engraved by Wolfgang Kilian, gives the title on a cloth hanging in a portico, flanked by the figures of St Francis Xavier and Matteo Ricci, and with a small map of China, Korea, Japan and Formosa, with the Great Wall depicted, at the foot. – With library and de-accession stamps. Engraved title-page trimmed down and mounted on browned leaf; some thumbing on the few first and last pages and some minor foxing thoughout, not affecting the text, otherwise in very good condition. Binding rubbed along the extremities of the spine and front hinge partly cracked, otherwise good. The Perrette copy sold at Christie’s New York in April 2016 commanded $68,750 (lot 183). ¶ Cordier (Sinica) 809. De Backer/Sommervogel VIII, 239. Lust 836. Morrison II, 466. Streit V, 2094. Howgego I, R40 & T66.

Cf. Hanotiau 14 (2nd French edition).

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在亚洲的 44 年 沙 尔［ 文· 贝 尔］， 约 翰· 亚 当 . Historica narratio, de initio et progressu missionis Societatis Jesu apud Chinenses, ac praesertim in regia Pequinensi. Vienna, Matthäus Cosmerovius, 1665. 8vo. With engr. portrait. 现代半牛皮纸纸质，使用老版的希伯来语手稿。 第一版。J. A. 绍尔（1591 - 1591）是北京朝廷的一名传教士和天文学家，是在中国活动的耶稣会 主要传教士之一。他变革了中国的日历重新设计了皇家天文台。目前这部作品是他对自己在亚洲 44 年 的一个总结报告，也是研究 17 世纪耶稣会在东方传教的第一手资料。绍尔去世后，这部作品就成了他 在亚洲 44 年的一个活动总结，也是研究 17 世纪的耶稣会的历史任务的第一手资料。这是在他死后由 J. 佛 雷斯整理编辑。——标题页上面的所有人的痕迹都被抹去；作品上有一些褐变和污渍。 ¶ 斯特赖特 V，2323. 科尔迪耶 821. 卢斯特 845. 德·贝克 / 索姆维格尔 VII，707，29，& III，877，3（佛 雷斯）.

Forty-four years in Asia Schall [von Bell], Johann Adam. Historica narratio, de initio et progressu missionis Societatis Jesu apud Chinenses, ac praesertim in regia Pequinensi. Vienna, Matthäus Cosmerovius, 1665. 8vo. With engr. portrait.

Modern half vellum, using an older Hebrew manuscript.

First edition. – J. A. Schall (1591-1666), missionary and astronomer at the Imperial court at Beijing, was one of the principal Jesuit missionaries in China. He reformed the Chinese calendar and redesigned the Imperial observatory. The present work is his report of his 44-year activity in Asia, also a first-rate source for the history of the 17th-century Jesuit mission in the East. It was edited by J. Foresi after his death. – Old ownerships deleted from title page; some browning and occasional brownstaining. ¶ Streit V, 2323. Cordier 821. Lust 845. De Backer/Sommervogel VII, 707, 29, & III, 877, 3 (Foresi).

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30 中国文化的多元化 汤姆森，约翰 . 中国及中国人的图片。系列照 片（共 200 张），凸版印刷，描述有代表性的地方 和人。伦敦，桑普森洛，马斯顿、洛和塞尔，1873 - 1874。大对开。4 卷。218 张珂罗版照片和人物画 像共 218 张，列于 96 块书板上。带插图的原布。边 缘镀金。 第一版具有不朽意义的摄影作品，通过各种图 像，人物画像和公共场景来记录 19 世纪时期中国文 化的多样性。苏格兰摄影师约翰汤姆森是摄影界的 先驱，是前往远东，记录远东国家的人，将东方文 化的景观编撰成文件的第一个摄影师。1868 年在香 港定居下来之后，他在香港成立了自己的工作室， 他花了四年的时间来游遍中国的大江南北。他看过 广州的贸易港口，北京上海的城市，看过万里长城， 也深入过中国的中部地区。1870-1871 年他到达福 建地区，在那儿坐船度过闽江去了厦门和汕头。在 琉球半岛，他去了首府台湾府，在此之前，他去了 岛上西部平原的土著村。他花了三个月的时间，沿 长江而上，先后到达湖北和四川，全程共 3000 多英

The diversity of Chinese culture

里。汤姆森的中国之行往往都极为危险，因为他去

Thomson, J[ohn]. Illustrations of China and its people. A series of 200 photographs, with letterpress descriptive of the places and people represented.

London, Sampson Low, Marston, Low, and Searle, 1873-1874. Large folio. 4 vols. With 218 collotype photograph views and portraits on 96 plates.

Illustrated original cloth. All edges gilt.

First edition of this monumental photographic work, recording the diversity of Chinese culture during the late 19th century in a wealth of views, portraits, and public scenes. The Scottish photographer John Thomson, a pioneer of photojournalism, was one of the first photographers to travel to the Far East, documenting the people, landscapes and artifacts of eastern cultures. After settling in Hong Kong in 1868 and establishing a studio there, Thomson spent four years travelling throughout China: he saw the southern trading port of Canton, the cities of Beijing and Shanghai, and the Great Wall, venturing deep into central China. He visited the Fukien region in 1870/71, travelling up the Min River by boat and proceeding to Amoy and Swatow. On the island of Formosa he visited the capital, Taiwanfu, before journeying on to the aboriginal villages on the west plains of the island. Three months were spent travelling 3000 miles up the Yangtze River to Hupeh and Szechuan. Thomson’s travels in China were often perilous, as he visited remote, almost unpopulated regions far inland. Most of the people he encountered had never seen a westerner or camera before. Thomson had to transport a bulky wooden camera, many large, fragile glass plates, and potentially explosive chemicals. He photographed in a wide variety of conditions and often had to improvise because chemicals were difficult to acquire. His subject matter varied enormously: from humble beggars and street people to Mandarins, Princes and senior government officials; from remote monasteries to Imperial palaces; from simple rural villages to magnificent landscapes. – Many of the plates have German captions carefully pencilled in. Bindings professionally restored at extremeties, spines rebacked. Removed from the Geographical Institute of the University of Vienna, with their library stamp throughout and deaccession stamp to title pages. A fine set. ¶ Gernsheim 288f. OCLC 3384592.

的地方都是几乎没有人烟的内陆地区。他遇到的中 国人之前几乎都没有见过外国人和相机。汤姆森必 须带着笨重的木相机，又大又容易碎的玻璃盘子， 以及一些极易爆炸的化学品。他拍摄时往往会碰到 各种各样的情况，他必须因时制宜即兴发挥，因为 有的化学品极为难得。他拍摄的主题也极为丰富： 从卑微的乞丐到街头的行人，官员，王子和高级政 府官员，从遥远的修道院到王宫，从简陋的农村到 壮丽的风景区，均包括在内。——许多盘子上面都 用铅笔仔细地写着注意事项（德文）。两端的装订 问题得到专业修复，书脊也修补过了。从维也纳大 学的地理研究所拿出来，标题页上面还有图书馆和 收藏品的章。极好的一套作品。 ¶ 海姆 288f. 在线计算机图书馆中心 3384592.

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12 份由帕格尼尼、罗西尼以及其他作曲家签名的亲笔原稿所组成的集册，主要包括完整歌曲和钢琴曲，一共 22 页。矩形 4 开（17×27 厘米），每页 8 行五线谱，现代棕色抛光小牛皮，烫金不着色（“克莱拉·曼金”）， 介绍题词。 12 份由帕格尼尼、罗西尼以及其他作曲家签名的亲笔原稿所组成的集册，主要包括完整歌曲和钢琴曲。1、 尼科罗·帕格尼尼，集册中有两种逆向半音阶句，每种跨度八个音度，二十六个小节，高音和低音以符号标出， 棕色墨水书写在三份两行五线谱中，有签名和题词（“所有”艾格吉亚· 梅达米吉拉· 克莱拉·曼金…布伦， 1834 年 8 月 15 日，尼科罗·帕格尼尼）。2、焦阿基诺·罗西尼，“Mi lagnerò tacendo（我保持沉默）”手稿， 签名（“G·罗西尼”），包括为梅塔斯塔齐奥的剧本而创作的十六个小节，深棕色墨水标记在两份三行五线谱 每页上，［c.1836］，一共两页。此外还有：西奥多·拉巴尔（歌曲“玛蒂尔德”，两页）- 乔治斯·马修斯（“小 行板”E 小调钢琴曲，三页，1836）- 朱尔斯·戈德弗罗伊（“Pensée du moment（沉思中的光阴）”钢琴曲， 两页，1835）- 亨瑞·贝蒂尼（“提玛”钢琴曲，签名题词，1836 年 5 月 14，H 贝蒂尼）-- 西奥多·德勒（快 板 C 小调钢琴曲，签名）-- 西斯吉蒙德·塔尔贝格（G 调小行板引用旋律）- 乔治·昂斯洛（小快板，降 E 调 钢琴曲，签名“……1846 年 1 月 23 乔治·昂斯洛，三页”）- 尤金·奥托兰（Souvenirs d'auvergne 纪念奥弗涅 ' F 调， 三页，1847 年 9 月 2 日），以及其他等等包含在克莱尔·曼金这份 22 页，矩形 4 开（17×27 厘米），每页 8 行 五线谱的集册中。所有的原稿都是直接在这份集册中写好，每页 8 行五线谱，现代棕色抛光小牛皮，镀金不着色（“克 莱拉·曼金”），介绍题词，1834 年 6 月 26 日。布伦、巴黎、加来、克莱蒙或其他地方，1836 年至 1847 年，些 许老旧，封面脱落。帕格尼尼的亲笔音乐手稿很少见市出卖。此集册是十九世纪三十年代到四十年代中很好的一 份集册，收集有完整的音乐曲目，而不是短片段旋律。罗西尼的曲子是他为最爱的梅塔斯塔齐奥诗歌创作的众多 曲目中的一首。此集册于 1834 年被赠与布伦的克莱拉·斯蒂芬妮·曼金，作为赢得音乐奖项的奖赏。我们从乔治·昂 斯洛于 1846 年创作的三页钢琴曲中可以得知克莱拉已经成为了 Espinay Theix Royat 伯爵夫人； Theix 城堡位于克 莱蒙费朗市附近。

Album of 12 autograph manuscripts signed by Paganini, Rossini and others, containing mainly complete songs and piano pieces 22 pages. Oblong 4to (c.17 x 27cm). 8-stave paper, contemporary brown polished calf, stamped in gilt and blind ("Clara Mangin"), presentation inscription.

Album of 12 autograph manuscripts signed by Paganini, Rossini and others, containing mainly complete songs and piano pieces. 1) Paganini, Niccolò. Album-leaf comprising two chromatic scale-passages in contrary motion, each spanning two octaves, twenty-six bars music in all, notated for treble & bass in brown ink on three two-stave systems, signed and inscribed ("All' Egregia Madamigella Clara Mangin ... Boulogne, li 15. Agosto 1834 Nicolò Paganini"). – 2) Rossini, Gioachino. Autograph manuscript of "Mi lagnerò tacendo", signed ("G. Rossini"), comprising a sixteen-bar setting of Metastasio's text, notated in dark brown ink on two three-stave systems per page, [c.1836], 2 pages. Together with: Théodore Labarre (the song "Mathilde", 2 pages) – Georges Mathius ("Andantino" in E minor for piano, 3 pages, 1836) – Jules Godefroy ("Pensée du moment", for piano, 2 pages, 1835) – Henri Bertini ("Téma" for piano, signed and inscribed 14 Mai 1836. HBertini")--Theodore Döhler (Allegro in c minor for piano, signed)--Sigismond Thalberg (musical quotation of an 'Andantino' in G) – George Onslow ('Allegretto con moto' in E-flat, for piano, signed "...23 Janvier 1846 George Onslow", 3 pages) – Eugene Ortolan ('Souvenirs d'auvergne' in F, 3 pages, 2 September 1847), and others in the album of Clara Mangin, 22 pages, oblong 8vo (c.17 x 27cm), the manuscripts all written directly into the album, 8-stave paper, contemporary brown polished calf, stamped in gilt and blind ("Clara Mangin"), presentation inscription, 26 June 1834, Boulogne, Paris, Calais, Clermont and elsewhere, 1836–1847, somewhat worn, with front cover detached. – Autograph music by Paganini is rarely offered for sale. This is a fine album of the 1830s–1840s, containing mainly complete works rather than short quotations. Rossini's song is one of many such settings that the composer made of his favourite Metastasian poem. The volume was given to Clara Stéphanie Mangin of Boulogne in 1834, in recognition of winning a music prize. We learn from the three-page piano work by George Onslow in 1846 that Clara had become Comtesse d'Espinay Theix Royat; the Château de Theix was near Clermont-Ferrand.

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作为文学批评家的汉斯·克里斯蒂安·安徒生 安徒生，汉斯 克里斯蒂安，丹麦诗人（1805-1875），亲笔签名信件。由于纸张质量问题，信件上 有棕色斑点。哥本哈根，22 01/ 1869 2 1/2 pp. 8vo.

