RR Auction: Art, Literature, and Classical Music

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Art, Literature, and Classical Music Bidding closes June 20, 2024

RR Auction’s special June sale focuses on art, literature, and classical music, and boasts a wealth of extraordinary autograph material. Musical gems include a handwritten church cantata by Johann Sebastian Bach, a musical sketch by Ludwig van Beethoven, and rare autographs of Franz Joseph Haydn, Giuseppe Verdi, Gaetano Donizetti, and Gioachino Rossini. Among the literary treasures are a remarkable, intimate archive of signed books and correspondence from John Steinbeck to his typist; books signed by Charles Dickens, James Joyce, F. Scott Fitzgerald, and Mark Twain; and important letters by Herman Melville, Victor Hugo, J. D. Salinger, and Lord of the Rings author J. R. R. Tolkien. Artists featured in the sale are Charles Schulz, Paul Gauguin, Alexander Calder, and Pablo Picasso.

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Robert S. Eaton Sr. 1940–2001

Rare signed artist’s portrait collection, highlighted by Keith Haring, Joseph Beuys, Gerhard Richter, and Zao Wou-ki Art, Architecture, and Design

6001. Artists: (185) Signed Portraits by Heinz Gunter Mebusch, with Joseph Beuys, Keith Haring, Gerhard Richter, and More. Remarkable limited edition collection of 199 portrait photographs of artists by German photographer and experimental artist Heinz Günter Mebusch, 185 of which are signed by the sitters. The portraits are gelatin silver prints on baryta paper, all measuring approximately 8.25 x 11.5, and numbered 22/25 on the reverse. Signers include: Joseph Beuys, Arno Breker, Paul Flora, Johnny Friedlander, Ernst Fuchs, Karl Otto Götz, Keith Haring, Jörg Immendorff, Loriot, Heinz Mack, Georg Muche, Gerhard Richter, H. A. Schult, Roland Topor, Günther Uecker, Tomi Ungerer, Wolf Vostell, Dondi White, Shizuko Yoshikawa, Zao Wou-ki, and many more. The portrait set is loosely stored in its original wooden coffer. In overall fine condition.

Heinz Günter Mebusch, a student of Otto Steinert, one of Germany’s most important postwar photographers, was active in more than 40 countries in Europe, Africa, and America. His longest and most extensive project was his series of ca. 200 artists’ portraits, created between 1978 and 2000 in close collaboration with the sitters. A limited set of 25 copies was produced in the years 1979-1992, often with additional signatures (and an overpainting by Ford Beckman), titled ‘Reise zum Planeten ARS.’ Almost all of the present prints are signed by the sitters. They are numbered 22 (of a total run of 25) and are presented in their latched wooden case; all are annotated by Mebusch on the reverse and bear his fingerprint.

Now an obscure name, Mebusch in his day was acquainted with all notable artists of his time, exhibiting in Costa Rica, Luxembourg, Vienna, Hollywood (‘Polytoxicomania’), Düsseldorf (‘Schatzsuche’), San Francisco (Goethe Institute, 1998),

and Venice (Biennale, 1999), taught at the Folkwangschule in Essen, and organised or curated numerous art and photo projects, including the 1991 Beuys Festival in Düsseldorf. A small selection of his works was recently shown by the documenta archive, which owns its own copy of the portrait series: ‘Taken at very close range, the headshots captivate the viewer through the sitters’ intense, direct gaze.’

Rarely encountered complete in the original coffer: the only copy sold at auction within the last decades comprised merely 179 portraits. A detailed list of signers and subjects is available on request. Starting Bid $2500

Centennial celebration of the Art Institute of Chicago, signed by Chagall, Miro, Albright, and de Kooning

6002. Artists: Marc Chagall, Joan Miro, Ivan Albright, and Willem de Kooning Signed Book - The Art Institute of Chicago: 100 Masterpieces. Exquisite multi-signed book: The Art Institute of Chicago: 100 Masterpieces. First edition, first printing. Chicago, Illinois: Rand McNally & Company / Printed and bound by R. R. Donnelley & Sons and Lakeside Press, 1978. Bound in fine dark red Morocco leather with gilt titling to the spine, and accompanied by its matching red leather clamshell presentation box with a large gold lion on the front lid, 12 x 15.5, 159 pages. Signed inside on separate pages in ballpoint by adored artists Marc Chagall, Joan Miro, Ivan Albright, and Willem de Kooning. In fine to very fine condition, with some wear to the clamshell case. Starting Bid $200

“Collaboration

between cows and sculptor”— Calder colors in a pastoral postcard, adding a kinetic mobile sketch

6003. Alexander Calder Signed Postcard with Mobile Sketch: “Collaboration between cows and sculptor”. American sculptor (1898–1976) known as the originator of the mobile. ALS in French, signed “Calder,” one page on a 5.5 x 3.5 postcard showing cows on the Nonnewaug River in Woodbury, Connecticut, May 9, 1958. Handwritten letter to “E. Beothy,” the Franco-Hungarian sculptor István Beöthy, in Montrouge (Seine), in which Calder announces arrival in Paris for the end of June. On the opposite side, Calder draws a sketch in the style of one of his kinetic sculpture mobiles, coloring in the cows and adding a caption across the top: “Collaboration entre vaches et sculpteur [Collaboration between cows and sculptor].” In fine condition.

Alexander Calder revolutionized modern art with his ingenious kinetic sculptures and mobiles. Born in 1898, Calder initially trained as a mechanical engineer before embracing his passion for art. His iconic mobiles, characterized by delicately balanced geometric shapes suspended in air, challenged traditional notions of sculpture by introducing movement and dynamism. Inspired by the organic rhythms of nature and influenced by artists like Piet Mondrian and Joan Miró, Calder’s creations invite viewers to engage with space and form in playful and unexpected ways. Through his innovative use of simple materials such as wire, wood, and metal, Calder transformed the static into the kinetic, inspiring generations of artists to explore the possibilities of movement in sculpture. Starting Bid $1000

Writing to her biographer, Cassatt weighs in on a 1913 show at the Galerie Manzi:

“A landscape by Pissarro does honor to the exhibition, and two quite beautiful still lifes by Monet”

6004. Mary Cassatt Autograph Letter Signed, Referring to Works by Degas, Pissarro, and Monet. ALS in French, three pages on two adjoining sheets, 4.75 x 6.5, Mesnil-Beaufresne letterhead, July 30, [no year]. Handwritten letter to writer and art critic Achille Segard, in full (translated): “I have just received the book that you have kindly wished to devote to my painting. I am infinitely grateful to you for it. There is just one thing that I would wish to be otherwise, what you say about my mother. I sound as if I were boasting. Could that be suppressed, or at least a bit of it? Or is it too late? I would take great pleasure in seeing you here, if you and Mrs. Segard would give me the pleasure of coming to lunch. I am working, which calms the nerves. Paris is terrible, with that constant struggle. I don’t know whether you have seen the exhibition at Manzi’s and Degas’s pastels. If he had been there himself, he

would never have exhibited that. But a landscape by Pissarro does honor to the exhibition, and two quite beautiful still lifes by Monet.” In fine condition, with light toning along the hinge.

In 1913, Achille Segard published ‘Mary Cassatt: Un peintre des enfants et des mères,’ the earliest biography of the American painter, which was based on a series of interviews with her. In this exquisite letter, she refers to fellow painters Edgar Degas, Camille Pissarro, and Claude Monet. Of the three, she was closest to Degas, who served as one of her chief mentors in Paris. He invited her to exhibit in the third Impressionist exhibition in 1877, and introduced her to pastel and engraving. For her part, Cassatt was instrumental in helping Degas to sell his paintings and promote his reputation in America. Starting Bid $300

“At least you did not have to mourn any of your beloved ones.

What a horrible time we are going through!”

6005. Mary Cassatt

Autograph Letter Signed. ALS in French, one page, both sides, 5 x 6.75, Mesnil-Beaufresne (Oise) letterhead, October 20 (no year). Addressed from “Villa Primerose, Dinard,” a handwritten letter that alludes to some sort of disaster (translated): “I hope you were able to have your beloved ones close to you during the terrible events, at least you did not have to mourn any of your beloved ones. What a horrible time we are going through!” Cassatt then comments on a piece of furniture she wishes to ship from Paris to her sister in Philadelphia. In fine condition. Starting Bid $200

6006. Salvador Dali Signed Book - Autobiography of Benvenuto Cellini. Signed book: The Autobiography of Benvenuto Cellini, Illustrated by Salvador Dali. First edition, limited issue, numbered 668/1000. Garden City, NY: Doubleday, 1946. Hardcover, 7 x 9.75, 442 pages. Prominently signed on the colophon in fountain pen, “Salvador Dali, 1945.” Autographic condition: very fine. Book condition: VG-/None, with ex-library markings, a bookplate affixed to the front pastedown and circulation card holder torn from rear pastedown, embossed ownership stamps to half-title and title pages, and faded area to lower spine. Starting Bid $200

Degas comments on a sculpture and Mary Cassatt in a letter to a fellow artist

6007. Edgar Degas Autograph Letter Signed on Mary Cassatt. ALS in French, signed “Degas,” three pages on two adjoining sheets, 4 x 5.25, June 13, 1889. Letter to fellow artist Albert Bartholomé, in part (translated): “You say that you will be ready Saturday, so I’ll go and see this on Saturday. If I take the 2:40 train, I’ll be at Crépy at 4:25. I’ve put in a lot of work on the little wax figure. I’ve made a base for it with pieces of linen soaked in a more or less wet plaster. Madame Cassatt continues to do well. The dressing was changed on Monday. Everything is getting better.” In fine condition. A fascinating artistic letter, as Degas served as one of Cassatt’s chief mentors in Paris. Starting Bid $300

“I have led the life of a Negro since I saw you”

6008. Eugene Delacroix Autograph Letter Signed. French artist (1798–1863) who takes a place in the first rank of painters in the Romantic tradition and whose mastery of color and technique inspired both the Impressionist and Symbolist schools. ALS in French, signed “Eug. Delacroix,” one page, 5.25 x 8, [January 17, 1854]. A handwritten letter from Eugene Delacroix to a friend, in full (translated): “I have led the life of a Negro since I saw you: here I have promised to have ready my exhibition room for the celebration on the 28th at the town hall. So I don’t have time to show it publicly until then: I would however like you to be one of the five or six people who will tell me your opinion of it in the middle of the dust of the scaffold. If you can escape tomorrow Wednesday or the day after tomorrow Thursday you will find me there all day. I warn you that at 2 a.m. there is no more daylight. When the party will be over I hope you will come with the people I will invite later to see it in a more presentable state.” In fine condition. Starting Bid $200

“It will be said all my life that I am condemned to fall, get up, fall again”— one of the last letters of Paul Gauguin

6009. Paul Gauguin Autograph Letter Signed Twice, Written Days Before His Death - “All these worries are killing me”. Significant twice-signed ALS in French, one page, 8 x 10, April 1903. Letter to his friend George-Daniel de Monfreid, handwritten by Gauguin from the Marquesas Islands.