安徙生向 38 岁的诗人克里斯汀·道加特表示感谢，因为以下内容为本人翻译）“送我那些由一个年 轻人写的诗歌，展示了你的自信”。H.C.A. 被邀请来评估这个年轻人的写诗才华。 这个年轻人是克里斯 汀·道加特父亲的雇员，而道加特的父亲是一位非常著名的神父。从信中可以很明显地看出汉斯·克里 斯蒂安·安徙生很少像这样评论很多。“当然我可以理解，道加特小姐。但用言语表达出来是非常不容 易的。”因为“当你还年轻富有激情，在某种程度上有天赋且饱览群书，那么在我们这个时代，写出很 好的诗歌是可能的。”“几乎一个星期过去了，而我还没有收到来自年轻人的来信。那些年轻人都是‘希 望成为一名诗人’就像向你写信展示他自己的那位年轻人一样。”尽管 H.C.A. 是一个少言寡语的人，且 对那些想成为作家的年轻人来说，他不那么热心，但他很高兴地表示他带着极大的愉悦读了几乎所有的诗。 尤其是一首叫“丹麦”的诗。安徙生对这首诗很有兴趣，因为“这首诗是有感而发，鲜活生动，甚至表 达很有特点”。在信件末尾，他祝愿这个年轻人有长足的发展。这封信很有趣，不仅揭示了当时 H.C.A. 在 普通人间的地位，在年轻一代间的影响，作为一个公共人物的生活，还告诉我们他是如何看待自己的诗 歌以及年轻一代的诗歌。能看到 H.C.A. 也是一个文学批评家，由此理解在诗歌创作上，他所欣赏的是什 么，认为有价值的是什么，这很有趣，很难得。克里斯汀·道加特是 H.C.A. 时期少有的丹麦女性诗人之一。 她性格安静，一直未婚。她的诗歌充满了优雅。真诚与正确性。

Hans Christian Andersen as a literary critic Andersen, Hans Christian, Danish poet (1805-1875). Autograph letter signed. Kjøbenhavn, 22 Jan./ 1869 2 1/2 pp. 8vo. Due to paper-quality brownspotted.

Andersen thanks the 38-year old poet, Christine Daugaard, for (following quotations are in own translation) "the confidence you show me by sending me some poems by a young person." H.C.A. has been asked to evaluate the poetic abilities of the young man, who is employed by Christine Daugaard's father, a well known priest.

It is evident from the letter that Hans Christian Andersen usually does not like to say too much in cases like this. "Certainly it is understood, Miss Daugaard, how impossible it is to say." Because "When you are young, emotional, in some way talented and well read, then in our time it is possible to bring/ fairly pretty poems into writing." "Barely a week goes by, in which I do not receive letters from young folk,/ who all "wish to become a poet" like the young man has expressed himself in his letter to you." In spite of his reserved and not very enthusiastic approach to these young writers-to-be, H.C.A. can gladly inform that he has read nearly all the poems with great joy. Especially one poem, "Denmark", appeals to him, "it is inspired by feeling, it is lively and even in the expressions it has something characteristic." He ends the letter by wishing the young man great advance. This is a very interesting letter that not only reveals something about the status of H.C.A. among "ordinary" people at the time, his influence upon the young generation, as well as his life as a public persona, but which also tells us how he views on his own poetry and that of the young generation. It is interesting and unusual to see H.C.A. as a literary critic and thereby to understand what he appreciates and recognizes as valuable when it comes to poetic production. Christine Daugaard was one of the few Danish female poets at the time of H.C.A. She was a quiet spinster, whose poetry possessed much elegance, sincerity and correctness.

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波德莱尔，查尔斯，法国作家（1821-1867）。亲笔信件，署名查尔斯［巴黎］，3.

III. 1858. 8vo （205 x 135 毫米）. 4 pp. 一封关于他财务问题以及与公证人昂塞尔不和的长信。波德莱尔希望只需与杰奎特先 生，即梅·奥皮克的律师交涉。他发现昂塞尔先生的方法糟糕又无信，而他又对杰奎特先 生十分满意。杰奎特先生能一直保持冷静，且能帮波德莱尔分析他的债务与处理办法。波 德莱尔希望能尽快得到他母亲许给他的三千法郎，而这三千法郎很可能被昂塞尔扣留了。 除此之外，波德莱尔还希望能尽快与母亲在翁夫勒尔见面。债主追债之下的波德莱尔无法 忍受二月里纳瑟斯·昂塞尔进行的调查，那时候昂塞尔已经回到了在伏尔泰码头的住所， 调查波德莱尔的生活习惯与财产状况。此外，诗人扬言要当着妻儿的面拍下文书，承认自 己因袭击而被起诉。他慢慢冷静下来，决定不去翁夫勒尔，而是去科尔贝呆几天，检查埃 德加·爱伦·坡的小说《阿·戈·皮姆的故事》印刷过程。参考：信函，I，P. 474 和注释。 附加：杰奎特，安东尼。 亲笔信件，写给奥皮克，1858 年三月 3 日（3 p. In-8）。他承认 了与波德莱尔的相遇，而且如果梅·奥皮克需要的话，他同意充当调解人。

Baudelaire, Charles, French writer (1821-1867). Autograph letter signed „Charles“. [Paris] , 3. III. 1858. 8vo (205 x 135 mm). 4 pp.

Long letter about his financial trouble and his grudge against Maître Ancelle. Baudelaire hopes he will only have to negotiate with M. Jaquotot, Mme Aupick’s lawyer. He finds M. Ancelle’s methods deplorable and disloyal, whereas he is very satisfied with M. Jaquotot who has stayed completely calm and with whom he has analyzed his debts and the ways to deal with them. He expects to soon get the 3000 Francs that his mother has promised him and that are probably withheld by M. Ancelle, and he hopes to join her soon in Honfleur. – Trailed by his creditors, Baudelaire had trouble bearing the investigation conducted by Narcisse Ancelle in February when he had come to his apartment on quai Voltaire to interrogate the proprietor about Baudelaire’s mores and habits. Beside himself, the poet had threatened to slap the notary in the face in front of his wife and children, accepting to be prosecuted for assault. Gradually, he calmed down, decided against going to Honfleur and went instead for a few days to Corbeil in order to check on the printing process of Edgar Allan Poe’s novel ‘The Narrative of Arthur Gordon Pym of Nantucket’. – Reference: Correspondance, I, p. 474 and annotations. – Attached to this: Jaquotot, Antoine. Autographe letter signed to Mme Aupick. Paris 3 March 1858 (3 p. in-8). He confirms the encounter with Baudelaire and accepts to serve as an intermediary should Mme Aupick desire it.].

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贝多芬草稿页 贝多芬，路德维希·凡，作曲家（1770-1827）。亲笔草稿页，至 op. 117，“科尼· 斯蒂凡”. ［特普利兹，1811］. 墨水 书写两页，铅笔书写在 16 行五线谱纸（322×234 毫米），有两道折痕。页面左边曾被缝合，因此留下了三道针孔。另附有两 封亲笔信，莱比锡的弗勒贝尔·威廉·康泽尔写给芝加哥的弗雷德·M·斯蒂尔，日期是 1886 年 7 月 16 日，内容是讨论关于 此现存草稿页的收购与证实。 一份被经常使用的双面签名草稿页，包括 117 号乐曲，《科尼·斯蒂芬》或者叫《斯蒂芬王》（匈牙利的第一个国王）， 前者在其他主题里，显示了开场大提琴 / 大管线，这是第一幕“因他的所作所为而得到平息”（雄伟快节奏的行板乐章，C 大调） 合唱开头。也是结束时的取材。书页背面，都用墨水和铅笔自由肆意地写着音乐短句，大多是在一行五线谱里，也有写在下面的， 包括很多手写纠错以及例子，用墨水写在铅笔字迹上面。现存的草稿页，很显然迄今学术界都不知道，是属于一本草稿集册。 贝多芬在 1811 年写舞台音乐《斯蒂芬王》时，用到了这本集册。贝多芬用手头多种纸张制作成了他自己这本草稿本，在 1810 年后几个月到 1811 年在特普利兹疗养时使用这个草稿本。他在 1811 年的 8 月 20 号至九月中旬间完成了这部剧作。草稿是关于 第一场合唱（在前奏曲之后）。这出音乐剧是贝多芬受命为佩斯新剧场的开幕而准备的，还有《雅典的废墟》也是。第一次演 出在 1812 年 2 月 9 日，出版为 117 号乐曲，斯蒂芬王一世在 1000 年创建了匈牙利。奥地利的法兰西皇帝一世任命给了新剧院。 贝多芬被选为带给开幕式荣幸的作曲家。当时奥地利皇帝正在授荣匈牙利的皇室，因此音乐剧主题就关于此。波昂的贝多芬 豪斯有此草稿本中的另外四份草稿（网上档案馆能看到它们的电子版本，条目分别是 HCB Bsk 2/50，3/51，4/52 和 Mh 81）。 这些草稿都在页面左边有三个针孔。我们感谢曼哈顿维尔学院音乐历史教授，卡梅罗·康巴瑞迪博士，感谢他在为此草稿的编 录中做出的帮助。出处：弗勒贝尔·威廉·康泽尔，至 1886；弗雷德·M·斯蒂尔收集，芝加哥，从上者手中购买，1886。由“弗 雷德·M·斯蒂尔先生的遗孀，埃拉·M·斯蒂尔女士的财产中重要亲笔作品收藏”提供（费城，1918）。从买主的后代得到， 最后地点为格林威治，CT。 ¶ 为了此草稿从属的书页的深入讨论 cf. 道格拉斯·约翰逊 ，艾伦·泰森和罗伯特·温特 ，《贝多芬草稿本》 p. 201-206.

Unknown Beethoven sketchleaf Beethoven, Ludwig van, composer (1770-1827). Autograph sketchleaf to op. 117, "König Stephan". [Teplitz, 1811]. 2 pages in ink and pencil on 16-stave paper (322 x 234 mm), with two folds. Formerly sewn on the left margin, leaving three punched holes. Accompanied by two autograph letters signed from Friedrich Wilhelm Künzel in Leipzig to Fred M. Steele of Chicago, dated July 16th, 1886, discussing the acquisition and certifying the authenticity of the present leaf.

A densely-used two-sided autograph sketchleaf containing music to opus 117, "König Stephan" or "Ungarns erster Wohltäter" ("Hungary's first Benefactor"), the front showing, among other motifs, the opening cello/bassoon line for the beginning of the first movement chorus, "Ruhend von seinen Thaten" (Andante maestoso e con moto, C major), and the verso with material from the end of the movement, all over with various freely written passages in ink and pencil, mostly on single staves, some with text underneath, containing many holograph corrections and instances where ink is written over pencil. – The present sketchleaf, apparently hitherto unknown to scholarship, belongs to a book of sketches that Beethoven used while writing his stage music "König Stephan" in 1811. Beethoven created his own book from various paper on hand and used it while at the spa in Teplitz from late 1810 into mid 1811. He finished "König Stephan" between 20 August and mid-September 1811. The sketches are of the first chorus (after the overture). The musical play was commissioned for the opening of the new theatre in Pest along with "The Ruins of Athens". First performed on 9 February 1812, it was published as op.

117. King Stephen I founded Hungary in 1000. Emperor Francis I of Austria commissioned the new theatre, and Beethoven was chosed as the composer to honour the occasion of the opening. The Austrian Emperor was honouring Hungary's loyalty, thus the subject matter on a text by August von Kotzebue. – The Beethoven-Haus in Bonn holds four other sketches from this sketchbook (viewable in their digital online archive, as entries HCB Bsk 2/50, 3/51, 4/52, and Mh 81), all of which share the same three holes punched on the left-side margin of the present sketch. We would like to thank Dr. Carmelo Comberiati, professor of Music History at Manhattanville College, for his assistance in cataloguing this lot. – Provenance: Friedrich Wilhelm Künzel, Leipzig, before 1886; Collection of Fred M. Steele, Chicago, purchased from the above, 1886. Offered in the "Collection of Important Autographs in the estate of Mrs. Ella P. Steele, widow of Mr. Fred M. Steele" (Philadelphia, 1918). Acquired from the purchaser's descendants, last located in Greenwich, CT. ¶ For an in-depth discussion of the pages this sketch belongs to, cf. Douglas Johnson, Alan Tyson and Robert Winter, "The Beethoven Sketchbooks", p. 201-206.

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作曲家题词 贝多芬，路德维希·凡，作曲家（1770-1827），费德里奥，一出两幕的伟大歌剧。维也 纳，阿塔利亚，［1814］. 矩形对开 . 文中有钢琴总谱，未修整 . 贝多芬唯一歌剧的第一版的第一次印刷；极度珍稀。扉页上有贝多芬亲自手写题词，致 他的赞助人帕斯加拉第（1777-1830），贝多芬当时借住在他的房子里。题词为：“致他亲爱 的朋友拜伦·帕斯加拉第，作者”。目前已知的有贝多芬亲笔签名的第一版原稿不超过三个； 金斯基 / 哈尔姆描述此稿如下：“此稿出自‘维也纳音乐朋友社会’收藏（cf. No.893，在世 纪展览指南，维也纳 1927 之中），由奥地利政府于 1934 年 11 月 1 日作为一种荣誉在阿特鲁·托 斯卡尼尼指挥的安魂弥撒曲演奏会上赠送给这位指挥家（cf. 书之爱 VIII，6）。”专业清理， 沟槽修复。扉页上有维也纳音乐朋友社会的收藏盖章，最后一页也有。贝多芬的亲笔题词用 铅笔写在扉页的空白边缘上。直到 1927 年贝多芬去世 100 周年纪念日展览上，这份献词原稿 才被公之于众；随后被认为丢失（以及贝多芬作品目录中的另两份费德里奥献词原稿）。我 们于 2016 年春季从托斯卡尼尼的遗产中得到此稿。 ¶ 文献 （所有参考）：贝多芬和他同时代的维也纳文化 （= 维也纳市贝多芬百年纪念展 指南），维也纳 1927，893. 书林季刊 VIII （1935），6. Kinsky/ Halm，贝多芬作品全集，184.

Inscribed by the composer Beethoven, Ludwig van, composer (1770-1827). Fidelio. Eine Grosse Oper in 2 Aufzügen. Vienna, Artaria, [1814]. Oblong folio. Engraved piano score with the text. Untrimmed.

First printing of the first edition of Beethoven's only opera; of the utmost rarity. Inscribed on the title page, in Beethoven's own hand, to his benefactor Pasqualati (1777-1830), in whose house the composer then lodged: "Seinem werthen Freunde Baron von Pasqualati vom Verfasser" ("To his dear friend Baron Pasqualati, from the author"). No more than three copies of this first edition bearing Beethoven's autograph inscription are known; the present one is described by Kinsky/Halm as follows: "This copy from the collection of the Society of Friends of the Music in Vienna (cf. no. 893 in the guide-book to the Centenary Exhibition, Vienna 1927) was presented to the conductor Arturo Toscanini by the Austrian Government on 1 November 1934 on the occasion of a performance of Verdi's 'Requiem', directed by him, as a gift of honour (cf. 'Philobiblon' VIII, 6)." – Professionally cleaned with repairs to gutter. Collection stamp of the Society of Friends of the Music in Vienna on title page and verso of final leaf. Beethoven's autograph inscription pencilled across the blank margin of the title page. – The present dedication copy was not publicly shown since the great 1927 exhibition in honour of the centennial of Beethoven's death; it was latterly considered lost (as are the other two dedication copies of "Fidelio" described in the catalogue of Beethoven's works). We acquired it directly from Toscanini's estate in spring 2016. ¶ Literature (all referencing this copy): Beethoven und die Wiener Kultur seiner Zeit (= Führer durch die Beethoven-Zentenarausstellung der Stadt), Wien 1927, 893. Philobiblon VIII (1935), 6. Kinsky/ Halm, Werkverzeichnis Beethoven, 184.

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卡萨诺瓦·德·塞恩加尔，吉亚科莫·吉罗尼莫，探险家、作家（1725-1798），亲笔签名（“卡萨诺瓦”）信件。德勒斯登，7.

VII. 1790. 4to. 3 pp. 为支持安东尼奥·科拉尔多，卡萨诺瓦报道了欧洲的冲突，这冲突由早先革命热情激起，包括由巴伐利亚选民和弗雷德里克·奥古 斯都三世造成的，德勒斯登起义中的屠杀，以及奥地利弗朗西斯大公的身体欠佳，他还考虑到了普鲁士的战争威胁，普鲁士很有可能会 干预奥地利与土耳其的冲突，但卡萨诺瓦希望懒散的宫廷和不情愿的王国（弗勒贝尔·威廉二世）阻止这一切。他还报道了一封来自他 的资助人彼得罗·扎格瑞的信，对方告诉他，康斯坦丁堡渴求和平。- 卡萨诺瓦感谢科拉尔多，谢谢他的来信和来自鲁斯玻利（弗朗西 斯科）的信息，希望能允许他和王子取得联系，当王子在拉不勒斯时他可以为王子提供服务；确保那两本他要求的小书已经通过邮政车 送到了，可能是俄克塞埃德荷给杜科斯的波西米亚的重复推论［和第二推论］，这两本都是卡萨诺瓦当年在德勒斯登出版的。卡萨诺瓦 亲笔书信，尤其是此种长度和兴趣内容，都是拍卖市场上罕见的。从这封信看出，卡萨诺瓦对外交一直感兴趣，以及对他赞助人和在贵 族阶层联系的兴趣。 -R. Sandron 的《卡萨诺瓦信件》：贾科莫·卡萨诺瓦的信和别人寄给他的信（1916），第 43 页，（第 16 号）

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Casanova de Seingalt, Giacomo Girolamo, adventurer and writer (1725-1798). Autograph letter signed ("Casanova"). Dresden, 7. VII. 1790. 4to. 3 pp.

To Count Antonio Collalto. Casanova reports reports on conflicts in Europe, prompted by early revolutionary fervour, including the quelling, by the Elector of Bavaria, Frederick Augustus III, of an uprising in Dresden, and the ill-health of the Archduke Francis of Austria, and considers the threat of war from Prussia, which might be tempted to intervene in Austria's conflict with Turkey, but which he hopes will be prevented by the indolence of the court and the unwillingness of the King [Friedrich Wilhelm II], also reporting a letter from his patron Pietro Zaguri, who tells him that all Constantinople desires peace. – Casanova thanks Collalto for his letter and message from [Francesco] Ruspoli, asks his permission to contact the prince, and offers his services whilst he is in Naples, assuring him that he has sent by mail-coach the two little books that he had requested, possibly the Corollaire [and Seconde Corollaire] à la duplication de l'Hexaèdre donné à Dux en Bohème, both of which Casanova had published that year in Dresden. – Rare. Autograph letters

by Casanova, particularly of this length and interest, are rarely offered for sale at auction. This letter shows Casanova's continual interest in diplomacy and in his patrons and contacts among the nobility. – R. Sandron, Carteggi casanoviani: lettere di Giacomo Casanova e di altri a lui (1916), p.43 (no.16).

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爱因斯坦协助一位同是移民的工程师 爱因斯坦，阿尔伯特，德国出生的物理学家及诺贝尔奖获得者（1879-1955）。大量文件，材料关于十（一封是手写，九封是打印）封信， 写给温瑟沃罗德·格朗博格，另外还有一条爱因斯坦手写短笔记，一个艾尔莎·爱因斯坦写的 ALS，两个由海伦·杜卡写的 ALS。附有 格朗博格的大量文件档案，包含超过一千页的材料，涉及他的水翼艇改进原始初稿，个人专利原版等，普林斯顿（NJ），科尼克，纽约 和沙拉那克湖（NY），1939-1948 I: 阿尔伯特·爱因斯坦。 大多 4to. 总共 11 pp. II: - 艾尔莎·爱因斯坦 : 8vo. 2 pp. - III: 海伦·杜卡 .

4to. 2 pp. 格朗博格，后改名为瓦德玛·A·克雷格，是一个航空工程师，为水翼艇设计了一个非常重要的装置。附有格朗博格的大量文件档 案，包含超过一千页的材料，涉及他的水翼艇改进原始初稿，个人专利原版（包括大量解密档案，关于一战后紧接着进行的测试），照 片，信件，以及其他相关文件和当时有用的事物。格朗博格，是爱因斯坦一位密友的侄子，看似在二十世纪二十年代后期或三十年代早 期，与阿尔伯特和他第二任妻子艾尔莎认识，如果不是本人交流，那就应该是通过信函交流。在一封写于 1932 年之前，具体日期不知， 从柏林寄出的信件里，艾尔莎·爱因斯坦对格朗博格说：“我觉得你跟你的叔叔一样友好而聪明。他是我们的密友。我丈夫和我很高兴 能帮你一点小忙。邓恩先生从佛罗里达寄了一张面额很慷慨的支票给我们。我特别想感谢你，葡萄很好吃……”并加上了“如果你觉得 我可以帮得上忙的话，随时打电话给我。请一定记得这么做。” 很明显，格朗博格采纳了她的建议，在 1939 年来到美国，通过爱因斯 坦被介绍给美国的工程师同行，为的是能证实他的水翼艇设计。两人于 1939 年 6 月，在欧文·雷曼在纽约切斯特港的家中见面。除了 将他介绍到美国的工程社会，爱因斯坦也同意帮格朗博格处理很复杂的继承事务。1939 年 7 月 1 日，也就是他介绍格朗博格给自己的美 国同事的同一天，爱因斯坦写信给他，表示他已经写了“一封态度非常坚决的信给普勒驰先生，我在信里建议在继承事务里任命一个仲 裁人，一个我们俩都认可的仲裁人。而这个仲裁人需要能与你或普勒驰先生亲自交谈”。围绕写给路易斯先生的信，爱因斯坦建议，“不

Einstein assists a fellow émigré and engineer

过我无法理解，你是如何在没有合法居住证明的情况下获得了职位。我建议你小心调查这个事情，而不是将那封信物尽其用。”爱因斯

Einstein, Albert, German-born physicist and Nobel laureate (1879-1955). A large archive of material featuring ten (1 autogr. and 9 typed) letters to Wsevolode Grünberg and a short autograph note by Einstein, an ALS by Elsa Einstein and 2 TLS by Helene Dukas. Accompanied by a large archive of Grünberg's papers, consisting of well over 1,000 pages of material including some of his original drawings for his hydrofoil improvements, copies of his patents, etc. Princeton (NJ), Peconic, New York and Saranac Lake (NY), 1939 to 1948. I: Albert Einstein. Mostly 4to. Altogether 11 pp. II: – Elsa Einstein: 8vo. 2 pp. – III: Helene Dukas. 4to. 2 pp.

Grünberg, who later in life changed his name to Waldemar A. Craig, was an aeronautical engineer who developed an important design for the hydrofoil. The letters accompany a large archive of Grünberg's papers, consisting of well over 1,000 pages of material including some of his original drawings for his hydrofoil improvements, copies of his patents, (including a large dossier of declassified tests performed in the years immediately following WWI), photographs, correspondence, and other related documents and ephemera. – Grünberg, the nephew of a close friend of Einstein, appears to have become acquainted with Albert and his second wife Elsa sometime in the late 1920s or early 1930s, if not personally, by correspondence. In an undated letter from Berlin, written sometime before 1932, Elsa Einstein commented to Grünberg: "I am assuming you are just as kind and clever as you uncle, our dear friend. My husband and I were so glad having been able doing this small favor for you. Mr. Dunne wrote a most gracious note to us from Florida. In particular I want to thank you for the delicious grapefruits [...]" and adding "Feel free to call on me anytime, if you think I could be of help. Please be sure and do". – Apparently Grünberg took her advice, and travelling to the United States in 1939 approached Einstein for an introduction to fellow engineers in the U. S. in order to demonstrate his hydrofoil designs. The two met in June 1939 at the home of Irving Lehman in Port Chester, New York. – In addition to the introduction to the American engineering community, Einstein also agreed to handle a complex inheritance matter for Grünberg.

On 1 July 1939, the same day he recommended Grünberg to his American associates, he wrote to him that he had written "a most insistent letter to Mr. Plesch in which I suggested to name an arbitrator in the inheritance matter who would be agreeable to you as well as to me and who could personally communicate with Mr. Plesch and yourself". Enclosing the letter to Dr. Lewis, Einstein advised, "I cannot understand though, how you could succeed to find a position here without a valid residence permit. I urge you to carefully investigate this subject prior to making use of the enclosed letter". Einstein continued to assist Grünberg with the inheritance issue, acting as a go-between Grünberg in the U. S. and Mr. Plesch in France. – Despite some annoyances, Einstein did what he could for Grünberg both for his inheritance and his scientific pursuits – Grünberg's personal papers concern his research on his hydrofoil designs which he first developed in France. The archive includes some of Grünberg's original drawings demonstrating applications for his design as well as some manuscript calculations in his hand, some original U. S. patent certificates for several inventions, one German patent awarded to him in 1930, original photographs, likely from the early 1930s, and several magazines including Popular Science and others discussing Grünberg's work and designs. – Detailed description available upon request.

坦继续帮助格朗博格处理继承事务，在美国的格朗博格与法国的普勒驰先生之间充当中间人。尽管有些麻烦，但爱因斯坦尽其所能地在 继承问题和科学追求上帮助格朗博格。格朗博格的个人文件则主要关于其最初在法国提出想法的水翼艇设计研究。这些档案材料包括格 朗博格证明自己设计实用性的部分原始初稿，以及一些手头亲笔计算、一些为几种发明而申请的美国专利原始证书，一个他在 1930 年 得到的德国专利，原始照片，大概来自上世纪三十年代早期，还有几种杂志，包括通俗科学和其他讨论格朗博格工作和设计的杂志报道。 如需要，可提供详细描述。

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关于诺贝尔奖，莎士比亚以及摩西 弗洛伊德·西格蒙德，精神分析法创始人（1856-1939）。亲笔签名（弗洛伊德）信件。［维也纳］, 5. XI. 1935. 4to. 2 pp. 固定印刷有：“教授 . 博士 弗洛伊德·温 , IX., 博格斯 19”. 信写给斯蒂凡·茨威格，关于诺贝尔奖，莎士比亚和他的“摩西和一神论”，感谢他的信件，感谢他在《星 期日时报》的剪报，注意到他的文章是一位朋友的宣言，标明他在得知自己因促进维也纳大学的发展而 获得了诺贝尔奖时的惊讶，提及当他在 1930 年获得法兰克福歌德奖时的反对者，自责在他在为写《摩西》 而过来拜访时没有让对方聊工作与计划，表示摩西不会再看到日光，同时在补编里下结论，问对方是否 对莎士比亚身份辩论感兴趣，承认他几乎确信爱德华·德·维尔，十七世牛津伯爵，实际上就是莎士比亚。 尽管弗洛伊德表达了这样的想法，“摩西和一神教”，他最后完成的书，实际上在四年之后的 1939 年出 版。尽管曾经提名十二次诺贝尔医学奖，弗洛伊德从未获得这个奖项，诺贝尔委员会认为他的工作没能 证实有科学价值。罗曼·罗兰在 1936 年对他在文学奖的提名同样没成功。书本水平褶皱，些许轻微褶皱， 边缘有轻微损坏。

About the Nobel Prize, Shakespeare, and Moses Freud, Sigmund, founder of psychoanalysis (1856-1939). Autograph letter signed ("Freud"). [Vienna], 5. XI. 1935. 4to. 2 pp. On stationery printed "Prof. Dr. Freud Wien, IX., Berggasse 19".