Given the artist’s death on May 8, 1903, it’s likely that Gauguin was already dead by the time Monfreid received this letter. In part (translated): “I am sending you 3 paintings which you will receive – I am sending them directly to Mr Fayet so as not to have to be lugged around..Will you tell Mr Fayet that this is about saving me. If the paintings do not suit him, let him take others from you or lend me 1500 F with all the guarantees he wants. – Here’s why: I have just been the victim of a terrible

trap. After scandalous events in the Marquesas...a bandit judge under the orders of the governor...sentenced me...to 3 months in prison and a fine of 1000 F. I have to go on appeal to Tahiti. Travel stay and especially lawyer fees!! how much will this cost me? This is my ruin and the complete destruction of my health. It will be said all my life that I am condemned to fall, get up, fall again, etc. All my old energy goes away every day.” Gauguin writes more on the reverse, signing “P. Gauguin.” In part: “Vollard has not written to me for 3 letters and has not sent me any money...If he died or went bankrupt I hope you would have been informed. All these worries are killing me.” In fine condition. Starting Bid $2500

“If you don’t have a strong enough constitution to advance me some money, you had better tell me”—back in Tahiti, Gauguin looks to his benefactors for financial support

6010. Paul Gauguin Autograph Letter Signed from French Polynesia. ALS in French, one page, 7 x 9, no date (1898-1899). Handwritten letter to art dealer Ambrose Vollard, with Gauguin acknowledging his gift of 200 francs, adding with some irony (translated), “you think without being sure that you can send me 400 francs by the next mail.” Gauguin reminds Vollard that he had sent nothing in August and September, “which is a body-blow for me. The rainy season has started and in order not to sleep underwater I was obliged to have my entire hut re-roofed, so here I am with creditors to whom I had made promises and who think that I lied to them.” He is therefore forced to take on some accountancy jobs “which stupefy me. So you cause me some regrets that I did not deal with someone else. If you don’t have a strong enough constitution to advance me some money, you had better tell me.” In fine condition, with trivial paper loss to the upper left corner tip.

In September 1895, Gauguin returned to Tahiti where he would spend the next six years. During this time he supported himself with sales and the support of friends and benefactors including Ambroise Vollard (1866-1939). As this letter reveals, there was a period in 1898–1899 when Gauguin needed to take a desk job in Papeete, which could be the ‘stupefying’ accounting work referred to here. In September 1899, the artist entered into a contract with Vollard; in exchange for a regular monthly advance of 300 francs, Vollard would make a guaranteed annual purchase of at least 25 paintings at 200 francs each and supply Gauguin with artist materials. This arrangement enabled Gauguin to resettle in the Marquesas Islands in 1901. Starting Bid $1000

6011. Francoise Gilot Signed Book with Sketch - Life with Picasso. Signed book: Life with Picasso. Third printing. NY: McGrawHill, 1964. Cloth-bound hardcover, 6.5 x 9.5, 373 pages. Signed and inscribed on the half-title page in black ink, “To Virginia Lingren, in Friendship, Francoise Gilot,” who adds a wonderful full-page sketch of a woman’s face. In very good to fine condition, with light staining to the upper right page corners, and light sunning to the slightly loose spine. Starting Bid $200

6012. Jean Giraud (Moebius) Signed Drawing. French artist, cartoonist, and writer (1938–2012) who garnered worldwide acclaim under the pseudonym Mœbius for his fantasy/science-fiction work. Admired by the likes of Federico Fellini, George Lucas, and Stan Lee, he contributed storyboards and concept designs to numerous science-fiction and fantasy films, such as Alien, Tron, The Fifth Element, and The Abyss. Original felt tip sketch of a figure in a dystopian sci-fi landscape accomplished by Jean Giraud on a white 7.5 x 9.5 sheet, signed and dated in the lower right, “Moebius, 96.” Double-matted and framed to an overall size of 15 x 15. In very fine condition. A desirable original piece of Moebius’s much-admired fantasy artwork. Starting Bid $200

6013. Kenneth Grahame: ‘Wind in the Willows’ Watercolor Painting by Peter Barrett. Original watercolor painting by illustrator Peter Barrett inspired by Kenneth Grahame’s classic children’s tale The Wind in the Willows, 9.5 x 7.5, signed and dated in the lower left by the artist, “Peter Barrett, 2019.” The scene features Mr. Toad having a fine picnic with friends, Mole and Badger, outside a fancy stagecoach as the sun sets. Handsomely matted and framed to an overall size of 15 x 12. In fine condition. The artist, Peter Barrett, created illustrations for a 1987 edition of The Wind in the Willows, a 65th Anniversary Edition of Three Little Pigs, and dozens of other animal-themed children’s books. Starting Bid $300

6014. Hardie Gramatky Original Painting for Weston Woods. American painter, writer, animator, and illustrator (1907–1979) best known for his children’s book Little Toot, the story of a young tugboat in New York Harbor. Original painting by Hardie Gramatky for Weston Woods Studios, accomplished in watercolor and gouache on 14 x 11 lightweight artist’s board, portraying three little tugboats in the water, signed along the bottom in ballpoint by the artist. In fine condition. Founded in 1953, Weston Woods Studios produced short films based on popular children’s books. Starting Bid $200

6015. Keith Haring Signed Postcard. Color semi-glossy 4.25 x 6 postcard of Keith Haring artwork from circa 1985 showing two figures holding up a large glowing red heart, signed within the heart in black felt tip, “K. Haring.” In very fine condition. Starting Bid $200

6016. Jean Auguste Ingres Autograph Letter Signed. Esteemed French Neoclassical painter (1780–1867) whose portraits are considered an influential precursor to modern art. ALS in French, signed “Ingres,” one page, 4.75 x 8.25, no date. An untranslated handwritten letter to a gentleman. In fine condition. Starting Bid $200

6017. Henri Matisse Signed Photograph. Rare vintage 8.5 x 12.25 paperstock book portrait of Matisse wearing his eyeglasses, dressed in a tie and tweed jacket, nicely signed and inscribed in the lower border in fountain pen, “A Monsieur Chlomoriten, Henri Matisse, 28/7 39.” In fine condition, with trimmed edges, and a short tear to the upper right border. Signed portraits of the great French visual artist are scarce in general, especially in this larger size—a marvelous piece. Starting Bid $300

“I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco”—an early and lengthy letter from Miro to the founder of Cahiers d’Art, offering ample biographical details

6018. Joan Miro Early and Lengthy Autograph Letter Signed. Early ALS in French, signed “Miro,” three pages, 8.5 x 10.75, April 7, 1934. Addressed from Barcelona, a lengthy handwritten letter to Cahiers d’Art founder Christian Zervos on an article the latter was writing. In part (translated): “Your article is very, very good…I have read it carefully many times and am very moved by it…However, it would be necessary to rectify a few dates…I consider that this information must be very exact, especially since it will be spread abroad…a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stopped painting from 1910 to 1912 - from this date, I devote myself entirely to painting…I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919.” In fine condition. Starting Bid $300

“Such a large plate on zinc will also become too expensive and less beautiful”—a rare handwritten letter from the Dutch master of the abstract

6019. Piet Mondrian Autograph Letter

Signed - Rare Handwritten Letter from the Dutch Painter. Dutch painter and art theoretician (1872-1944) who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th-century abstract art, for his association with the De Stijl movement, and for his primary-colored geometric ‘Compositions.’ ALS signed “P. Mondrian,” one page both sides, 5.25 x 7, March 2, 1926. Handwritten letter to fellow artist Felix del Marle, director of the art journal Vouloir, in part (translated): “Yesterday I had finished my article which I wrote after your departure, inspired by what we had discussed and especially by what you and Madame had told me about my studio.” He asks for his French to be corrected, if necessary (“It doesn’t have to be beautiful French (on the contrary!) but it has to be correct”), and forwards two photographs, explaining that one has not been published: “It seems to me that it will be very good if you could make a plate on linoleum or wood; I have seen you do them. Such a large plate on zinc will also become too expensive and less beautiful.” He concludes: “‘I’ll be interested in what you say about my article; I believe it can be useful for the movement.” In fine condition. Starting Bid $200

“The terrine was absolutely delicious”— Monet thanks the proprietor of the famed Hotellerie des vieux Plats

6022. Claude Monet Autograph Letter Signed. ALS in French, two pages on two adjoining sheets, Giverny par Vernon letterhead, January 17, 1921. Handwritten letter in pencil to M. Louis Aubourg, the innkeeper of the Hotellerie des vieux Plats, in part (translated): “I have received your letter and what it contained. The terrine was absolutely delicious and everybody at home enjoyed it very much. You are a very gifted cook and can only thank you although you owe me this…Let me tell you good things come to those who wait.” In very good to fine condition, with light soiling and scattered foxing. Includes a book on the history of L’Hostellerie des Vieux Plats, where Monet painted two views of Etretat and presented them to the Aubourgs to decorate the walls of the inn’s dining room. Starting Bid $200

6023. Claude Monet Autograph Letter Signed. ALS in French, two pages, 5.25 x 8, black-bordered Giverny par Vernon letterhead, May 12, 1924. A handwritten letter from Claude Monet to a friend, in part (loosely translated): “In case you decide to come back another day I have to warn you that from Saturday to Tuesday, you would be experiencing bad weather, having some parents who will come during those 4 days and as I prefer when we are between us. I prefer to inform you anyway see you soon right let us hope that by then the weather improves.” In fine condition. Starting Bid $300

“Thanks for the fruit — and for not wanting me to be sick — and for making me want to paint grapes”

6024. Georgia O’Keeffe Autograph Letter Signed. Early ALS, one page, 7 x 10.25, Shelton Hotel [New York] letterhead, no date [1920s]. Handwritten letter to an unknown recipient, in full: “Thanks for the fruit — and for not wanting me to be sick — and for making me want to paint grapes — I’m feeling better— painting the grapes — and smiling.” O’Keeffe adds a postscript: “It would be nice if you would come and see me some time — Phone – Murray Hill 7300.” In fine condition. O’Keeffe lived and worked at the Shelton Hotel in the 1920s, during which time she created some of her most memorable works, with many incorporating imagery from Manhattan’s distinctive architecture. Starting Bid $200

Picasso sketches the seaside sun while vacationing in France

6025. Pablo Picasso Autograph Letter Signed with Sketch - Postcard to Andre Level. ALS in French, signed “Picasso,” one page on a 5.75 x 3.75 postcard, no date but postmarked August 17, 1919. Picasso writes to the art dealer, critic, and collector André Level in Paris, in part (translated): “My dear friend, Saint-Raphaël Continental Hotel and Baths—When will you come to see us? I will start working tomorrow. Gorgeous blacks.” Below, he draws a sketch of the noontime sun, with “Midi” at the center. The front of the postcard, titled “Souvenir de villégiature,” depicts a couple engaging in humorous dialogue. In fine condition.