To Stefan Zweig, about the Nobel Prize, Shakespeare, and his "Moses and Monotheism", thanking him for his letter and for the cutting from the Sunday Times, observing that his article is the declaration of a friend, noting his surprise to learn that he has been awarded the Nobel Prize on the promptings of the Vienna University, referring to the opposition to him when he was awarded the Frankfurt Goethe Prize in 1930, reproaching himself for expatiating during his visit on the contents of his Moses, instead of letting him talk about his work and plans, stating that Moses shall never see the light of day again, concluding in a postscript by asking him whether he is interested in the debate concerning the identity of Shakespeare, and admitting that he is virtually convinced that Edward de Vere, 17th Earl of Oxford, was in fact Shakespeare. – Despite the views expressed by Freud here, "Der Mann Moses und die monotheistische Religion", his last completed book, was in fact published four years later, in 1939. Although nominated twelve times for the Nobel Prize for Medicine, Freud was never awarded that honour, the Nobel committee being of the opinion that his work was of no proven scientific value. Romain Rolland's nomination of him for the Literature Prize in 1936 was also unsuccessful. – Horizontal fold, some light creasing and slight damage to edges.

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吉申·嘉宝充满诗歌与陌生的世界 嘉宝，葛丽泰，瑞典电影女演员，也是一名国际明星与偶像，在好莱坞默片和经典时代 （1905-1990）。亲笔签名书信，瑞典语书写，吉申·嘉宝 . 斯德哥尔摩［邮票］，4. I. 1924. 8vo.

3 pp. 有签名信封 . 葛丽泰·嘉宝写给同行女演员与朋友的信。对方是咪咪·波拉克，当时是她的生日。……谢 谢你的来信，你肯定能理解，我特别高兴。快乐的一年，我的意思是快乐的新年，祝你在接下来 的一年里好运成功。吉申· 嘉宝充满诗歌与陌生的世界。你知道，我是一个情感外露的人。之前 就发生过 -- 信封与纸张之间的区别，奇怪地更像是司娜顿的表演。我十分迷惑，我无法将自己 的想法聚集起来详细解释接下来要发生的事情。你希望我能来拜访你，真的太好了，但很遗憾的是， 有很多原因，你来斯德哥尔摩的时候，我会告诉你的。亲爱的，我太想你了。但是在周一，你会 得到吉申·嘉宝的大大的拥抱。真甜美的想法。上天才知道我是怎么想到这个的。斯其米顿和我 都已经长了 15 公斤了（安静，老维拉）。我们早上吃酸肉和小吃，晚上喝香槟。天啦，为什么你， 咪咪·凯蒂·凯特不在这儿，我是说像猫一样。我觉得你是个美人……你的生死之交。最后一点， 本应该最开始说的，但当然你可没那么难取悦，亲爱的。向小妈妈和小爸爸，以及小宝宝们打招 呼……第四页由维拉·斯其米特路写（1904-1987）.

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G-son Garbo poetic and strange world Garbo, Greta, Swedish film actress and an international star and icon during Hollywood's silent and classic periods (1905-1990). Autograph letter signed in Swedish „G-son Garbo“. Stockholm [post stamp], 4. I. 1924. 8vo. 3 pp. With autograph envelope.

Greta Garbo’s letter to fellow actress and friend, Mimi Pollak at Karlstadt on her birthday: „[…] Thank you for your scrupptious letter. You can understand that I became happy. Happy Year, I mean new, may you have luck and success in the coming year. G-son Garbo poetic and strange world. You understand that I am so demonstrative. It’s happened before – the difference between the envelope and the paper.

Something strange closer to the actions of ,Snuton’. I am so confused that I can’t gather my thoughts to explain in detail the coming events. You were so sweet to want me to come visit you but unfortunately for many reasons which will be explained when you come to Stockholm. Darling you are missed. But on Monday you’ll get a big embrace from G-son Garbo. Sweet thought. God knows where I got that from.

Schmitan and I have each gained 15 kilo (be quiet old Vera). We eat sour djur and snaps in the morning and champagne at night. Damn, why aren’t you here Mimmie Kitty Kit I mean as a cat. I think you are a beauty. […] Your friend in life and death, sorrow and joy – the last should have come first but surely you aren’t so hard to please, darling. Greet little mother and father nand little, little siblings. […]“ – The fourth page is written by Vera Schmiterlöw (1904-1987).

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“创建值得称为通论的磁场理论” 高斯，卡尔·弗里德里希，德国数学家（1777-1855），四封亲笔签名的信。哥廷根 , 1836 to 1849. 25 1 月 1836. 2 pp. 大 4to. - 27 2 月 . 1839. 2 pp. 大 4to. - 28 11 月 . 1841. 3½ pp. 8vo. - 6 1 月 . 1849. 3 pp. 大 4to ( 总共 10½ pp.). 全部弧形；前两封落款有亲笔书写的地址， 在书页背面。 藏品包括四封长信，都不曾出版，时间跨度超过十年，写给柏林物理学家兼地质学家的乔治·阿道夫·厄尔曼（1806-77），后 者刚刚从漫长的环球航行中回来，正在发表他的发现“经北亚和两大洋环游世界”，5 卷讲述历史［1833-42］和 2 卷讲述物理知识 ［1835-41，带地图集］。高斯能够利用厄尔曼关于地球磁场的经验发现。四封信都以对厄尔曼送来的礼物表示感谢而开始，然后发展 到广博的科学讨论，甚至涉及到了高斯的热电流实验。高斯也提到了他尝试得到俄国小说书籍。在 1836 年，高斯感谢厄尔曼在他的书籍“环 游世界”（“地理定位和大陆偏角观测”）第二部分提到了他；“这部作品包含丰富的事实。我尤其对你的磁力发现感到兴趣，也很高 兴你决定将指南针偏角及其结果放到这本早期的书籍里来。这将和其他观测一起，填补巴罗偏角地图中的空缺……但现在我殷切地盼望 第二部分出版。这部分包括强度和倾向方面的读数……你可能会有兴趣了解我们最近的热电流实验已经成功放大电流，使它经过一英里 的电线后依然能够激起 25 磅重的测量杆剧烈的运动……”1839 年，高斯谢谢来自堪察加半岛的明信片：“我会非常高兴能很快收到你 关于强度的纠正数据，但还是别匆忙。我在磁力社会的发现的第三部分写文章，提到了你部分测量。而第一部分已经付印了。如果你纠 正了十六个测量地点（接下来提到了包含 16 个城市的表格，包括圣彼得堡、喀山、莫斯科、洛杉矶以及里约热内卢）的计算，得到了 与梅杰·萨拜恩发表内容不一样的强度读数，我可能将这些改变添加到那片文章的证据里面去……我们一直希望政府能出大力扶持地磁 学，而根据我从英格兰得到的最新消息，我们的希望几乎落空了。但这并不是因为学者不勤奋，如果政府真的没有采取措施，那也不能 怪罪他们……”通篇条理清楚，表达清晰。三封信都是用整洁的拉丁文手写的，而另一封写于 1841 年的是用德语，最开始写得过于细致， 随后变得越来越流利，最后结尾则比较松散。

"to establish a general theory of the geomagnetic field deserving of the name" Gauß, Carl Friedrich, German mathematician (1777-1855). 4 autograph letters signed. Göttingen, 1836 to 1849. 25 Jan. 1836. 2 pp. Large 4to.

– 27 Feb. 1839. 2 pp. Large 4to. – 28 Dec. 1841. 3½ pp. 8vo. – 6 Jan. 1849. 3 pp. Large 4to (altogether 10½ pp.). All written on bifolia; the first two letters bear seals with the autograph address on the reverse of the counter-leaf.

Collection of four long, unpublished letters spanning more than a decade, all to the Berlin physicist and geologist Georg Adolf Erman (180677), who had just returned from a long voyage around the world and was in the process of publishing his findings ("Reise um die Welt durch Nordasien und die beiden Oceane", 5 vols. of history [1833-42] and 2 vols. of physics [1835-41, with atlas]). Gauss was able to draw on Erman's empirical observations about earth's magnetic field. All four letters begin with thanks for gifts sent by Erman, then develop into extensive scientific discussions which even touch upon Gauss's thermogalvanic experiments. Also, Gauss mentions his attempts to obtain books of Russian fiction. – In 1836 Gauss thanks Erman for presenting him with the 2nd part of his "Reise um die Erde" ("Ortsbestimmungen und Declinationsbeobachtungen auf dem festen Lande"): "This work contains a great wealth of facts. I am particularly interested in your magnetic observations and therefore am glad that you decided to include in this early volume your compass declinations with their results. These, in connection with other observations, will serve to supply the gap left by Barlow's map of declinations [...] But now I dearly look forward to the publication of the second part which is to contain the intensities and inclination readings [...] You may be interested to learn that our recent thermogalvanic experiments have already succeeded in so amplifying an electric current that it is capable of setting even the 25 pound rods in violent motion after passing through a wire of a mile's length [...]". – In 1839 Gauss thanks for a "postcard from Kamchatka": "I will be most happy soon to receive also the corrected data of your intensities, although there is no hurry about that. I am merely making mention of a few of your observations in an article intended for the 3rd part of the Findings of the Magnetic Society, the first sheet of which is now in the press. Should your corrected calculations for these 16 locations [followed by a table of 16 cities, including St Petersburg, Kazan, Moscow, San Francisco, and Rio de Janeiro] have yielded intensity readings departing from those published by Major Sabine, I would be able to include these changes in the proofs of the said article [...] According to the most recent news I received from England, our hopes that the government there might do something splendid for the study of the geomagnetic field have suffered a severe blow; but this is not for want of the scholars' diligence, and no blame can be attached to them if the government fails to act [...]". –– Clean and well-preserved throughout. Three letters are written in neat Latin handwriting, while that of 1841 is in German script, written somewhat overly carefully at first, then becoming more and more fluent and finally descending into a rather loose style.

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“让我更气派，只让我更气派 !” 海顿，约瑟夫，作曲家（1732-1809）。亲笔签名信件，署名（约瑟夫·海顿·普瑞）. 维也纳，17. X. 1804. 4to. ½p. 装裱并上釉 . 信件用意大利语书写，写给爱丁堡的乔治·汤姆森，他是罗伯特·彭斯的朋友，也是海顿歌曲改编 的出版人，信件的内容是询问关于他的《创作》的伦敦演出情况，并宣布他打算在离世之前为汤姆森写 另外两部或至少十二个作品。反面有汤姆森亲笔书写的目录：“海顿博士，要给 Symph.s and Accomp.ts 添加十三首，并说不管《创作》能否在伦敦为穷人演出，他都会让我更气派，只让我更气派！”少量折痕， 水平中间折页（关于剧本）有轻微撕裂，除此之外无瑕疵。出处：1931 年艾米丽·斯查普收藏；随后进 入一个维也纳私人收藏。第一次经博斯蒂贝尔·德梅克翻译成德语发表 1/19，777；意大利版本第一次印 刷是经由里奥·格鲁斯丁在老派维也纳的自我（维也纳 1931）但接收方错误地将其认为是布兰迪。 ¶ Dénes Bartha （编辑），约瑟夫·海顿。 信件全集和笔记（卡塞尔 1965），第 452 页，编号 357；H. C. Robbins Landon （编辑）， 约瑟夫·海顿的信件收集与伦敦笔记 （伦敦 1959）， p. 234f. 汤姆森的笔 记第一次出版在（已离开）：伊娃·巴杜亚 - 斯柯达，“恩林私人信件集”，在：Otto Erich Deutsch 纪 念文集（卡塞尔 1963），第 280-290 页，在第 283 页，带图 2。

"more airs for me, and only for me!"

Haydn, Joseph, composer (1732-1809). Autograph letter signed ("Joseph Haydn mppria"). Vienna, 17. X. 1804. 4to. ½ p. Framed and glazed.