In early August 1919, Picasso settled in Saint-Raphaël in a small hotel overlooking the sea, from whence he sent this postcard. Earlier in the year, André Level and Henri Clouzot had published “L’Art nègre et l’Art Océanien” (African Art and Oceanic Art). This work was likely sent to Picasso, giving meaning to his last phrase: “gorgeous blacks.” It is worth noting Picasso’s significant interest in African art: during his ‘African Period’ of 1906 to 1909, Picasso painted in a style which was strongly influenced by African sculpture, particularly traditional masks and art of ancient Egypt. Starting Bid $1000

Rare father-and-son joint handwritten letters from Camille and Lucien Pissarro

6026. Camille and Lucien Pissarro

Joint Autograph Letters Signed. Wonderful joint pair of ALSs in French by Camille (“C. Pissarro”) and Lucien Pissarro (“Lucien”), three pages on two adjoining sheets, 5.5 x 8.5, both dated February 18, 1888, and addressed to their wife and mother, Julie Vellay. In Camille’s handwritten letter, which comprises the second and third pages, he informs his wife that he is sending her 300 francs and asks that she write to him as soon as possible. Lucien’s letter, which constitutes the first page, reads, in part: “I’ve been out of work for 15 days now, so I took the opportunity to draw a little and try to have some illustrations to do – I have to go and see if there’s anything to do at the studio tonight.” In fine condition. Starting Bid $200

Renoir certifies his painting of a mother and child

6027. Pierre-Auguste Renoir Signed Photograph. Fantastic matte-finish 5.75 x 7.25 photographic print of one of Renoir’s paintings of a woman and child seated in a field, affixed to a 5.75 x 10 mount, signed in the lower border in ink, “Renoir.” The lower border also bears official certification stamps in French signed by the mayor of Cagnes-sur-Mer to authenticate Renoir’s signature, dated January 10, 1911. Handsomely double-matted and framed to an overall size of 11.5 x 16. In fine condition. The photograph was originally part of the archive of Renoir’s art dealer, the great Ambrose Vollard. In order to avoid any future disputes regarding the authenticity of works by artists he represented, Vollard had all of the original paintings photographed, then asked the artist to sign each photo. Starting Bid $200

6028. Norman Rockwell Signed Book with Sketch - My Adventures as an Illustrator. Signed book: My Adventures as an Illustrator by Norman Rockwell. First edition. NY: Doubleday, 1960. Hardcover, 6.25 x 9.5, 436 pages. Signed and inscribed on the half-title page in fountain pen, “Greetings to my old friend and M.H.S. classmate Phil Severin, cordially, Norman Rockwell,” who adds a sketch of a child in a ghost costume and signs on behalf of his son and ghostwriter, Tom Rockwell. Autographic condition: fine, with a couple of small stains to the signed page. Book condition: VG-/ None, with edgewear, a cocked spine, and minor staining to textblock. Starting Bid $200

6029. Auguste Rodin Autograph Letter Signed. ALS in French, signed “Rodin,” two pages on two adjoining sheets, 4 x 5.25, no date. An untranslated handwritten letter to his friend, the art critic Maurice Guillemot. In fine condition. Starting Bid $200

Charles Schulz’s original ‘Peanuts’ designs for Tarzana’s ‘Snoopy Bridge’

6030.Charles Schulz (13) Original ‘Peanuts’ Drawings for Tarzana’s ‘Snoopy Bridge’. Complete set of 13 of Charles M. Schulz’s original drawings, with color cels of six of them, for sheet metal panels on the Wilbur Avenue Pedestrian Bridge (‘Snoopy Bridge’) of Tarzana Elementary School, Los Angeles, California. Each is accomplished in ink or felt tip, some over visible pencil sketches, on sturdy artist’s paper, measuring approximately 10.5 x 12.5, all signed within the image, “Schulz.” The drawings feature iconic Peanuts characters Charlie Brown, Snoopy, Lucy, Schroeder, and Linus in familiar poses—Lucy reclines against Schroeder’s piano, Charlie Brown and Lucy dress in baseball uniforms, and Snoopy gleefully leaps into the air. In overall fine condition, with occasional artist’s corrections with white-out, pinpricks to corners, and some sides clipped a little irregularly. Housed in a custom-made clamshell case, titled in gilt on the leather spine.

This complete set of original pen-and-ink ‘Peanuts’ drawings was gifted by the artist in 1971 to decorate the newly erected overhead footbridge at the intersection of Wilbur Avenue and Collins Street in Los Angeles’s suburban Tarzana neighborhood of San Fernando Valley.

The 90-foot pedestrian overpass was planned in 1969 to protect school children who needed to cross Wilbur Avenue, a fivelane thoroughfare which was also subject to frequent floods, to reach Tarzana Elementary School on the road’s west side. A member of the school’s parent-teacher association knew Charles Schulz personally and asked him whether he might consider donating drawings of his famous characters to embellish the concrete and steel bridge. The cartoonist’s sketches were then blown up as twelve alternating life-size panels fastened across the span, each measuring 5 feet in height and 3 to 8 feet in width. To this day, more than a half-century on, the panels have proved remarkably resilient to the ravages of time and the weather, and the overpass is widely known in the area as the ‘Snoopy Bridge.’

The present set includes a 13th sketch which was ultimately not chosen for the bridge, showing Charlie Brown sitting in a metal pail. On the verso of the drawing of Snoopy dancing is an earlier, abandoned sketch of the same motif. The six color cels are marked up for coloring by a colorist’s hand. Includes the original manila envelope inscribed “Peanuts” in red felt-tip pen and return-addressed to the responsible engineer at the city’s Department of Public Works, J. R. Penrose.

A fine survival, and a genuine slice of American life, of which Charlie Brown and his gang have been such a vital part since Schulz first introduced the ‘Peanuts’ comic strip in 1950. Starting Bid $10,000

6031. Ernest H. Shepard

Signed Original Study for ‘The Odyssey’. English artist and book illustrator (1879-1976) known especially for his human-like animals in illustrations for Winnie-thePooh by A. A. Milne. Unique pencil-and-watercolor study of an ancient Greek scene from The Odyssey, accomplished by Ernest H. Shepard on off-white 6.75 x 9.75 artist’s board, signed in the lower left corner in ink, “E. H. Shepard.” Also annotated on the reverse by Shepard, “The Return of Ulysses, ‘Penelope herself came down,’” and signed in the corner, “Return to: E. H. Shepard, Woodmancote, Lodesworth, Sussex.” In very good to fine condition, with mounting remnants to borders, and surface loss to reverse affecting some of Shepard’s writing. Starting Bid $200

6032. Alfred Sisley Autograph Letter Signed. French Impressionist landscape painter (1839–1899). ALS in French, signed “A. Sisley,” two pages on two adjoining sheets, 4.25 x 6.5, February 27, 1895. Addressed from Moret-sur-Loing, an untranslated handwritten letter from Alfred Sisley. In fine condition, with a trimmed section of the lower portion of the second page. Starting Bid $200

“In this country there is an overwhelming vogue for abstract painting— ‘abstractivism à l’américain’”

6033. Dorothea Tanning Autograph Letter Signed with Original Collages. Self-taught American painter, printmaker, sculptor, and poet (1910–2012) whose early work was influenced by Surrealism. Scarce ALS signed “Dorothea,” two pages, 7.25 x 10.5, February 25, 1948. Handwritten letter to “Joe,” recounting her visit to New York for an exhibition of her paintings and discussing her life in Arizona with Max Ernst. In part: “If only we could soon go to France! It is my dearest wish. When I went there, alone,, in July 1939 it was very sad. The war began and I was obliged to leave. It was like a beautiful but unfinished dinner carried away. We have just returned from New York where I had an exhibition of my

paintings…Now we are back in Arizona and very happy to resume our tranquil sunny life once more. Max has a separate studio where he goes every day (just a few steps) to perform his special kind of alchemies in paint. I am in my own studio, hesitating a little before I commence to paint again. There are so many painters! And in this country there is an overwhelming vogue for abstract painting—’abstractivism à l’américain,’ Max calls it.” Affixed to both pages are clipped and affixed collage elements, forming an elaborate, artistic letterhead on the first page. In fine condition, with a bit of scattered staining to the second page. Starting Bid $500

Dinner directions from Lautrec— “Put on a white tuxedo and paint your face”

6034. Henri de Toulouse-Lautrec Autograph Letter Signed. Fanciful ALS in pencil in French, signed “T-Lautrec,” three pages on two adjoining sheets, 4.25 x 7, no date [but June 1895]. Handwritten letter to an unidentified correspondent, addressed as “Cher maître,” in full (translated): “It will happen on Saturday. See Sescau to arrange for us to have dinner together, at my home if you want. Put on a white tuxedo and paint your face over – if possible.” In fine condition, with partial splitting along the hinge.