In Italian, to George Thomson in Edinburgh, a friend of Robert Burns and publisher of Haydn's song adaptations, asking questions about London performances of his "Creation" and announcing that he intends to write, before his death, another two or at least one dozen works specially for Thomson. – With Thomson's autogr. note of contents on the reverse: "Dr. Haydn. With 13 more Airs to which he composed Symph.s and Accomp. ts and Enquiring whether the Creation had been perf.d in London for the benefit of the poor – and that he will yet do some more airs for me, and only for me!" – Traces of folds; slight tear at horizontal centerfold (touching text), otherwise immaculate. Provenance: in the collection of Emilie Schaup in 1931; later in a Vienna private collection. First published in German translation by Botstiber, Der Merker 1/19, 777; Italian text first printed by Leo Grünstein in: Das Alt-Wiener Antlitz (Vienna 1931) I, 138 (but recipient erroneously identified as Bridi). ¶ Dénes Bartha (ed.), Joseph Haydn. Gesammelte Briefe und Aufzeichnungen (Kassel 1965), p. 452, no. 357; H. C. Robbins Landon (ed.), The collected correspondence and London notebooks of Joseph Haydn (London 1959), p.

234f. Thomson's note was first published (with a departure) in: Eva Badura-Skoda, "Eine private Briefsammlung", in: Festschrift Otto Erich Deutsch (Kassel 1963), p. 280-290, at p. 283, with fig. 2.

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献给玛丽·布罗茨 : " 年轻是女人的财富 " 海涅，海因里希，诗人（1797-1856）。亲笔手稿，德语和法语书写，两次签名（“海因里希·海涅”， “海因·海涅”）巴黎，19. III. 1853. 对开 . 1 p. 网目纸，墨水和铅笔书写，三边镀金 . 海涅自我讽刺的短诗“幸福是一个轻浮的荡妇”，大概写于 1848 年与 1851 年之间，在 1851 年他的作 品集《罗曼采罗》中发表：未知版本，与已发表版本不同的是，这个版本是为玛丽·布罗茨而写。玛丽·布 罗茨在 1853 年 3 月 19 日与身为编辑的丈夫弗朗西斯一起拜访了这位处境困难的诗人。除了用墨水书写的德 语版本之外，海涅还用铅笔写了一份法语翻译版本。一份海涅晚年的重要文件里，海涅将床垫形容为“坟墓”， 当时他写作主要用钢笔和墨水，这花费了他很大的心血，他也几乎完全限制铅笔的使用。这份集册据说失传， 仅仅是学术界有所听闻，还是根据法语（由一个不知名的抄写员翻译）不完整手稿复制品而来，这份复制 品来自于斯波尔伯曲 . 拉万究合集，尚蒂伊博物馆。所有的评论编辑都是基于这个版本。铅笔印局部弄脏， 德语文本旁边有一条微小的红色墨水痕迹。 ¶ 海涅，作品，一百周年纪念版，卷 3，评注，由 R. Francke 编辑（柏林 2008），第 244f 页（“遗失”）。 海涅，历史批判作品全集，杜塞尔多夫版，卷 3/2（汉堡 1992），第 734f 页（“遗失”）法语文稿首印：海涅， 通信往来。充分扩充的全集，由 Friedrich Hirth 编辑，卷 3（柏林 1920），第 334f 页，编号 990（只有法语版本， 以一不完整的手稿复制品为基础）；再版：海涅，信件。手稿首部全集，由 Friedrich Hirth 编辑，卷 3（美 因茨 1952），第 459f 页，编号 1189（法语和德语的平行文本，德语文本出自已出版的版本）。诗歌首次出 版在：海涅，罗曼采罗（汉堡：Hoffmann & Campe, 1851），第 118 页。

Dedication for Marie Buloz: "Mademoiselle bonne fortune est une fille très legère" Heine, Heinrich, poet (1797-1856). Autograph manuscript, poem in German and French, signed twice ("Heinrich Heine", "Henri Heiné"). Paris, 19. III. 1853. Folio. 1 p. Ink and pencil on wove paper. Three edges gilt.

Heine's short, self-ironic poem "Das Glück ist eine leichte Dirne", probably written between 1848 and 1851 and published in 1851 in his late collection "Romanzero": an unknown version, departing from the published text, penned as a dedication for Marie Buloz, who had visited the ailing poet on 19 March 1853 with her husband François, editor of the "Revue des Deux Mondes". Beside the German text (in ink) Heine has pencilled a French translation.

A remarkable document from Heine's final years in what he called his "mattress tomb", during which writing, especially with pen and ink, cost him the greatest of efforts and he almost entirely limited himself to the use of the pencil. The album leaf was considered lost and was known to scholarship only through an incomplete manuscript copy of the French translation only (by an unidentified scribe) in the Spoelberch de Loevenjoul collection, Musée de Chantilly, on which all critical editions base their text. – Occasional slight smudging to pencil; a small trace of red ink near the German text. ¶ Heine, Werke, Säkularausgabe, vol. 3, commentary, ed. by R. Francke (Berlin 2008), p. 244f. ("lost"). Heine, Historisch-kritische Gesamtausgabe der Werke, Düsseldorfer Ausgabe, vol. 3/2 (Hamburg 1992), p. 734f. ("lost").

French text first printed: Heine, Briefwechsel. Reichvermehrte Gesamtausgabe, ed. by Friedrich Hirth, vol. 3 (Berlin 1920), p. 334f., no. 990 (French text only, based on a ms. copy); reprinted: Heine, Briefe. Erste Gesamtausgabe nach den Handschriften, ed. by Friedrich Hirth, vol. 3 (Mainz 1952), p. 459f., no. 1189 (in French and German parallel text, German text supplied from the published version). Poem first published in: Heine, Romanzero (Hamburg: Hoffmann & Campe, 1851), p. 118.

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乔伊斯，詹姆斯，盎格鲁 - 爱尔兰作家（1882-1941）。亲笔签名信件。巴黎，9. II. 1927. 大 4to. 1 p. 信头“2，四方 罗比亚克 / 182, 格勒内勒路”. 有签名 . 信封 . 信写给年轻的尼斯的美国音乐家亚瑟·劳本斯汀，他是乔伊斯儿子乔治在巴黎圣歌学院的老师。 信件内容谢谢对方对自己 45 岁生日的祝福。“非常感谢你在我生日那天发来的电报。你真好，还记 得我……你可能已经在尼斯定居，或者还偶尔经过尼斯：我们可能会搬去南方，但我妻子不喜欢尼斯， 虽然我觉得尼斯很好。我们在奥斯坦德度过了夏天。乔治又开始唱歌了。现在确定了，他没法唱男 低音，但男中音或者男高音都可以。露西亚（他的女儿）已经在这边和布鲁塞尔的公众场合跳过舞， 正要开始教跳舞。图伊已经在这里呆了两个月（真像是两年）打理我的脸，到五月沙龙上会光鲜亮丽。 感谢上帝他今天离开了。我们还会去特里亚侬，那条叫小瀑布的母狗还在特里亚侬，不停地生小狗 呢。我的视力在慢慢变好。你为那些歌词谱曲了吗？我随信附上一封抗议书的复印件，这是在我生 日当天发送给法国、英国以及美国媒体的……”针对美国出版人萨缪尔·劳斯（不包括）的抗议书 有 160 个支持者签名，谴责劳斯在自己的杂志《两个世界》中连载的小说《尤利西斯》没有授权且 有删改。同年后期，乔伊斯的诗歌集《一分钱一首的诗》（莎士比亚公司）面世，同时还有德语版 本的《尤利西斯》。 ¶ 显然没有公开过

Joyce, James, Anglo-Irish writer (1882-1941). Autograph letter signed. Paris, 9. II. 1927. Large 4to. 1 p.

Letterhead "2, Square Robiac / 182, rue de Grenelle". With autogr. envelope.

To the young American musician Arthur Laubenstein in Nice, who had been the teacher of his son Giorgio at the Schola Cantorum in Paris, thanking for congratulations on the occasion of his 45th birthday: "Many thanks for your kind telegram on my birthday. It was very good of you to remember me [...] Have you settled down altogether in Nice or is there any likelihood of your passing through Paris at any time: We might go south but my wife does not like Nice though I found it quite pleasant. We spent the summer at Ostende.

Giorgio has taken up singing again. It is now fixed that he certainly has not a bass but a baritone or robust tenor. Lucia [his daughter] has danced in public here and in Brussels and is starting to teach. Tuohy was here for about two months (it seemed two years) to finish my face which will adorn the May salon. Thank goodness he left today. We still go to the Trianon where the female dog Cascade continues to proliferate.

My eyesight seems to be getting better lentissimamente. Did you set any of those verses? I enclose copy of a protest issued on my birthday to the French, English and American press [...]". – The "protest" against the American publisher Samuel Roth (not included) was supported by 160 signatories who condemned Roth's unauthorised and castrated version of the "Ulysses" as a serial novel in his magazine "Two Worlds". Later that same year, Joyce's collection of poems "Pomes Penyeach" appeared (with Shakespeare and Co.), as did the first German translation of "Ulysses". ¶ Apparently unpublished.

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勒·柯布西耶，原名查尔斯·爱德华·让纳雷，建筑师（1887-1965）。亲笔签名信件，多种颜色钢笔与墨水描绘。布宜诺斯艾利斯， 29. X. 1929. 8vo （信） and 矩形对开 （209：308 毫米）. 5 pp. （信） and 1 p. （图画）.

信件写给布宜诺斯艾利斯的弗雷德里克·亨利·沃尔顿基金，与联络员确定他与基金即将合作的事宜；提及他刚刚讲学的关于建 筑与城市化的十堂课，也提到了他在过去两周里获得的荣誉，解释了基金的目标是将布宜诺斯艾利斯的建筑转变为闻名于众的布宜诺斯 艾利斯的伟大工程，并在建筑师安东尼奥·维拉尔的指导下，开启城镇革命计划的新时代。勒·柯布西耶随信附上了一个彩色草稿阐述 自己的计划；为城郊在技术和经济上的现代化画出了先进的蓝图，并列出机场、铁路、地铁、下水道的计划，以及建造雄伟的摩天大楼 的项目。他非常确信，布宜诺斯艾利斯终将会发展得媲美纽约；他指出他只能停留几天，希望他的建议能有所帮助；也叫联络员与他保 持频繁及时的联系，以让他做出必要的决定。勒·柯布西耶在 1929 年在 Asosiación Amigos del Arte，La Faculdad de sciencias exatactas y la Asosiacion, and Amigos de la Ciudad 资助下去了布宜诺斯艾利斯。在他的接待者，社交名流知识分子维多利亚·奥坎波的建议下，他对当 地文化精英讲了十节课，随后发表为“当前状态建筑和城市规划详述”。信件是用布宜诺斯艾利斯大华酒店提供的信笺写的，草图在折 叠处有轻微撕裂，局部有斑点。

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Le Corbusier, i. e. Charles Edouard Jeanneret, architect (1887-1965).

Autograph letter signed and autogr. multi-coloured pen and ink drawing.

Buenos Aires, 29. X. 1929. 8vo (letter) and oblong folio (209:308 mm). 5 pp. (letter) and 1 p. (drawing).

To the Frederick Henry Walton Foundation, City of Buenos Aires, confirming an agreement with his correspondent on the terms he is prepared to work with the Foundation; re refers to a course of 10 lectures on architecture and urbanism he has just given and to the reputation he acquired in the past two weeks, explaining the aim of the Foundation was to transform the architecture of Buenos Aires to be known as "Les grands Travaux de Buenos Aires – architecture and urbanism" and to be directed by the architect Antonio Vilar to promote an era of revolutionary town planning. – Le Corbusier attached a coloured sketch to his letter to illustrate his plan clearly; it outlines advanced technical an dfinancial possibilities for modernizing the surrounding suburbs, with references to plans for an airport, railways, underground trains, sewers and to a program for constructing magnificent skyscrapers. Stating he is certain that the development of Buenos Aires would one day be comparable to New York; he points out that his stay is limited to a few days, and he hopes his suggestions are of interest; asks his correspondent to maintain frequent and speedy contact to allow him to carry out the necessary decisions. – Le Corbusier's visit to Buenos Aires in 1929 was financed by the Asosiación Amigos del Arte, La Faculdad de sciencias exatactas y la Asosiacion, and Amigos de la Ciudad at the suggestion of his host, the intellectual socialite, Victoria Ocampo. He gave ten lectures to the local cultural elite later published as "Précisions sur un état présent de l'architecture et de l'urbanisation". – The letter on stationery of the Majestic Hotel in Buenos Aires; his drawing with small tears in foldings, and somehwat spotty.

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论古典写作与语言 莱布尼茨，戈特弗里德·威廉，哲学家兼数学家（1646-1716）。亲笔签名书信（署名“G.G. 莱布尼茨”）。 汉诺威，27. III. 1715. 1 p. 弧形，有所需地址 . 信用拉丁语书写，间或有希腊语，写给布伦瑞克的“clarissimo et doctissimo domino Bühel”，神学家 与学者约翰·克里斯蒂安·比尔（1687-1745），关于古典写作与语言。西基阿斯的字典是学习希腊语语法 的古代参考工具；贝尔当时忙于名为“西基阿斯所有的圣经注释”的出版物。很明显当时一名叫道尔夫·寇 思德的学者打算在巴黎发行这本书新的版本。但他在 1716 年突然离世，而当时这份工作还没完成。莱布尼 茨好奇地提起他对赛西亚的兴趣，让比尔在工作中遇到赛西亚名字或参考条目时一定要告诉他。莱布尼茨 的生命当时还有一年半的光景，在汉诺威吕内堡宫当政治顾问和图书管理员。- 莱布尼茨的几种纠错与插入。 布伦瑞克的一名邮政官员纠正了地址：“比尔 / 可在 Hagenmarkt 广场打听到”。 有最初折叠痕迹，小洞， 边缘有剪下地址页印章的痕迹，其他良好。 ¶ G. W. 莱布尼茨：作品和信件全集，通信往来的抄本 1715，第 119f 页，编号 84（“私人财产 ［？］”）。 首次出版：N. Barkey （编辑），Symbolae litterariae Haganae ad incrementum scientiarum omne genus （海牙， 1779），第 483f 页。

On classical writings and languages Leibniz, Gottfried Wilhelm, philosopher and mathematician (1646-1716). Autograph letter signed ("G. G. Leibnitius"). Hannover, 27. III. 1715. 1 p. on bifolium with integral address panel.

In Latin, with a Greek interspersion, to the "clarissimo et doctissimo domino Bühel" in Braunschweig, i.e., the theologian and scholar Johann Christian Biel (1687-1745), concerning classical writings and languages.

The lexicon of Hesychius was an ancient reference tool for the study of Greek grammar; Biel was working on a publication of "all the scriptural glosses found in Hesychius". A new edition was apparently planned by the scholar Ludolph Küster, to be published at Paris, but Küster died suddenly in 1716, before the work was completed.

Curiously, Leibniz mentions his interest in Scythia and asks Biel to let him know of any Scythian names or references he encounters in his work. Leibniz was at the time, one and a half years before his death, a political advisor and librarian to the House of Brunswick-Lüneburg in Hanover. – Several corrections and insertions by Leibniz. The address has been corrected by a Braunschweig postal official: "Biel / aufm Hagenmarkt zu erfragen". Traces of original folds. Small hole and edge trimming from removal of seal on address leaf, otherwise very fine. ¶ G. W. Leibniz: Sämtliche Schriften und Briefe, Transkriptionen des Briefwechsels 1715, S. 119f., Nr. 84 ("Privatbesitz [?]"). First published: N. Barkey (ed.), Symbolae litterariae Haganae ad incrementum scientiarum omne genus (The Hague, 1779), p. 483f.

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马格里特·幽灵问题“原始草图簿 马格里特，勒内，比利时超现实主义画家（1898-1967）。幽灵问题 . 素描簿包括为一副没画的作 品而创作的 49 份草图。［布鲁塞尔，1946］. 草图簿有 49 张草图，6 张签名，1 张标日期“1946 年 8 月 13 日”； （5 1/2 x 4 1/8 in.；140 x 105 毫米）; 使用的是铅笔或墨水；草图簿封面上有名字幽灵问题 ." 洞察马格里特创造过程。此素描簿可能是在战争中使用，显示了马格里特在 1941 年 -1948 年之间 几幅绘画作品的研究：《陨石》（西尔维斯特，II， 559），《教化者》（西尔维斯特，II，574），《暴 风雨》（西尔维斯特，II，576）或《纯粹的理由》（西尔维斯特，II，659）。它也展示了一系列马格里 特对头发、女性、风景、或像鸟一样的树叶的符号指代的重要研究，这些符号指代用于不同的画作，比 如《自然的知识》（西尔维斯特，II，488），《日常食品》（西尔维斯特，II，497），《强暴》（西尔 维斯特，II，580）或《火焰》（西尔维斯特，II，599）。其他研究即马格里特式（有微笑的脸，有女人、 树叶、船、气球、或阴影中间的一滴水）的幽灵传统代表（一大张白床单），这些意象并没有用于哪幅画， 很可能他还没来得及画。题目中的“幽灵问题”仍待解决。出处：苏西·盖布立克。

Original sketchbook of Magritte for „Le Problème du Fantôme“ Magritte, René, Belgian surrealist artist (1898-1967). Le Problème du Fantôme. Sketchbook containing 49 sketches for an unpainted work. [Brussels, 1946]. Sketchbook with 49 drawings, 6 are signed, one is dated "13 August 1946"; (5 1/2 x 4 1/8 in.; 140 x 105 mm); pencil or ink; the sketchbook is titled on the cover "Le Problème du Fantôme."

Insight into Magritte's creative process. The sketchbook, used probably during the war, shows studies for several Magritte paintings made between 1941 and 1948: The Meteor (Sylvester, II, 559), The Civilizer (Sylvester, II, 574), The Tempest (Sylvester, II, 576) or Pure Reason (Sylvester, II, 659). – It presents also a remarkable series of studies of iconic Magritte references as hair, women, landscapes or leaves that resemble birds, used for different paintings such as Knowledge of the Natural (Sylvester, II, 488), Daily Bread (Sylvester, II, 497), The Rape (Sylvester, II, 580) or The Fire (Sylvester, II, 599). – Others studies are traditional representations of ghosts (a large white sheet) in a Magrittian way (with a smiling face, with woman, a leaf, a ship, a balloon or a drop in the middle of the shadow) for a work he probably never painted. The "Ghost Problem" of the title remains unresolved. Provenance: Suzi Gablik.

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纳尔逊，霍雷肖，第一任纳尔逊子爵，英国海军上将（1758-1805）。亲笔签名信件。圣 乔治 雷维尔湾［芬兰湾］，15. V. 1801. 4to. 1 p. 有活页，手写地址，以及盖章（汉密尔顿夫 人头像）. 一封精良的亲笔信，给“汉密尔顿女士，皮卡迪利大街 23 号，伦敦”。纳尔逊还是波罗 的海总司令时，写了这封非常重要的信，而六周之后哥本哈根战役爆发。当时政治局势很复杂， 俄罗斯人并不像现在这般开放好客。北方高纬度的寒冷空气给纳尔逊带来麻烦，他受凉后患 上了严重的咳嗽。同时他还因与汉密尔顿女士的分离而感到沮丧，惦念他们在一月刚刚出生 的女儿霍丽达。整封信言辞谨慎，很明显是因为纳尔逊担心这封信可能会落入其他人之手， 他自称汤姆森，这是之前与汉密尔顿女士商量好的伪称。信的文风忧郁，纳尔逊在结尾引用 了他最近写给海军部圣文森特大人的一封同样难过的信件的最后一部分：“我最亲爱的朋友， 哈比号明天将启程航向英格兰，两星期之后，在她到达目的地时，你才会收到这封信。我没 法针对政治说一句话。我希望能在回来时找到一位新的海军司令，而我的归期就在几天之后。 可怜的汤姆森要从佩里回来了。他渴求向妻子与家人倾诉最浓烈的思念（向艾玛·汉密尔顿 以及霍丽达）。 请相信我，你最重视的、饱含感情的纳尔逊与布朗特。很可能你永远都不会 收到这封信。我手头这封信，像石头一样坚定，对圣文森特大人写了八行。我希望能在回到 博恩霍姆时找到新的海军司令，或者很可能你再也不会见到我了。N & B”

Nelson, Horatio, 1st Viscount Nelson, British admiral (1758-1805). Autograph letter signed.

St. George, Revel Bay [Gulf of Finland], 15. V. 1801. 4to. 1 p. With fly-leaf bearing address in his handwriting, and his seal (head of Lady Hamilton).

Fine autograph letter to "Lady Hamilton, 23 Piccadilly, London". An important letter written when Nelson was Commander-in-Chief in the Baltic, six weeks after the Battle of Copenhagen. The political situation was complicated in that the Russians, while not now openly hostile, were definitely unfriendly. The cold air of the northern latitudes disagreed with Nelson, who had a severe cough and chill, and he was depressed at the separation from Lady Hamilton and concerned about their baby daughter Horatia, who had been born in January. The letter is discreet, evidently because of Nelson's fear that it might fall into other hands, and he employs the deception previously arranged with Lady Hamilton of referring to himself as "Thomson". The tone of the letter is melancholy, and Nelson concludes by quoting the last portion of an equally unhappy letter he had written recently to the First Lord of the Admiralty Lord St. Vincent: "My Dearest Friend, | The Harpy Brig sails tomorrow for England, you will not receive this Line for a fortnight after her arrival. I cannot say a word on Politicks [sic]. I expect to find a new Admiral on my return which will be in a very few days, poor Thomson is return'd from Petersburgh [sic] he desires his kindest affections to his Wife and familiy [i. e. to Emma Hamilton herself and Horatia] – And ever believe me Your Most attach'd & affectionate | Nelson & Bronte. | Most probably you will never receive this letter I have 3 wrote for you now laying by me, firm as a Rock, finish of 8 lines to Lrd. St. V[incent]. I expect to find a new Ad[mira]l when I return off Bornholm, or most probably you will never see again aff[ectiona]te | N & B".

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“我觉得贝多芬最后四个四重奏其中两个带着巴洛克风格，十分有趣” 帕格尼尼，尼科罗，小提琴演奏家（1782-1840）。亲笔书信，署名（“N. 帕格尼尼”） 维也纳， 1. VII. 1828. 大 4to. 1½ pp. 有签名 . 地址在背面 . 一封很长的，之前并未发现的信，写给在的里亚斯的港口的奥古斯汀·撒门戈 （1771-1837），他是一个出生在热亚那的船主和商人，但对音乐也很在行。帕格尼尼 来的里亚斯的港时，会借住在他家。在这封信里，帕格尼尼赞美了伯爵提琴的质量，这 琴是帕格尼尼代表撒门戈从维也纳送到的里亚斯的港口的，同时帕格尼尼谈论了运输方 式与花费。帕格尼尼两次提到了支票，很显然这封信里漏掉了。帕格尼尼认为贝多芬最 后四个四重奏带着巴洛克风格，十分有趣。- 有折叠痕迹，边缘因有封孔而有轻微瑕疵（仅 在页面）；收件人注释在背面：“ 7 月 11 日回信”。稍晚的亲收图标：“L. 撒门戈 的 里亚斯的港口” ¶ 不在 : R. 格瑞斯利 （ed.），N. 帕格尼尼，艾彼斯特拉瑞奥 （米兰 2006）.

"Gli ultimi quartetti di Beethoven de quali ne ho intesi due mi sembrano molto barocchi" Paganini, Niccolò, violin virtuoso (1782-1840). Autograph letter signed ("N. Paganini").

Vienna, 1. VII. 1828. Large 4to. 1½ pp. with autogr. address on reverse.

Extensive and previously unknown letter to his "amico carissimo" Agostino Samengo (17711837?) in Trieste, a Genoa-born shipowner and merchant who also practised music and with whom Paganini would lodge when visiting Trieste. In his letter, Paganini praises the qualities of the Graf cembalo which he had sent to Trieste from Vienna on Samengo's behalf, and discusses the modalities and costs of the transport. Twice Paganini refers to an invoice apparently missing from the letter. Paganini's opinion on Beethoven's final four quartets, which he finds baroque in style, is of particular interest. – Traces of folds. Slight edge defects from opening seal (barely touching text); recipient's note on reverse: "risposto li 11 Luglio"; slightly later collection stamp: "L. Samengo Trieste". ¶ Not in: R. Grisley (ed.), N. Paganini Epistolario (Milano 2006).

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沙皇彼得大帝的炼金术手稿 彼得一世，大帝，俄国沙皇（1672-1725），亲笔手稿，签名（“彼得”）。cript signed （“Petr”）. 无出处日期 4to. 1 p. （18 行）. 行星和占星（黄道带）符号的奇怪列表，全部用俄文注释，沙皇彼得大帝签名。很可能是在首席医 师，以帕拉塞尔苏斯派研究闻名的国务委员罗伯特·厄斯金（1677-1718）介绍下，沙皇开始接触占星 术和炼金术。沙皇在 1717 年 8 月和 9 月收到了来自约翰尼斯·德·怀尔德的信，后者居住在阿姆斯特丹， 自称费罗奇米克斯。信中证实了厄斯金在炼金问题上的专注范围。德·怀尔德提供了充足的资料证明厄 斯金对医疗化学的领悟。比如说，在 1717 年 8 月 10 日这一天，德·怀尔德写到，我收到报道说阁下非 常重视医药化工的奥秘 。这位费罗奇米克斯想方设法提升他的炼金行家性，给厄斯金提供可饮用金子的 配方。厄斯金不仅不认为德·怀尔德是个骗子，相反他还承诺要带他进圣彼得堡服务。根据德·怀尔德 的说法，他没有接受这个工作的唯一原因就是他患上了痔疮出血症。有趣的是，德·怀尔德又通过各种 方法宣传他的炼金服务，从给约翰尼斯·巴普提斯塔·凡·赫尔蒙特提供金水平，到让沙皇有更多的金银， 或者给彼得大帝的妻子，凯瑟琳提供让人愉快的玫瑰香水（R. Collis，在 Amstecataloguerdam 博览会上关 于彼得大帝及自然之谜的概述，2013）。有几张纸在折叠处有裂纹，但整体保存完好。

Alchemical manuscript by Czar Peter the Great Peter I, the Great, Czar of Russia (1672-1725). Autograph manuscript signed ("Petr"). No place or date. 4to.

1 p. (18 lines).