This letter, published as number 414 in Schimmel’s The Letters of Toulouse Lautrec, finds the artist reminding his correspondent of a fancy party or ball on Saturday. He explains the dress code – white tuxedo and a painted face – and proposes that the two and their common friend, Paul Sescau, have dinner at his house before the party. The photographer Paul Sescau was a friend of Lautrec who was the first to photograph the latter’s artistic works. When Lautrec was commissioned by Sescau to create a poster for his photographic studio, Lautrec obliged in kind, with the now-famous result featuring all manner of double meanings and inside jokes. ‘The woman’s (possibly Jane Avril) contracted and shrinking attitude, suggesting that she is fleeing from the camera, is an ironic comment probably intended for Sescau, who ‘used his studio mainly for seduction’’ (Wagner, p. 26) The year 1895 was a prosperous creative period for Lautrec, who designed some of his most famous ‘affiches’ and painted his celebrated large canvas ‘Au Moulin Rouge,’ now in the Art Institute of Chicago—coincidentally, the painting features Paul Sescau as a subject. Starting Bid $300

6035. Andy Warhol Signed ‘Marilyn Monroe’ Postcard. Iconic postcard depicting one of Andy Warhol’s portraits of Marilyn Monroe, 4 x 6, signed in the lower border in black felt tip. In fine condition. The highest price ever paid for a Warhol painting was achieved in May 2022, when Shot Sage Blue Marilyn (1964) sold for a staggering $195,040,000 at Christie’s New York. Starting Bid $200

6036. Andy Warhol Signed Interview Magazine Page of Queen Elizabeth II. Desirable color page removed from an issue of Interview magazine, 10.75 x 17, featuring an advertisement for Andy Warhol’s Reigning Queens series that shows a 1985 screenprint of Queen Elizabeth II, signed vertically along the left edge in black felt tip by Warhol. In fine condition. Starting Bid $200

“Campbell’s, Tomato Soup”

6037. Andy Warhol Signed Book with “Campbell’s, Tomato Soup” SketchThe Philosophy of Andy Warhol. Signed book: The Philosophy of Andy Warhol (From A to B & Back Again). First edition. NY: Harcourt Brace Jovanovich, 1975. Hardcover with dust jacket, 5.75 x 8.5, 241 pages. Signed and inscribed on the half-title page in black felt tip, “To Kathie, Andy Warhol, NY 76,” who adds a full-page sketch of his iconic soup can, marked: “Campbell’s, Tomato Soup.” In very good to fine condition, with light dampstaining to the dust jacket and covers, slightly affecting the signed page. Starting Bid $200

6038. Andy Warhol Signed Book - Prints. Signed book: Andy Warhol Prints. First edition. NY: Abbeville Press, 1985. Hardcover with dust jacket, 9.75 x 10.5, 119 pages. Signed on the front of the dust jacket in black felt tip. In fine condition, with light scuffing to the first name of the signature. Starting Bid $200

6039. Andy Warhol Signed Book Page of ‘Colored Mona Lisa’. Book page featuring an image of Andy Warhol’s 1963 painting ‘Colored Mona Lisa,’ 8 x 8, signed vertically in the right margin in black felt by Warhol. Matted and framed to an overall size of 13.25 x 13.25. In fine condition. Starting Bid $200

6040. Andy Warhol Signed Book Page of ‘Dick Tracy and Sam Ketchum’. Book page featuring an image of Andy Warhol’s 1960 painting ‘Dick Tracy and Sam Ketchum,’ 8 x 8, signed and inscribed in black felt, “Love Paul, Andy Warhol.” Matted and framed to an overall size of 13.25 x 13.25. In fine condition. Starting Bid $200

6041. Andy Warhol Signed Postcard - ‘Andy Mouse’ by Keith Haring. Color 4 x 5.75 postcard of Keith Haring’s 1986 silkscreen print of ‘Andy Mouse,’ a fusion of Disney’s Mickey Mouse and Andy Warhol, with the latter signing below in black felt tip. Framed to an overall size of 8.25 x 10.25. In fine condition, with light brushing to the signature. Starting Bid $200

6042. Andy Warhol Signed ‘1971 Tate Gallery’ Dust Jacket - Rare Marilyn Monroe and Elizabeth Taylor Signed Imagery. Dust jacket for the 1971 Richard Morphet book Warhol: The Tate Gallery, 17 February – 28 March 1971, measuring 18.5 x 6.25 open, signed vertically on the front cover in black felt tip by Andy Warhol. Matted and framed to an overall size of 21.25 x 17.25. In fine condition, with light wear along the spine folds. A scarce catalog dust jacket for the historic Andy Warhol retrospective at the Tate Gallery in 1971 — Warhol signatures on images of his adored 1964 Marilyn Monroe silkscreen painting are rare and highly coveted. Starting Bid $200

6043. Andy Warhol Signed New York Post Advertisement. Vintage 11.25 x 16.75 advertisement from an issue of the New York Post from 1978, featuring a contact sheet design with 16 different images of Andy Warhol during a promotional shoot, signed in the lower border in black felt tip, “Andy.” The upper portion is dated to September 8, 1978. Rolled and in fine condition, with unobtrusive creases across the page and small edge tears. Starting Bid $200

6044. Andy Warhol Original Vintage Photograph. Original vintage glossy 10 x 8 silver gelatin photograph of Andy Warhol posing with the cast of a Broadway show, a Playbill neatly tucked into the front pocket of his jacket. Reverse bears “This Paper Manufactured by Kodak” watermarks. Matted to an overall size of 14 x 17, with an image area of 8.5 x 6. In fine condition. Starting Bid $200

“You ask me what I would paint a portrait for?”

6046. James Abbott McNeill Whistler Autograph Letter Signed. ALS signed “J. McN. Whistler,” one page both sides, 6 x 4, no date. Handwritten letter in response to a potential patron, in part: “I am charmed, dear Mrs. Bacon, to know that your friends so really sympathized with the work in my studio—You ask me what I would paint a portrait for?—I should charge for a full length picture like the one of Lady Archibald Campbell, 600 guineas—and for a head and shoulders or bust 250 gs.” In fine condition.

Among Whistler’s later, impressionistic works is ‘Arrangement in Black (The Lady in the Yellow Buskin),’ a portrait of Augusta Clementina Carrington, wife of Archibald Campbell, Baron Blythswood. One of several portraits of Lady Campbell executed by Whistler, that painting is now in the collection of the Philadelphia Museum of Art. Starting Bid $200

Original pen-and-ink illustration for the first edition of Stuart Little

6047. Garth Williams: Stuart Little Original Drawings for First Edition Endpapers. American children’s book illustrator (1912–1996) celebrated for his work on such classics as Stuart Little, Charlotte’s Web, and the Little House series. Charming original unsigned artwork by illustrator Garth Williams for the endpapers of the first edition of E. B. White’s classic, Stuart Little, published by Harper & Brothers in 1945, accomplished in pen-and-ink on an off-white 15.25 x 11.25 sheet. The marvelous illustration features two scenes: one of Stuart Little in the garden, and one of a bird overlooking a pastoral woodland river landscape, both over a crosshatched ‘windowpane’ background. Annotated with some lightly penciled printer’s measurements. Beautifully matted and framed to an overall size of 22 x 18. In fine condition, with some scattered light creasing.

E. B. White’s classic children’s novel Stuart Little stands as a testament to the power of imagination and the resilience of the human spirit. Through the charming adventures of a small mouse navigating a vast world of humans, White imparts invaluable lessons on courage, kindness, and the beauty of embracing one’s uniqueness. The classic tale captivates readers of all ages not only with its whimsical narrative, but through the enchanting artwork of Garth Williams, who vividly brings Stuart’s world to life. Together, White and Williams craft a timeless masterpiece that continues to inspire imagination and wonder in generations of readers, reminding us that no matter how small we may feel, our dreams and aspirations hold immeasurable significance. Starting Bid $1000

6048.

Typed

Starting Bid $200

6051.

Starting

Starting

6055. Harrison Fisher: A Dream of Fair Women (First Edition). Starting Bid $100

6054. Malcolm Cowley and Berenice Abbott Signed BookExile’s Return. Starting Bid $100

6053. Howard Chandler Christy Autograph Letter Signed on Elbert Hubbard. Starting Bid $200

6052. Frederic-Auguste Bartholdi Signed Print.

Bid $200

Ansel Adams Signature.

Bid $200

Ansel Adams

Letter Signed.

6056. Francoise Gilot Signed Book - Matisse and Picasso: A Friendship in Art. Starting Bid $200

6057. Keith Haring Signed FDC. Starting Bid $200

6058. William Henry Jackson Signed BookWestward America. Starting Bid $100

6059. LeRoy Neiman Signed Photograph. Starting Bid $200

6060. Norman Rockwell Signed Photograph. Starting Bid $200

6061. Auguste Rodin Letter Signed. Starting Bid $200

6062. John Singer Sargent Autograph Letter Signed. Starting Bid $200

6063. Richard Norman Shaw Signed Sketch. Starting Bid $100

6064. Hugh Thomson Original Illustration Artwork (2). Starting Bid $200

6065. Maurice de Vlaminck Autograph Letter Signed. Starting Bid $200

6067. African-American Poets: Collection of (8) Books, with Dunbar, Johnson, and Hughes. Collection of eight books by African-American poets, including significant early editions of important works. Includes:

- Lyrics of Sunshine and Shadow by Paul Laurence Dunbar (later printing, hardcover, published by Dodd, Mead & Co. in 1909)

- Fifty Years and Other Poems by James Weldon Johnson (first edition, hardcover, published by The Cornhill Company in 1917)

- The Band of Gideon by Joseph S. Cotter, Jr. (first edition, hardcover, published by The Cornhill Company in 1918)

- The Weary Blues by Langston Hughes (second printing, hardcover, published by Alfred A. Knopf in 1926)

- God’s Trombones: Seven Negro Sermons in Verse by James Weldon Johnson (first edition, hardcover, published by The Viking Press in 1927)

- Lincoln University Press Centennial Anthology, ed. Waring Cuney, Langston Hughes, and Bruce Wright (first edition limited to 1,000, hardcover with dust jacket, published by the Fine Editions Press in 1954)

- Elbowroom! Elbowroom! by William Allston Robbin (first edition, hardcover with dust jacket, published by The Vantage Press in 1965)

- Photographs: Negatives: History as Apple Tree by Michael S. Harper (first edition, hardcover with price-clipped dust jacket, published by Scarab Press in 1972)

In overall very good to fine condition, with light general wear, and some ownership or gift inscriptions inside. Starting Bid $200

“Before Socrates went to heaven, he had to swallow the poison!”

6071. Hans Christian Andersen Autograph Quotation Signed: “Before Socrates went to heaven, he had to swallow the poison!”. Beloved Danish author (1805–1875) best known for such classic fairy tales as The Ugly Duckling, The Red Shoes, and The Emperor’s New Clothes. AQS signed “H. C. Andersen,” on an off-white 6.5 x 4.75 sheet, dated September 17, 1847. From Leipzig, Andersen writes (translated): “Don’t fear the powerful winds, the strong streams—Before Socrates went to heaven, he had to swallow the poison!” Affixed to a slightly larger off-white card and in fine condition, with some minor wrinkling from mounting.

Andersen references the death of Socrates, who drank a cup of poison hemlock after being convicted of impiety and sentenced to death. The author had recently returned from a trip to Britain, where he enjoyed literary acclaim and popularity among high society, and he wrote these encouraging lines in his post-trip exaltation. Interesting words of wisdom from a sparkling literary light of the nineteenth century. Starting Bid $300

Andsersen’s autograph manuscript for ‘The Last Pearl,’ a classic fairy tale

6070. Hans Christian Andersen Autograph

Manuscript Signed for ‘The Last Pearl’. Beloved Danish author (1805–1875) best known for such classic fairy tales as The Ugly Duckling, The Red Shoes, and The Emperor’s New Clothes. AMS in Danish, signed “H. C. Andersen,” three pages on two adjoining sheets, 8.25 x 10.75, no date but circa 1854. Andersen’s handwritten manuscript for “Den Sidste Perle [The Last Pearl],” a short, lesser-known tale of a fairy’s gift of a radiant ‘Pearl of Sorrow’ to a newborn child. A note on the reverse by Arthur Abrahams stating that Andersen gave the manuscript to his father, Danish author and literary scholar Nicolai Christian Levin Abrahams, in the 1850s.