Curious list of planetary and astrological (zodiac) symbols, all annotated in Russian and signed by Czar Peter the Great, who may have been introduced to astrology and alchemy by his chief physician, the state councillor Robert Erskine (1677-1718), known for his Paracelsian leanings. "The extent of Erskine’s absorption in alchemical questions is demonstrated in a flurry of letters he received in August and September 1717 from Johannes de Wilde, a self-styled 'Philochimicus' in Amsterdam. De Wilde provides plentiful evidence of Erskine’s embrace of iatrochemistry. On August 10, 1717, for example, de Wilde wrote that 'I have received by report that Your Excellency regards Arcana Medico-Chimica as of great value.' The 'philochimicus' then seeks to promote his alchemical adeptness by providing Erskine with a recipe for potable gold ('aurum potabile'). Rather than dismiss de Wilde as a charlatan, Erskine actually proposed to take him into service in St. Petersburg. According to de Wilde, the only reason he did not accept the offer was due to his suffering from 'fluxum haemorrhoidum'.

Interestingly, de Wilde promoted his alchemical services in a variety of ways, ranging from offering to produce Johannes Baptista van Helmont’s 'aurum horizontale', to bolstering the Tsar’s treasury with gold and silver and to providing a 'delightful scent' of an 'aqua rosa' for Catherine, Peter’s wife" (R. Collis, Introduction to: A Curious Tsar. Peter the Great and Discovering Nature’s Secrets in Amsterdam. Exhibition catalogue, 2013). – A few paper flaws in the folds, but altogether well-preserved.

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普契尼，吉亚卡摩，意大利作曲家（1858-1924），21 封亲笔信（17），信卡（1）和明信片（3）， 大多都有签名。出处众多，1921 and 1922. 4to and 8vo. 总共 37 pp. 非常庞杂的私人信件收藏，都是写给他最后的爱人萝丝·埃德尔（1890-1955）。“在 1921 年和 1923 年之间，当普契尼与一个年轻的德国女高音歌手萝丝·埃德尔陷入炽热的爱情时，他在享受这最 后的浪漫风流。普契尼为萝丝·埃德尔在最后的作品图兰朵中创作了刘的角色。”（新格罗夫音乐词 典）“我甜美的萝丝”，普契尼于 1921 年 4 月 17 日在他早期写给萝丝的信中说道，“当我写到你时， 我被深深感动了。我真想告诉你我心里在想着什么，如果你能理解就好了！除了阻隔我们的千山万水， 还有语言上的不通，这让我们无法述说彼此心里的想法。遇见你是我多大的幸运，而不能和你说话又 是我多大的不幸。我的爱意有千言万语。将伴我终身的爱啊。你简直无法想象你给我留下了什么样的 印象！你慵懒的眼睛看着我的时候，我的心都在颤动，回响着浩瀚的感情。我永远都无法忘记你。我 的萝丝，我不知接下来会发生什么。我是怎么能忍受相隔如此遥远的距离？然而忍受与等待却也是必 须的。生活就是忍受与等待。学习，学习，我跪下来求你。请带着疯狂的爱意学习一点儿我的语言。 我相信在我的爱意引导下，你很快就能理解我的语言了。那将是我们生命里最美好的一天。给我写信吧， 即使是用德语。我会让人翻译你的信。如果有 S 女士的帮助……你想要用法语给我写信的话，我绝对 不会让陌生人看到你的信。我会每周给你写信，甚至更加频繁。我写得真清晰！我从来都没像这样写过， 是为了你，我的幸福，我会做任何事情……”（由意大利原文翻译而来）。另有三份电报。

Puccini, Giacomo, Italian composer (1858-1924). 21 autograph letters (17), lettercards (1) and postcards (3), mostly signed. Various places, 1921 and 1922. 4to and 8vo. Altogether 37 pp.

Very comprehensive collection of private letters written to his last love, Rose Ader (1890-1955). "Between 1921 and 1923, Puccini enjoyed what was likely his last romantic fling when he fell passionately in love with a young German soprano, Rose Ader, for whom he created the part of Liù in his final work, ‚Turandot'" (The New Grove Dictionary). "My good and sweet Rosa", Puccini wrote on April 17, 1921, on one of his earliest letters to Rose, "I am deeply moved as I write you. I would wish to be able to tell you what I have in my heart – if only you could understand! Besides the distance which separates us there is the matter of the language which prevents us from saying all that we have in our hearts – what good fortune that I should have met you and what misfortune not to be able to speak together! I would have such riches in expression with which to express my great love! A love which will be with me all my life – you cannot imagine what an impression you made on me! Your languid eyes which when they looked at me strike my heart as though to seek an echo of an immense affection. I shall never be able to forge you – my Rosa what will happen to me. How can I bear being so far away. Yet it is necessary to suffer and to wait. Life is all one waiting and one suffering! Study, study, I beg you on my knees. Study with ardor and feverishly a little of my language. I believe that guided by the love that you have for me you will soon succeed in understanding me. That day will be one of the most beautiful ones of our life. Write to me even in German. I shall have your letter translated. If with the help of Mrs. S... you wish to write in French I shall not let the eyes of a stranger see your letter. I shall write you every week and even more often than that. How clearly I write! Never have I written in this manner – for you, my joy, I do everything [...]" (transl. from the Italian original). – Accompanied by 3 telegrams.

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卢梭，让 - 雅克，日内瓦哲学家兼作家（1712-1778）。亲笔签名信。N. p.，“马迪 30”［I. 1759］. 4to. 1 p. 弧形 有签名 . 地址 .

信写给露易丝·玛丽·玛德莲·杜宾：“……谢谢你，女士。我全心感谢你的友好， 也谢谢你还记得我。即使不知道这件事是关于什么，我还是很焦急地希望知道结果。避免 给你的佣人造成不便，你可以写一张便条送给我，如果你希望能缓解我的焦虑的话。考虑 到我请求你要记得的内容，如果能在无聊的时候逗乐你，那么它最好是雇来的，而不是我 所希望的。在提醒你想起一个仰慕你的体面而高贵的年轻人时，我还希望这些话还能让你 想起另外一个人，他没有那个年轻人那么体面高贵，但他更加尊敬你，崇拜你……”在 1733 年到 1782 年之间，杜宾女士在巴黎举办了非常著名的文学沙龙，舍农索城堡则作为 当时启蒙运动中著名法国哲学家的中心而著名。年轻的卢梭是她的秘书。

Rousseau, Jean-Jacques, Genevan philosopher and writer (1712-1778). Autograph letter signed. N. p., "Mardi 30" [I. 1759]. 4to. 1 p. on bifolium. With autogr. address.

To Louise-Marie-Madelaine Dupin: "[…] I thank you, Madam, will all my heart for your kindness and for having remembered me. Even without knowing what thecase is about, I am anxious to learn which may be the outcome. In order to avoid any inconvenience to your domestics, you could send me a written note if you want to ease my anxiety. Concerning the text which I ask you to be so kind to remember, if it can amuse you in a quarter of an hour of boredom, it will be better employed than I would have hoped. While reminding you of a respectable and noble man who admired you, I hope that this said text may also make you remember another man, inferior to him in every regard except for the respect and the sentiments he has for you […]“. – Between 1733 and 1782, Madame Dupin hosted a famous literary salon in Paris and Château de Chenonceau known as a center of the most famous French philosophers of the enlightenment. As a young man, Rousseau served her as a secretary.

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舒曼，罗伯特，作曲家（1810-1856）。《修女》歌曲 op. 49 no. 3，开头部分 音乐引用片段亲笔稿，作曲家签名题词： ［为了纪念罗伯特·舒曼，带来他妻子（当 时无法写字）的问候。］莱比锡 , 1843 年 4 月 25 日 .

《修女》歌曲 op. 49 no. 3，开头部分音乐引用片段，绝妙的亲笔稿，作曲家签 名题词：［为了纪念罗伯特·舒曼，带来他妻子（当时无法写字）的问候。］包括 最开始的十六小节，歌唱部分，钢琴伴奏，棕色墨水标识，在三份三行五线谱上， 每份开头都有亲笔签名“弗勒利希的修女”。《修女》是舒曼在 1840 年创作的，是 他的年度歌曲，在 1844 年作为《浪漫曲与叙事曲》第二卷的第三部分发表。“ Op. 49. 背面为签名 “二重卡农，”由意大利滑稽戏歌剧歌手路易吉·布拉什签名，“L. Lachache，1839 年 4 月巴黎 1”开头“我们两人要做什么做什么 ....”。有趣的是布 拉什（1794-1858）在海顿（1809）和贝多芬（1827）的葬礼上唱了莫扎特的安魂曲。 舒曼创作了三首曲子献给他。两页，矩形对开，是从集册上取下来。出处：苏富比， 伦敦 25 5 月 '01， Lot 189

Schumann, Robert, composer (1810-1856). Autograph musical quotation from the opening of the song "Die Nonne," op. 49 no. 3, signed and inscribed by the composer: "Zur Erinnerung an Robert Schumann mit Grussen seiner Frau, die ist im Augenblick unmoglich zu schreiben [In memory of Robert Schumann with greetings from his wife, who is at the moment unable to write] Leipzig, „d.25sten April 1843“.

Fantastic autograph musical quotation from the opening of the song „Die Nonne“, op.

49 no. 3, signed and inscribed by the composer: "Zur Erinnerung an Robert Schumann mit Grüßen seiner Frau, der es im Augenblick unmöglich zu schreiben [In memory of Robert Schumann with greetings from his wife, who is at the moment unable to write] comprising the first sixteen bars, for voice and piano, notated in brown ink, on three systems of three staves each, with autograph heading, „Die Nonne von Frohlich.“ „Die Nonne“ was written by Schumann (1810-1856) in 1840, his Liederjahr or year of song, and was published in 1844 as the third of the second volume of the „Romanzen und Balladen,“ Op. 49. On verso is an autograph "Canone a Due," signed by Italian buffo opera singer Luigi Lablache, "Parigi 1. Aprile 1839. L. Lachache," beginning "Siamo in due che cosa far che cosa far...." Of interest is the fact that Lablache (1794-1858) sang in Mozart's "Requiem" at the funeral of Haydn (1809) and of Beethoven (1827), and that Schubert composed and dedicated three songs to him. Two pages, oblong folio, removed from an album. – Provenance: Sotheby's, London, 25 May '01, Lot 189

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舒 曼， 罗 伯 特， 德 国 浪 漫 主 义 时 代 作 曲 家（18101856）。 亲 笔 签 名 信 件， 随 附一张详例注释。德勒斯登， 8. I. 1848. 8vo. 4 pp. 一封非常复杂的信，写 给德国作曲家卡尔·温迪， 就如何与音乐出版商卜雷德 科夫和海特尔交涉，给与温 迪相关指导，并谈论了温迪 最近的作曲。舒曼在谈论他 的作曲时，应用了诙谐曲（两 节）的一部分。纸张有轻微 损坏（已修复）。 ¶ 杰森 Nr. 326 （分册）.

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Schumann, Robert, German composer of the Romantic era (1810-1856). Autograph letter signed, and with a note example within the text. Dresden, 8. I. 1848. 8vo. 4 pp.

A very comprehensive letter to the German composer Carl Wettig, giving instructions concerning negotiations with the musical publisher Breitkopf & Härtel, and discussing Wettig's recent composition, of which Schumann cites a part from the scherzo (2 bars).

– Slight damage to paper (restored). ¶ Jansen Nr. 326 (in parts).

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Tchaikovsky discusses his suite "Mozartiana"

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塔索，托尔夸多，十六世纪意大利诗人（1544-1595）。 亲笔签名信件。罗马，15. V. 1593. 对开本 . 1 p. 有印章痕迹， 地址 . 信件写给那不勒斯的阿伯特·弗朗西斯科·波尔维里诺， 随附两份他的作品《眼泪》的稿件，一份给大主教，一份给迪 康纳伯爵，信件内容是要求在那不勒斯重印《雾凇》的第二部分， 因为在布里希亚发行的版本满是错误。托尔夸多·塔索的信， 凯萨瓜斯蒂（ed.），vol. V，佛罗伦斯 1855，Nr 1461. 稍显棕色， 带斑点，除此之外，称得上是一封精美独特的信函，十分罕见。

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Tasso, Torquato, Italian poet of the 16th century (1544-1595).

Autograph letter signed. Rome, 15. V. 1593. Folio. 1 p. Traces of Seal, address.

To abbott Francesco Polverino in Neapel, sending two copies of his "Lagrime", one for the Archbishop and one for Count di Conca, and asking to have reprinted the second part of his "Rime" in Naples since the one which has just been published in Brescia was full of mistakes. – Le Lettere di Torquato Tasso, Cesare Guasti (ed.), vol. V, Florenz 1855, Nr 1461. – Somewhat browned and spotty; apart from that a fine and characteristic letter; of utmost rarity.