The story begins, in part (translated, as published in English): “We are in a rich, happy house, where the master, the servants, the friends of the family are full of joy and felicity. For

on this day a son and heir has been born, and mother and child are doing well. The lamp in the bed-chamber had been partly shaded, and the windows were covered with heavy curtains of some costly silken material. The carpet was thick and soft, like a covering of moss. Everything invited to slumber, everything had a charming look of repose; and so the nurse had discovered, for she slept; and well she might sleep, while everything around her told of happiness and blessing. The guardian angel of the house leaned against the head of the bed; while over the child was spread, as it were, a net of shining stars, and each star was a pearl of happiness. All the good stars of life had brought their gifts to the newly born; here sparkled health, wealth, fortune, and love; in short, there seemed to be everything for which man could wish on earth.” In fine condition, with expert repairs to two tears at the top. Starting Bid $500

Auden pens the original version of his first

‘Twelve Songs’ poem:

“Cried the six cripples to the silent statue / The six beggared cripples”

6072. W. H. Auden Autograph Poem Signed - ‘In the Square’. Autograph manuscript, signed “W. H. Auden,” two pages, 8 x 13, no date but circa 1935. A handwritten poem comprised of six five-line stanzas of his poem “In the Square” (later republished as the first part of his Twelve Songs, ‘Song of the Beggars’). In full:

“O for doors to be opened and an invite with gilded edges

To dine with Lord Lobcock and Count Asthma on the platinum benches

With the somersaults and fireworks, the roast and the smacking kisses

Cried the six cripples to the silent statue

The six beggared cripples.

And Garbo’s and Cleopatra’s wits to go astraying

In a feather ocean with me to go fishing and playing, Still jolly when the cock has burst himself with crowing

Cried the six cripples to the silent statue

The six beggared cripples.

And to stand on green turf among the craning yellow faces

Dependent on the chestnut, the sable, and Arabian horses

And me with a magic crystal to foresee their places

Cried the six cripples to the silent statue

The six beggared cripples.

This square to be a deck, then and these pigeons sails to rig

And to follow the delicious breeze like a tantony pig

To the shaded feverless islands where the melons are big

Cried the six cripples to the silent statue

The six beggared cripples.

And these shops to be turned to tulips in a garden bed

And me with my a my stick to thrash each merchant dead

As he pokes from a flower his bald and wicked head

Cried the six cripples to the silent statue

The six beggared cripples.

A hole in the bottom of heaven, and Peter and Paul

And each smug surprised saint like parachutes to fall

And every one-legged beggar to have no legs at all

Cried the six cripples to the silent statue

The six beggared cripples.”

In very good to fine condition, with foxing and staining, heavier to the first page. This manuscript was first published in the May 31, 1935 issue of The Spectator. Auden later published the poem, with several minor revisions from the present manuscript, as ‘Song of the Beggars,’ Part I of his Twelve Songs. Starting Bid $500

Rare handwritten stanza from Bryant’s oft-anthologized ‘Thanatopsis’—

“Like one who wraps the drapery of his couch / about him, and lies down to pleasant dreams”

6073. William Cullen Bryant Autograph Manuscript Signed for ‘Thanatopsis’. AMS signed “W. C. Bryant,” one page, 6.75 x 8.5, January 21, 1851. Bryant pens the final stanza of his great poem ‘Thanatopsis,’ in full:

“So live, that when thy summons comes to join The innumerable caravan, which moves To that mysterious realm, where each shall take His chamber in the silent halls of Death, Thou go not, like the quarry-slave at night, Scourged to his dungeon, but sustained and soothed By an unfaltering trust, approach thy grave, Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams.”

In fine condition. Accompanied by an engraved portrait of Bryant featuring a facsimile signature. William Cullen Bryant’s much-anthologized ‘Thanatopsis,’ a meditative exploration of death and nature, has inspired generations of poets and thinkers, shaping the Romantic movement in America and influencing subsequent literary movements. Its enduring themes of mortality, the interconnectedness of humanity and nature, and the acceptance of death continue to resonate with readers, ensuring its place as a timeless masterpiece in the canon of American poetry. Starting Bid $200

Raymond Chandler sells the film rights to his “novel entitled ‘The Big Sleep’”

6075. Raymond Chandler Signed Contract for ‘The Big Sleep’ - Initialed 13 Times! DS, seven pages on adjoining sheets, 8.5 x 14, October 27, 1944. Contract between Raymond Chandler and Warner Bros. Pictures for the motion picture rights to his 1939 hardboiled crime novel The Big Sleep. In part: “Whereas, Owner represents and warrants that he is the sole owner and author of that certain novel entitled ‘The Big Sleep,’ which said novel has heretofore been published in book form by Alfred A. Knopf, Inc., and which said novel was registered for copyright in the United States Copyright Office by and in the name of the Owner under date of February 6, 1939…The Owner hereby agrees to…sell, assign, transfer and set over…the exclusive, complete, and entire motion picture rights” for the sum of $19,000. Signed at the conclusion in fountain pen by Raymond Chandler, and countersigned by a studio representative and two notaries. Several modifications to the contract have been made, mostly pertaining to other adaptations and related usage rights, each of which has been initialed in the margin by Chandler: he pens his initials, “R.C.,” an impressive thirteen times. In fine condition. Starting Bid $200

Exhaustively hand-corrected draft for The Living Reed by Pearl S. Buck—the first American woman to win the Nobel Prize in Literature

6074. Pearl S. Buck HandCorrected and Signed Typed Draft for The Living Reed. Pearl Buck’s extensively handcorrected typed draft for her 1963 novel The Living Reed: A Novel of Korea, totaling 533 pages, 8.5 x 11, signed at the head in fountain pen, “Pearl S. Buck.” The draft has been extensively corrected throughout in Buck’s own hand—hardly a page goes by without some emendation—with numerous additions, deletions, and revisions, ranging from minor changes in punctuation to the removal or addition of entire passages. Though all of Buck’s corrections lend fascinating insight into her creative process and her development of the lengthy historical novel, the most significant change appears on the first page, as Buck modifies the title from “The Hollow Reed” to “The Living Reed.” In overall fine condition. Housed in a custom-made clamshell case.

Includes a first edition of The Living Reed, hardcover with dust jacket, published in New York by the John Day Company in 1963, signed and inscribed on the half-title page in blue ballpoint, “For Wendy and Allan, with deep appreciation, Pearl S. Buck, Sept. 11, 1965.” Autographic condition: fine. Book condition: VG/VG-, with wear to the jacket.

Reviewing the book, Kyung Cho Chung writes: ‘The Living Reed is an historical chronicle of the Korean independence movement, opening in 1881 in the Korea of the late Yi dynasty and closing with the landing of the American troops at the end of the Second World War in 1945. Every major public event and public personage from Queen Min to Woodrow Wilson is authentically portrayed. She written a magnificently absorbing, brilliantly revealing novel of a close-knit family across the span of four generations, a family who dedicated their lives to the salvation of their homeland. The main character Kim Il-han, youthful member of the upper ruling class (Yangban), is an advisor to the China-oriented Queen Min, as is his father to King Kojong… The Korean people come hauntingly alive, and the part that Americans have played for nearly a century in the destiny of a star-crossed nation is vividly disclosed. Mrs. Buck’s portrayal of America’s diplomatic involvement in Korea is both melancholy and fascinating…The Living Reed is above all a drama of men and women whose hopes and dreams and loves are caught up in the whirlwind of history.’ Starting Bid $200

6076. Charles W. Chesnutt: The Conjure Woman (First Edition). Significant unsigned first edition book: The Conjure Woman by Charles W. Chesnutt. First edition. Boston: Houghton, Mifflin and Company, 1899. Hardcover bound in the publisher’s original brown pictorial cloth with title in gilt, 4.75 x 7, 229 pages. Book condition: VG/None, with dampstaining to extreme edges of the textblock and contemporary ownership inscriptions to the first free end page.

First published in 1899, The Conjure Woman is considered a seminal work of African-American literature. Through seven short stories set in Patesville, North Carolina, Chesnutt sheds light on the complexities of race relations in the post-Civil War South, challenging stereotypes and offering a nuanced portrayal of African-American life. By incorporating elements of conjure, or folk magic, Chesnutt not only preserves a rich cultural heritage but also addresses themes of power, oppression, and resistance. In The Art of the Conjure Woman, critic and scholar Richard E. Baldwin argues that Chesnutt is ‘the ultimate conjure man, hoping that by ‘wukking de roots’ of black culture he might be able to work a powerful goopher on white America and lead it to accept the equality of the black.’ Starting Bid $200

“Most books are given different titles in U.S.A. or used to be—it has been stopped now. Very tiresome it was for both readers and authors”

6077. Agatha Christie Autograph Letter Signed on Book Titles in the United States. ALS, one page, 5.5 x 7, Winterbrook House letterhead, June 27, [1973]. Handwritten letter to “Mr. Stickley,” offering some clarification on the titles of her books. In full: “Sorry I cannot help you much. I have never written a book called The Double Sin (possibly some odd short stories published in U.S.A. as a book). Murder She Said—title of a film—not a book. They do it with Mirrors—Remembered Death, possibly ‘Sparkling Cyanide.’ Most books are given different titles in U.S.A. or used to be—it has been stopped now. Very tiresome it was for both readers and authors.” In fine condition, with light creasing to the right side. Accompanied by the original mailing envelope. Starting Bid $200

Twice-signed special edition of The Innocents Abroad, issued as part of Mark Twain’s collected writings

6078. Samuel L. Clemens Signed Ltd. Ed. Book - The Innocents Abroad. Signed book: Mark Twain’s Works, Vol. I: The Innocents Abroad. Autograph edition, limited issue, numbered 369/512. Hartford, CT: The American Publishing Company, 1899. Hardcover bound in three-quarter morocco with marbled boards, 6 x 8.5, 377 pages. Signed on the colophon in ink, “S. L. Clemens, (Mark Twain).” Autographic condition: very fine. Book condition: G/ None, with heavy wear to the leather spine (including a split along the entirety of the rear edge), worn corners, and loose joints. A desirable volume boasting two choice autographs of the great American author. Starting Bid $200

Rare signed carte-de-visite portrait of Mark Twain during his Hartford years

6079. Samuel L. Clemens Signed Carte-de-Visite Photograph. Rare 2.25 x 4 carte-de-visite photo of a youthful Samuel Clemens, by E. P. Kellogg of Hartford, Connecticut, signed at the bottom in pencil, “Yr. friend, Saml. L. Clemens.” In fine condition, with a very tiny pinhole toward the top. Clemens is uncommon in signed photos, particularly of this early era.

Clemens moved his family to Hartford in 1873, and began building what is now known as the ‘Mark Twain House’—described by Clemens biographer Justin Kaplan as ‘part steamboat, part medieval fortress and part cuckoo clock’—at 351 Farmington Avenue, just a few miles away from Edwin P. Kellogg’s photography studio. The Clemens family remained in Hartford until 1891, when financial instability forced them to move to Europe. Starting Bid $300

Twain quotes a “new negro song” while authorizing a new translation

6080. Samuel L. Clemens Autograph Letter Signed, Quoting a “New Negro Song” while Authorizing Translations. ALS signed “Mark Twain,” one page, 5 x 8, Riverdale letterhead, August 14, 1902. Handwritten letter to Madame Elisabeth Brachmann of Norway, in part: “Don’t let Chatto & Windus, publishers, London, find you out, & there’ll not be the least harm done! But if they complain, tell them I authorized you, & they must do as the new negro song says: ‘Go ‘way back an’ set down!’ (I gave them entire authority over all translations 25 years ago, but that was only to put work on their shoulders & relieve my own).” In fine condition, with a short split along the central horizontal fold. Accompanied by the original mailing envelope, addressed in Clemens’s own hand. Starting Bid $200

“See if this will do to fill a narrow corner in the holiday number”— Mark Twain submits to Harper’s Magazine

6081. Samuel L. Clemens Autograph Letter Signed, Submitting to Harper’s Magazine. ALS signed “S. L. Clemens,” one page, 5.5 x 7.75, May 11, 1891. Handwritten letter to “Mr. Alden,” Henry Mills Alden, the editor of Harper’s Magazine, in full: “See if this will do to fill a narrow corner in the holiday number. It was told to Rev. Jo. Twichell here, years ago, by the English clergyman who figures in it, as a fact. He suppressed the name of the military hero, & of course I have been obliged to do the same.” Mounted and matted with a portrait to an overall size of 20 x 15. In fine condition, with light edge toning. Clemens refers to his close friend, Joseph Twichell, a writer and Congregational minister from Hartford, Connecticut; Twichell is believed to be the model for the character ‘Harris’ in Mark Twain’s A Tramp Abroad. Starting Bid $200

Twice-signed ‘autograph edition’ of The Innocents Abroad, issued as part of Mark Twain’s collected writings

6082. Samuel L. Clemens Signed Ltd. Ed. Book - The Innocents Abroad. Signed book: Mark Twain’s Works, Vols. I and II: The Innocents Abroad. Autograph edition, limited issue, numbered 302/512. Hartford, CT: The American Publishing Company, 1899. Hardcover bound in three-quarter morocco with marbled boards, 6 x 8.5, 377 and 446 pages. Signed on the colophon in ink, “S. L. Clemens, (Mark Twain).” Autographic condition: very fine. Book condition: VG/None, with repairs to partial edge splits along edges of the leather spine, and minor foxing to textblocks. A desirable set boasting a choice ‘double autograph’ of the great American author. Starting Bid $300

Dramatic page from James Fenimore Cooper’s draft of The Headsman—a

novel exploration of social values in Europe and America

6083. James Fenimore Cooper Handwritten Manuscript for ‘The Headsman’. Double-sided page from James Fenimore Cooper’s handwritten manuscript for the 1833 historical novel ‘The Headsman: The Abbaye des Vignerons,’ 9.5 x 15.25, for the closing chapter of the work, differing slightly from the published version. In part: “Until now Marguerite had been silent, watching the countenances and drinking in with avidity the words of the different speakers. It was now her turn, for Sigismund knelt at her feet, pressing her hands to his lips in a manner to show that her high, though masculine character, had left deep traces in his recollection. Releasing herself from his convulsed grasp, for just then Sigismund felt the violence of severing those early ties which, in his case, had perhaps something of wild romance from their

secret nature, she parted the curls on his ample brow, and stood gazing long at his face, as if she studied each lineament critically.” In fine condition, with partial splitting along the central horizontal fold.

One of James Fenimore Cooper’s three ‘European’ novels, The Headsman is set in the Swiss Alps during the French Revolution. The story follows the young American, Sigismund Steinbach, as he navigates the political upheaval and personal dilemmas surrounding his love for Adelheid de Willading. Amidst the chaos, Sigismund must confront his own heritage and allegiances while facing the looming threat of the headsman’s axe. The novel explores themes of loyalty, identity, and the impact of historical events on individual lives. Starting Bid $300

Rare limited edition collection signed by Stephen Crane and fellow members of the Lanthorn Club

6084. Stephen Crane Signed Ltd. Ed. Book - The Lanthorn Book. American author and journalist (1871–1900) best known for his novels Maggie: A Girl of the Streets and The Red Badge of Courage. Rare signed book: The Lanthorn Book: Being a Small Collection of Tales and Verses read at The Sign o’ the Lanthorn, 126 William Street, New York. First edition, limited issue, numbered 120/125. NY, 1898. Hardcover, 8.5 x 11.5, 54 pages. Signed in ink by Stephen Crane at the conclusion of his short story, ‘The Wise Men.; Also signed by authors John Langdon Heaton, Irving Bacheller, Post Wheeler, Charles Gaines, and Charles Lewis, after their respective contributions. Autographic condition: fine. Book condition: VG-/ None, with the front joint split as usual, with first free end page detached but present. Housed in a handsome custom-made cloth slipcase with chemise.

The only signed and limited edition of any Stephen Crane

book, this scarce and desirable gift was the only such piece published by the Lanthorn Club. Founded in 1893, the club consisted of young journalists and aspiring writers who would gather for lunch and a Saturday evening banquet—the latter event requiring one member to read an original short story and then open himself to criticism. The highest compliment to be paid, it was said, was utter silence. Crane’s story is the first of seven pieces and occupies more than half the space in this volume.

According to rare book collector Vincent Starrett (1886-1974), it was the intention of the Club to have each contributor sign his piece ‘but it is asserted that only between ten and fifteen copies’ were signed by Crane. Subsequent study has shown that Crane signed at least twenty copies; while the exact census number is not known, this signed volume remains a true rarity. Starting Bid $300

Dickens presents his first book, Sketches by Boz, to a prominent London librarian and antiquary

6085. Charles Dickens Signed Book - Sketches by Boz - Presented to a London Librarian. Signed book: Sketches by Boz, Illustrative of Every-day Life and Every-day People. First single-volume octavo edition (“New Edition, Complete”). London: Chapman and Hall, 1839. Hardcover bound in red morroco gilt by Riviere and Son, with all edges gilt, 5.75 x 8.5, 526 pages. Signed and inscribed on the title page in bold ink to a noted English librarian and antiquary, “William Upcott Esquire, from Charles Dickens, Twenty Third November 1841.” The volume features a half-title, etched frontispiece, pictorial title-page and 38 plates by George Cruikshank (those before p.120 without publisher’s imprint), and advertisement leaf dated May 15, 1839. Autographic condition: fine, with some light soiling to the signed page. Book condition: VG+/ None, with a chip to the upper corner of the etched title page. Housed in a handsome custom-made collector’s chemise and red morocco-backed clamshell case.

William Upcott (1779-1845) was a distinguished, author, antiquary and Librarian of the London Institution, renowned for his collection of books, manuscripts, letters, prints, and drawings. Charles Dickens reportedly first visited Upcott in 1830, writing in his guestbook: ‘January 4th, 1830, 102 Upper Street, Islington. Being the date of my first visit to this most extraordinary antiquarian mansion whereto I mean to return at the earliest possible opportunity to refresh myself with a few dusty draughts from its exhaustless well.’

Sketches by Boz, a collection of short pieces that had been published by Charles Dickens in various periodicals between 1833 and 1836, marked the great author’s debut in book form. These sketches, depicting various aspects of London life with wit, humor, and empathy, showcase Dickens’ knack for storytelling and his deep understanding of human nature.

The popularity of Dickens’s writings was enhanced by the illustrations of George Cruikshank, with whom he would frequently collaborate throughout his literary career. Starting Bid $1000

Rare carte-de-visite portrait signed by Charles Dickens for “Christmas 1863”

Image shown larger than actual size.

6086. Charles Dickens Signed Carte-de-Visite Photograph (“Christmas 1863”). Magnificent 2.5 x 4 carte-de-visite photo of the author with his head turned to the left, by John & Charles Watkins of London, beautifully signed and dated in blue ink, “Charles Dickens, Christmas 1863.” In fine condition, with a tiny tear to the top edge of the image. Signed photographs of Dickens are of the utmost rarity; this is a superior example, especially considering Dickens’s fame for his Christmas stories.

Consignor notes that this originates from the collection of Dr. James Sheridan Muspratt (1821-1871), Irish-born research chemist and teacher, who lived in Liverpool and organized a visit to the city by Dickens’s amateur theatre company in 1847. Starting Bid $1000

Dickens

writes of “having to finish Chuzzlewit; which I shall be very glad to dispose of, notwithstanding”

6087. Charles Dickens Autograph Letter Signed on His Novel ‘Martin Chuzzlewit’. ALS, three pages on two adjoining sheets, 4.5 x 7, June 5, 1844. Handwritten letter to verse-writer and philanthropist John Kenyon, in part: “I am rather late this morning or I would have answered your friendly note earlier. First, let me thank you for your kind and liberal donation to the Sanatorium. When they send you, as they will, a little report, do give it a perusal one morning at breakfast. It will shew you what an excellent Institution it is, and how well it merits your voluntary support…We have at least one engagement for every day between this and the first of July, when we leave England. In this list I don’t include the slight engagement of having to finish Chuzzlewit; which

I shall be very glad to dispose of, notwithstanding. We shall come and shake hands with you before we go…Mrs. Dickens sends her best regards.” In fine condition, with a light stain to the top blank area of the last page.