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柴可夫斯基谈论他的组曲《莫扎特魂》 柴可夫斯基，彼得·伊里奇，俄罗斯作曲家（1840-1893）， 亲笔签名手稿，署名为西里尔字母（“P. 柴可夫斯基”。）出 处不明，1887. 8vo. 1 页 . 黄色信纸，有轻微褶皱和指印， 附有 柴可夫斯基的蜡笔肖像以及莫扎特肖像的蛋白照片，有装裱。 柴可夫斯基谈论了他新作曲的管弦组曲 No.4 Op.61，通常 被称为《莫扎特魂》，用以庆祝莫扎特《唐璜》百年纪念。柴 可夫斯基个人指导的《莫扎特魂》于 1887 年 11 月在莫斯科首 次演出。曲目在手稿的开头和中间都有提及。

Tchaikovsky, Pyotr Ilyich, Russian composer (1840-1893).

Autograph manuscript signed, in Cyrillic ("P. Tchaikovsky"). No place, 1887. 8vo. 1 page. On yellow stationery, light creasing and thumbing, matted with pastel portrait of Tchaikovsky and albumen print photo of Mozart portrait and framed.

Tchaikovsky discusses his newly-composed Orchestral Suite No. 4 Op. 61, usually referred to as "Mozartiana", composed to celebrate the centennial of Mozart's "Don Giovanni". Tchaikovsky personally conducted the debut performance of "Mozartiana" in Moscow in November of 1887. The composition's title is referred to in the heading and in the body of the manuscript.

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柴可夫斯基，彼得·伊里奇，俄罗斯作曲家（1840-1893）。签名题词的小照片， 署名是“P. 柴可夫斯基”。出处不明，10. II. 1888. 143：100 毫米。 莱比锡米勒与皮格姆工作室里拍摄的半身照，只有头部和肩膀，题词给德国音乐 会经理人兼指挥罗伯特·比格内尔。背面有装裱痕迹。

Tchaikovsky, Pyotr Ilyich, Russian composer (1840-1893). Signed and inscribed cabinet photograph "P. Tschaikowsky". No place, 10. II. 1888. 143:100 mm.

A head and shoulders portrait from the studio of Müller & Pilgram in Leipzig, inscribed to the German concert manager and conductor Robert Bignell. – Traces of mounting on the reverse.

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托尔斯泰对日俄战争表达非暴力看法 托尔斯泰，列夫·尼古拉耶维奇，俄罗斯小说家（1828-1910）。1904 年 2 月 11 和 24 日 .

1 p. 弧形 . 8vo. 用英文写给费城报纸《北美》的信件。战争开始已经九个月了，托尔斯泰，作为非暴 力的提倡者，是当时世界上领头人物之一。他的观念给读者带来巨大影响，而这封信是对 那份报纸一个问题的回复：“我既不支持俄国，也不支持日本，我只关心两个国家的劳苦 群众，他们被政府欺骗，被迫要反抗自己的福利，良知与宗教。”页面边缘与折叠处有些 许损坏。 ¶ 引用自（有出入）：H. 特鲁瓦亚，托尔斯泰（纽约 1967）， p. 615.

Tolstoy Expresses his conviction of Non-Violence in the Russian-Japanese Conflict Tolstoy, Leo Nikolayevich, Russian novelist (1828-1910). Autograph letter signed. No Place, 11 and 24 Feb 1904. 1 p. on bifolium. 8vo.

Written in English to the Philadelphia newspaper, "The North American". Nine months have passed since the beginning of the war, and Tolstoy, an advocate of non-violence, was one of the world's leading voices. His opinions were of great interest to his readers, and the present letter is an answer to the newspaper's query: "I am neither for Russia nor Japan, but for laboring people of both, deceived by governments and obliged to fight against their welfare, conscience and religion". – Some damage to edges and foldings. ¶ Quoted (with departures) in: H. Troyat, Tolstoy (New York 1967), p. 615.

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图 卢 兹 - 劳 特 雷 克， 亨 利· 德， 画 家 （1864-1901）。亲笔手稿，法语和拉丁语，在 结 尾 处 三 次 签 名，“ 孟 发，” n.p.o.d. 双 开 . 4 pp. 第二页上部印有红色字母“HTL.” 劳特雷克讲述了赫尔克里斯与卡库斯的传 奇，全文如下（翻译）：“那张脸很可怖。他的 强壮配得上他的身高。他的躯体庞大，这头巨兽 就是火神的儿子。这山洞如此之幽深如此隐秘， 野生动物很难发现它。人类的头和胳膊在入口就 被阻拦了。干涸的地面满是白骨。朱庇特的儿子 留下了他剩下的公牛头，没有用心看护，于是就 被偷了。我听到他的喊声，并由这声音指引。复 仇者抵达了怪物的洞口。他用山上的巨石堵住了 洞口。十个人都难得撼动石头。赫尔克里斯将石 头举过肩膀，他曾经举起天堂的穹顶并将它摔得 粉碎。甚至空气里都回响着石头砸下来的声音， 地动山摇……卡库斯则开始了第一次攻击，暴怒 中混着石块树枝袭击。然而没有任何用处，他转 而向父亲寻求计策，喷着火焰。库卡斯的呼吸会 让你以为听到了台风或者从埃特纳火山快速砸下 来的雷电。艾尔希德的儿子提醒库卡斯，抓住对 方的三结棍。结果库卡斯朝自己的建议者喷了 三四次火。艾尔希德的儿子倒地，吐了很多血和 烟气。临死，大量尘土落到他身上。”劳特雷克 也添加了很多墨水画的小草图到手稿顶部和底 部，包括第一页上面几个粗糙的草图，很像是卡 库斯；第三页底部有两个草图，描绘一个男人的 头；结尾部分有两个草图，画的是马头。- 散落 有几点尘土，以及轻微褶皱，还有几处不显眼的 边缘撕裂，除此之外质量良好。另附有图卢兹 劳特雷克协会的一封信，确定这份作品的权威性。 当世界已经开始承认劳特雷克是一个通过艺术作 品讲述故事的大师，这份重要的作品显示了他是 如何在语言与想象上磨炼自己的技艺。尽管他身 体虚弱，与著名强大的赫尔克里斯完全不同，但 这位艺术家有着超越普通人的另一种力量。简单 几笔，描画出栩栩如生的史诗神话艺术形象，同 样简洁地绝妙举例，他给这个古老的故事赋予了 新的形式，展现了劳特雷克式的视角。我们提供 的第一份劳特雷克，签名是少有的“孟发”（他 完整姓氏是图卢兹 - 劳特雷克 - 孟发，指的是 法国南部的乡村。他的祖先从那里来。），有多 个他早期可辨识风格的草图 - 包括两个画着马的 草图，在他的作品里经常出现。

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Toulouse-Lautrec, Henri de, painter (1864-1901). Autograph manuscript in French and Latin, signed at the conclusion three times, “Monfa,” n.p.o.d. Folio. 4 pp. With the top of the second page bearing the red stamped monogram, “HTL.” Lautrec tells the legend of Hercules and Cacus, in full (translated): “The face was horrible; his strength was matching his stature, his body was huge and this monster was the son of Vulcan. The dwelling was a cave with deep refuges, and so hidden that wild animals could hardly find it. Human heads and arms are nailed at the entrance; dried up ground is whitened by bones. The son of Jupiter left the rest of his oxen heard, so poorly watched over; the one that were stolen lowed. I hear the call he said, and was guided by the sound. The avenger reached the monster caves. He had blocked the entrance with a boulder detached from the mountain. Ten men would have barely shaken it. Hercules lifted it on his shoulders, the same one that had lifted the vault of heaven and by his effort he shattered his load.

Even the air resounded with the noise of that fall and the weight of this mass rattled the land…Cacus engaged the fight first and in his furor he attacked with blows of stone and sticks. That had no effect, in vain he resorted to his father’s strategies and spewed flames noisily. When he blows you would think hearing a typhoon or quick thunderbolt thrown from the ablaze depths of Etna. The son of Alcide warned him and grabbed him with his three-knotted club, he struck three or four blows on his adversary’s face. He fell and vomited a torrent of blood and of smoke and while dying a large space of earth ran over him.”

– Lautrec has also added multiple small ink sketches to the top and bottom borders of the manuscript, including several rough sketches at the top of the first page, most likely of Cacus; five partial and complete sketches of oxen next to the stamped monogram at the top of the second page; two sketches of a man’s head at the bottom of the third page; and two sketches of horse heads at the conclusion. – A bit of scattered mild soiling and light wrinkling and creasing, and a couple of trivial edge tears, otherwise fine condition. Accompanied by a letter from the Committee Toulouse-Lautrec confirming the authenticity of this work. While the world has come to recognize Lautrec as a master storyteller through his artwork, this remarkable piece shows him honing his skills in both word and image. Though he was physically defined by his frailty, the polar opposite of the mythic Hercules, the artist held a different kind of strength far surpassing the ordinary man. Bringing to life the figures of this epic tale with but a few rough lines from his pen, stunning examples of his characteristic simplicity, he gives new form to the centuries-old story, presenting a truly Lautrecian vision. The first Lautrec we have offered with his rare “Monfa” signature (the conclusion of his complete family name, Toulouse-LautrecMonfa, referring back to the village in southern France whence his descendants came), and holding multiple sketches in his easily recognizable style – including two of horses, which frequently appeared in his work.

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屠格涅夫评论托尔斯泰的《战争与 和平》 屠格涅夫，伊凡·谢尔盖耶维奇， 俄罗斯作家（1818-1883）。写给特鲁别 茨科依公主的亲笔签名信件。巴登 , 28.

III. 1865. 8vo. 4 pp. 信件用法语书写，屠格涅夫阅读了 托尔斯泰 1805 年的新小说《战争与和 平》的第一部分，这部小说于 1863 年和 1869 年之间分期连载。屠格涅夫觉得这 部小说无聊又冷酷，批评它缺乏历史感 与诗歌感。他补充道，梅里美对托尔斯 泰《哥萨克》的看法和他标准一样。但 屠格涅夫认为《哥萨克》是用俄语书写 的最好的故事。他描述了在巴登的生活 和蒂茨家每周日的午后音乐演出。他在 巴登购置了地产，会在那里建一座房子 （靠近他最爱的保琳·加西亚·蒂茨）。 这封重要的信件很显然从未被公之于众。 尽管在这封信里屠格涅夫对托尔斯泰很 苛刻，但在 1866 年读完《战争与和平》 的最终版本后，屠格涅夫改变了他的看 法，随后他在法国和德国都对这本书大 加宣传。

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瓦格纳，理查德，作曲家（1813-1883）。音乐引用片段亲笔签名。可能于维也纳 , 20. V. 1861. 长方形，大 8vo. 1 p. 《罗恩格林》中的三小节，以纪念维也纳 /1861 年 5 月 20 日 / 理查德·瓦格纳（翻译）。随 着 1857 年维也纳塔利亚剧院中《汤霍瑟传说》演出的大获成功，维也纳人向瓦格纳敞开了自家大 门：1858 年宫廷歌剧院决定将《罗恩格林》搬上舞台。瓦格纳自己从来没有亲自看过演出。当他在 1861 年 5 月第三次来到维也纳时，他的机会来了。瓦格纳观看了彩排，感动到流下眼泪：“这场彩 排超出了到目前为止我所有的期望，在我充满苦难与挫折的艺术生涯里，我第一次感受到了彻底满 足的愉悦。”（致明娜·瓦格纳，维也纳，1861 年 5 月 13 日）。在首次演出上，瓦格纳受到观众 的欢呼，不得不在每幕结束后出来鞠躬谢幕。书页装饰精良，记录了瓦格纳总是沮丧徘徊的岁月里 一次艺术高峰。

Turgenev criticizesTolstoy's "War and Peace" Turgenev, Ivan Sergeevich, Russian writer (1818-1883). Autograph letter signed to Princess Troubetskoy. Baden, 28. III. 1865. 8vo. 4 pp.

In French. Turgenev had read the first part of Tolstoy's new novel 1805 ['War and Peace'], which appeared in instalments between 1863 and 1869. He found it boring and cold, and complains of the lack of historical sense and of its lack of poetry. He adds that Merimee views Tolstoy's 'The Cossacks' in a similar light; Turgenev himself considered The Cossacks to be the best story written in the Russian language. He describes life in Baden and the musical matinees given each Sunday by the Viardots. He has purchased land in Baden and will build a house there (near his beloved Pauline Garcia Viardot). – This important letter is apparently unpublished. In spite of his criticism of Tolstoy in this letter, Turgenev altered his opinion of 'War and Peace' after he read the work in its final revised version in 1866, and he later promoted it extensively in France and Germany.

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Wagner, Richard, composer (1813-1883). Autograph musical quotation signed. Probably Vienna, 20. V. 1861. Oblong large 8vo. 1 p.

Three bars from "Lohengrin", "in memory of Vienna / 20 May 1861 / Richard Wagner" (transl.). – With the great success of "Tannhäuser" at Vienna's Thalia Theatre in 1857, the great Viennese houses opened their doors to Wagner: in 1858 the Court Opera decided to stage "Lohengrin". Wagner himself had never witnessed a performance. His opportunity came when he visited Vienna for the third time in May 1861. He attended the rehearsals and was moved to tears: "This rehearsal surpassed all my expectations by far, and for the first time in my artistic life so full of suffering and strife did I experience complete, all-reconciling pleasure" (to Minna Wagner, Vienna, 13 May 1861). At the première Wagner was cheered by the audience and had to take bows after every act. – A fine, decorative leaf, documenting an artistic climax during Wagner's often despondent years of wandering.

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