A significant letter in which Dickens refers to his novel The Life and Adventures of Martin Chuzzlewit, originally serialized between January 1843 and July 1844, and considered to be the last of his picaresque novels. Though Dickens believed it to be his best work thus far, he was glad to be finishing it, as he expresses here. Martin Chuzzlewit remains an important part of his literary legacy and offers valuable insights into the social and moral issues of Victorian England. Starting Bid $300

6088. Charles Dickens Hand-Addressed and Signed Envelope. Hand-addressed and signed envelope, 3.75 x 2.5, addressed by Dickens to “Charles Bodenham Esquire, 227 Piazza Apostoli,” and signed in the lower left corner, “Charles Dickens.” In fine condition, with light creasing. Starting Bid $200

6089. Charles Dickens Signature. Ink signature, “faithfully yours, Charles Dickens,” on an off-white 2.75 x .5 slip. Doublematted with a color portrait photo to an overall size of 9.75 x 13.25. In fine condition. Starting Bid $200

6090. Charles Dickens 30-Volume Collection of Published Works by The Athenaeum Society. Uncommon 30-volume hardcover collection of the works of Charles Dickens, unsigned, published by The Athenaeum Society of New York and electrotyped and printed by the Colonial Press of Boston, undated. Each volume, 5.75 x 8.25, is half-bound in burgundy morocco with marbled boards, top edge gilt, and gilt titles on the spines. Includes: Barnaby Rudge I; Barnaby Rudge Etc. II; Bleak House I and II; A Child’s History of England; Christmas Books; Christmas Stories; David Copperfield I and II; Dombey and Son I and II; Great Expectations; Hard Times Etc.; Little Dorrit I and II; Martin Chuzzlewit I and II; Nicholas Nickleby I and II; The Old Curiosity Shop I; The Old Curiosity Shop Etc. II; Oliver Twist; Our Mutual Friend I and II; Pickwick Papers I; Pickwick Papers Etc. II; Reprinted Pieces: Edwin Drood; Sketches by Boz; A Tale of Two Cities Etc.; and The Uncommercial Traveler Etc. In overall good to very good condition, with moderate edgewear and scuffing, some sunning to board extremities, and bookplates affixed to front pastedowns. Starting Bid $200

6091. Arthur Conan Doyle

Signed Ltd. Ed. Book - The Complete Sherlock Holmes, Vol. I. Signed book: The Complete Sherlock Holmes, Vol. I. First edition, limited issue, numbered 9[1]/147. NY: Doubleday & Company, Inc., 1953. Hardcover, 5.75 x 8.5, 555 pages. Signed on the colophon in fountain pen, “A. Conan Doyle.” Autographic condition: fine. Book condition: G/None, with warping and light staining to boards, a hole affecting the second number in the limitation, a few dog-eared pages, rubbing and flaking to the leather spine, and an overall musty odor.

This scarce edition was prepared using left-over signed limitation leaves used in the production of the Crowborough edition of Doyle’s Works (1930), and signed shortly before his death in that same year; in spite of this missing second volume, this is a desirable Conan Doyle autograph book, featuring some of his most famous detective stories: A Study in Scarlet, The Sign of Four, Adventures of Sherlock Holmes, and Memoirs of Sherlock Holmes. Starting Bid $200

Doyle to his publisher: “I’ll do my best to produce something readable”

6092. Arthur Conan Doyle Autograph Letter Signed. ALS signed “A. Conan Doyle,” one page, 4.5 x 7, Greyswood Beeches, Haslemere letterhead, no date. ALS signed “A. Conan Doyle,” 4.5 x 7, Greyswood Beeches, Haslemere letterhead, no date. Handwritten letter to “McClure,” likely his publisher S. S. McClure of McClure’s Magazine, in full: “Many thanks for your kindness. Esquemeling I have but the other two are new to me. I’ll do my best to produce something readable.” Doyle adds a brief line at the end: “Thanks also for the magazines.” In fine condition. Starting Bid $200

6094. Gustave Flaubert Autograph Letter Signed. Celebrated French novelist (1821–1880) best known for his classics Madame Bovary, Salammbo, and A Sentimental Education. Scarce ALS in French, signed “Gus. Flaubert,” one page, 5.25 x 8.25, no date [circa 1862]. Addressed from “Vichy, Hotel Britannique,” a handwritten letter to the printer Jules Clayes, in full (translated): “I received the letter from Mr. Lacroix from Brussels because he had sent two to me, one to Croisset and one to Paris. It is the first one that came to me. Regarding the second, you can get rid of it or send it to me, it doesn’t matter. Thank you Monsieur for your extreme kindness.” In fine condition. Starting Bid $200

Rare, stunning signed example of Fitzgerald’s debut novel: “An author ought to write for the youth of his own generation, the critics of the next and the schoolmasters of ever afterward”

6093. F. Scott Fitzgerald Signed Book - This Side of Paradise. Signed book: This Side of Paradise. Third printing. NY: Charles Scribner’s Sons, 1920. Hardcover, 5.25 x 7.75, 305 pages. Signed on the tipped-in “Author’s Apology” slip in fountain pen, “Sincerely, F. Scott Fitzgerald.” Autographic condition: fine. Book condition: VG/None, with a reinforced front hinge.

Though Fitzgerald dropped out of Princeton in 1917, his university years permanently shaped his life and career; it was in this world of privilege that he devoted himself to finding his voice as a writer. In 1919 Scribner’s accepted his manuscript for This Side of Paradise on its third submission, and the book was released to wild success the following year.

This is one of approximately five hundred examples of This Side of Paradise issued with the special signed ‘Author’s Apology’ leaf tipped in before the title page. According to the

Fitzgerald bibliography by Bruccoli, five hundred copies of the third printing have this special tipped-in glossy leaf bearing ‘The Author’s Apology’ signed by Fitzgerald, prepared for a meeting of the American Booksellers Association and dated May 1920. Boasting an ideal signature on the rare apology page featuring a portrait of the young Jazz Age author, this book is a true literary treasure.The printed apology contains a small bust photo of Fitzgerald and beneath that. Read the full apology online at www.RRAuction.com.

Despite what he says in the apology, Fitzgerald actually began writing the novel in 1917. Charles Scribner’s Sons rejected two versions of it that he had submitted the next year. Fitzgerald began rewriting the book again in July 1919, and Scribner’s accepted the work that September. Published late in March 1920, This Side of Paradise was hugely successful and launched Fitzgerald’s reputation as the chronicler of the Jazz Age. Bruccoli A5.I.c. Starting Bid $500

Uninscribed first edition of the classic James Bond adventure Goldfinger

6095. Ian Fleming Signed Book - Goldfinger (First Edition). Rare signed book: Goldfinger. First edition. London: Jonathan Cape, 1959. Hardcover (black cloth boards with embossed skull and gilt eyes and lettering to cover and spine) with unclipped dust jacket bearing Richard Chopping’s classic cover artwork, 5.25 x 7.75, 318 pages. Signed on the first free end page in ballpoint, “Ian Fleming, x.” Autographic condition: fine, with an affixed authenticity label. Book condition:

Goldfinger originally bore the title The Richest Man in the World. Based upon American gold tycoon Charles W. Engelhard, Jr., Fleming named his villain after British architect Erno Goldfinger. When the actual Goldfinger found out his name was being used, he threatened to sue Fleming, and the matter was ultimately settled out of court. A best-seller upon its release, it became the third James Bond film in 1964 starring Sean Connery. An exceptional signed first edition of classic Bond-Fleming espionage. Starting Bid $300

Scarce signed limited edition of Kahlil Gibran’s classic work, Sand and Foam

6096. Kahlil Gibran Signed Ltd. Ed. Book - Sand and Foam. Lebanese-American artist and writer (1883-1931) best known for his writings on religion and for his best-selling 1923 spiritual-philosophical classic The Prophet. Signed book: Sand and Foam: A Book of Aphorisms. First edition, limited issue, numbered 39/95. NY: Alfred A. Knopf, 1926. Hardcover bound in the publisher’s original decorative boards, 6 x 9.5, 85 pages. Signed on the colophon in fountain pen, “Kahlil Gibran.” Autographic condition: fine. Book condition: VG/None, with rubbing to boards and worn corners. Starting Bid $200

Zane Grey’s handwritten manuscript for a tale of the trail: “It will be one for those who love horses and dogs, the long winding dim trails, the wild flowers and the dark still woods, the fragrance of spruce and the smell of camp-fire smoke”

6098. Zane Grey Autograph Manuscript Signed. AMS in pencil, titled and signed at the head, “Colorado Trails by Zane Grey,” written on both sides of 49 sheets for a total of 98 pages, including fourteen 7.75 x 12.25 sheets and thirtyfive 4.5 x 7.25 sheets, no date but circa 1918. Grey’s original handwritten draft for a piece first published in the June 1918 issue of Outdoor Life magazine, and also collected in Grey’s 1922 book Tales of Lonely Trails. The work begins: “Riding and tramping trails would lose half their charm if the motive were only to hunt and to fish. It seems fair to warn the reader

who longs to embark upon a bloody game hunt or a chronicle of fishing records that this is not that kind of story. But it will be one for those who love horses and dogs, the long winding dim trails, the wild flowers and the dark still woods, the fragrance of spruce and the smell of camp-fire smoke. And as well for those who love to angle in brown lakes or rushing brooks or chase after the baying hounds or stalk the stag on his lonely heights.” Grey makes extensive deletions and revisions throughout, lending great insight into his creative process. In overall fine condition. Starting Bid $300

Original handwritten manuscript for an

“Uncle Remus” story by Joel Chandler Harris, penned in his distinct vernacular dialect style

6099. Joel Chandler

Harris Handwritten Manuscript for ‘Br’er Wolf Falls a Victim’. American author (18481908) best known for his ‘Uncle Remus’ stories. Unsigned handwritten manuscript by Joel Chandler Harris for his classic tale “Brother Wolf Falls a Victim,” seven pages, 8 x 12.5, published as ‘Chapter XXXVI’ in his 1883 collection ‘Nights with Uncle Remus: Myths and Legends of the Old Plantation.’ Written in the vernacular dialect for which Harris is most famous, the story begins: “’Uncle Remus,’ said the little boy, one night, when he found the old man sitting alone in his cabin, ‘did you ever see Mammy-Bammy Big-Money?’

Uncle Remus placed his elbows on his knees, rested his chin in the palms of his hands, and gazed steadily in the fire. Presently he said: ‘W’en folks ‘gin ter git ole en no ‘count, hit look lak der ‘membunce git slack. Some time hit seem lak I done seed sump’n’ n’er mighty nigh de make en color er ole Mammy-Bammy Big-Money, en den ag’in seem lak I aint. W’en dat de case, w’at does I do? Does I stan’ tiptoe en tetch de rafters en make lak I done seed dat ole Witch-Rabbit, w’en, goodness knows, I aint seed ‘er? Dat I don’t. No, bless you! I’d say de same in comp’ny, much less settin’ in yer ‘long side er you. De long en de short un it,’ exclaimed Uncle Remus, with emphasis, ‘is des dis. Ef I bin run ‘crost ole Mammy-Bammy Big-Money in my day en time, den she tuck’n make ‘er disappearance dat quick twel I aint kotch a glimp’ un ‘er.’

The result of this good-humored explanation was that the child didn’t know whether Uncle Remus had seen the Witch-Rabbit or not, but his sympathies led him to suspect that the old man was thoroughly familiar with all her movements.” In fine condition, with some light wear, and minor chipping, to the edges. Starting Bid $500

Signed limited edition of Hemingway’s WWI masterpiece, A Farewell to Arms

6100. Ernest Hemingway Signed Ltd. Ed. Book - A Farewell to Arms. Signed book: A Farewell to Arms. First edition, limited issue, numbered 160/510. NY: Charles Scribner’s Sons, 1929. Hardcover, 6.25 x 9.25, 355 pages. Signed on the colophon in bold fountain pen, “Ernest Hemingway.” Autographic condition: very fine. Book condition: VG-/None, with moderate dampstaining to boards, wear to paper corners, and ownership inscription to half-title page.

From the Hemingway Library: ‘Written when Ernest Hemingway was thirty years old and lauded as the best American

novel to emerge from World War I, A Farewell to Arms is the unforgettable story of an American ambulance driver on the Italian front and his passion for a beautiful English nurse. Set against the looming horrors of the battlefield—weary, demoralized men marching in the rain during the German attack on Caporetto; the profound struggle between loyalty and desertion—this gripping, semiautobiographical work captures the harsh realities of war and the pain of lovers caught in its inexorable sweep.’ A superb, signed limited edition of what the Washington Times called ‘a towering ornament of American literature.’ Starting Bid $300

Typed manuscript for Frank Herbert’s The Heaven Makers

6101. Frank Herbert’s Original Typed Manuscript for ‘The Heaven Makers’. Frank Herbert’s original typed manuscript for his 1968 science fiction novel The Heaven Makers, which was originally serialized in two parts in Amazing Stories magazine in 1967. The bradbound manuscript, 227 pages, 8.5 x 11, is divided into two sections: Part One of The Heaven Makers, 106 pages, which was serialized in Amazing Stories, issue No. 1 of Vol. 41 from April 1967; and Part Two of The Heaven Makers, 121 pages, which was serialized in Amazing Stories, issue No. 2 of Vol. 41 from June 1967. The front cover and inside front cover bear affixed labels: “‘The Heaven Makers’ by Frank Herbert, 4/15/68” and “‘The Heaven Makers’ – from April and May [sic] 1967 issues of ‘Amazing Stories’ –published by Ultimate Publishing Co, Inc, Box 175 Portchester, New York. Sol Cohen, Editor and Publisher.” In fine condition. Starting Bid $200

The ‘Battle Hymn of the Republic’ writer honors the memory of abolitionist Henry Ward Beecher

6102. Julia Ward Howe Autograph Manuscript Signed for a Poem Honoring Henry Ward Beecher. Author, suffragette, dramatist, poet, and biographer (1819-1910), best remembered as the lyricist of ‘Battle Hymn of the Republic.’ AMS signed “Julia Ward Howe,” four pages, 8 x 10, no date but circa 1887. Howe pens a memorial poem to honor abolitionist orator Henry Ward Beecher, concluding: “On the solemn judgment mount / He methinks may fearless stand, / For the final, dread account / With his record in his hand. / A great army would attest / The true succor that he gave / To the poor God loveth best, / To the woman, to the slave. / We once more may fitly pray / If a prayer can sound in heaven: / Be God’s help to me this day / As the help that I have given.” She writes and initials instructions to the printer at the conclusion: “Please acknowledge receipt at once, and say when proof will be ready.” In fine condition. This poem was first published in ‘Beecher Memorial: Contemporaneous Tributes to the Memory of Henry Ward Beecher,’ a privately printed volume compiled by Edward W. Bok, editor of The Brooklyn Magazine. Starting Bid $200

The penultimate stanza from ‘Battle Hymn of the Republic’

6103. Julia Ward Howe Autograph Quote Signed from ‘Battle Hymn of the Republic’. Autograph quote signed in ink by Julia Ward Howe on an off-white 8.5 x 4 sheet, signed and dated at the conclusion, “Julia Ward Howe, June 8th, 1899,” who above adds the penultimate stanza from her classic song of patriotism, ‘Battle Hymn of the Republic,’ which reads: “In the beauty of the lilies Christ was born, across the sea, / With a glory in his bosom that transfigures you and me. / As he died to make men holy, let us die to make men free / While God is marching on.” In fine condition, with uniform toning over most of the sheet. Starting Bid $200

Exiled in Guernsey, Hugo sends an illustrated version of Les Miserables to “the library of the French refugees in London”

6104. Victor Hugo Autograph Letter Signed - Provides an Illustrated Copy of Les Miserables to a London Library for French Refugees. ALS in French, one page, 5 x 6, January 4, 1866. Addressed from Hauteville House, the Guernsey mansion where he lived during his exile from France, a handwritten letter to an unidentified recipient, in full (translated): “My dear fellow citizen, my sore eyes have delayed my reply. Here you have it! Hauteville House — 4 January 1866. I request Mr. Lacroix, Paris, Librairie Internationale, to send in my name, from the volumes to which I have a right, a copy of Les Misérables (one volume, illustrated, popular edition) to Mr. J. B. Bocquet, professor, for the library of the French refugees in London.” In fine condition, with some light edge toning.

It was on the British isle of Guernsey where Hugo would write Les Miserables and, in 1866, he would forward the novel’s new illustrated version to another French refugee, Jean Baptiste Bocquet, who was hired by University College London twice, first as an exile during the Second Empire and again after fleeing the destruction of the Paris Commune. Starting Bid $300

Rare royalty statement for Victor Hugo, documenting revivals of his plays as France celebrated his 80th year

6107. Victor Hugo: Royalty Statement for Lucrèce Borgia, Les Misérables, and Rigoletto (1881). Partly-printed document in French, one page both sides, 7.75 x 12, April 1881. Royalty statement on the letterhead of A. Roger, “Agent General de al Societe des Auteurs & Compositeus Dramatiques,” prepared for the legendary French writer Victor Hugo, documenting payments due from theatrical productions between October 1880 and April 1881. In February 1881, Hugo entered his eightieth year, and France devoted to her greatest living author one of the most extravagant tributes ever given to a literary figure. The festivities included the largest parade ever held in France, as half a million people gathered to march past Hugo’s house on the Avenue d’Eylau (newly renamed Avenue Victor Hugo in his honor) down the Champs Élysées all the way to the center of Paris. They marched past Hugo’s window for six hours, the guides to the event wearing cornflowers as an allusion to Fantine in Les Misérables. On February 26th, a triumphant revival of Hugo’s historical play Lucrèce Borgia opened in Paris, sparking performances of Hugo’s stage works all across France. The present royalty statement lists 31 Parisian performances of “Lucrèce B.” in April 1881 including matinées, with a monumental total take of FF 5134.15. It further documents no fewer than 68 other performances are listed here (under columns for Banlieue, Départements, and Étranger), with Lucrèce alone playing in Angoulême, St Germain, Bordeaux, Dijon, Dunkirk, Limoges, Montpellier, Perpignan, Toulouse, etc. Les Misérables held the stage in Lille, Notre Dame de Paris in Brussels and Belleville, and Rigoletto from Avignon to Douai. In all the royalties amounted to FF 6599.65, summed up at the head. In fine condition, with a small tear to the top edge. Starting Bid $200

“I do fear & shun the storm & stress of gathered multitudes”

6109. Henry James Autograph Letter Signed. ALS, three pages on two adjoining sheets, 4.5 x 7, Reform Club (Pall Mall, S.W.) letterhead, May 2, 1912. Handwritten letter to the artist Herbert Harlakenden Gilchrist, in part: “You have my hearty joyous sympathy in the happy fate that has attended your picture & that I am much touched by your telling me of. I much hope to be able to be at the private view—though I do fear & shun the storm & stress of gathered multitudes…I shall at any rate pay my very earliest respects to your appreciated work. Then I shall communicate with you again.” In fine condition. Accompanied by the original hand-addressed mailing envelope. Starting Bid $200

Swimburne honors Victor Hugo

6108. Victor Hugo: Algernon Swinburne (2) Handwritten Poems Honoring Hugo. Important Victorian British poet (1837–1909) whose ‘decadent’ subject matter (including sadomasochism and lesbianism) made him one of the most controversial literary figures of his day. Significant handwritten manuscripts by Algernon Charles Swinburne, including his ‘Sonnet to Victor Hugo’ and ‘Birthday Ode for the Anniversary Festival of Victor Hugo,’ evidently prepared as the printer’s copy for their first publication in Songs of the Springtides (1880), with a few textual revisions, deletions, and annotations on typography and layout. The poems total 24 pages and have been custom-bound into a handsome full morocco volume, 8.75 x 13.5, titled in gilt on the front board and spine. In fine condition, with the exlibris bookplate of socialite Mary Landon Baker affixed inside the cover.

These two celebratory writings are among a number of poems and essays which Swinburne wrote on Hugo, who remained throughout his life one of his literary idols. Edmund Gosse, in his Life of Swinburne (1917) described the ‘Birthday Ode’ as ‘a sort of critical puzzle’ in which the author contrived ‘to allude in succession to every one of Victor Hugo’s writings, without naming any.’ Starting Bid $200

Handsome signed limited edition of Ulysses by James Joyce, published by The Bodley Head in 1936

6110. James Joyce Signed Book - Ulysses (Limited Edition, 1936). Rare signed book: Ulysses by James Joyce. First edition thus, limited issue of 100 signed copies on mouldmade paper bound in calf vellum [numbered 56/100]. London: John Lane The Bodley Head, 1936. Hardcover bound in full cream vellum with Homeric bow design by Eric Gill in gilt on covers, spine lettered in gilt, top edges gilt, others uncut, by the Leighton Straker Bookbinding Co., with the publisher’s original slipcase with printed paper label, 8 x 10.25, 766 pages. Boldly signed on the colophon in fountain pen, “James Joyce.” Autographic condition: fine. Book condition: VG/None in a VG- case, with some minor discoloration and slight bowing to boards; moderate edgewear to the case (with some tape repairs to splits) and some staining to the paper label.

Joyce encountered difficulties with his controversial masterpiece Ulysses in both Great Britain and the United States, with publishers reluctant to print the uncensored work due to obscenity laws. The editors of The Little Review (a literary magazine based in New York) supported subversive material and were willing to take the risk, but even they had trouble finding a printer; the London-based The Egoist faced an even greater challenge in the UK because both publishers and printers were liable to prosecution, and published only excerpts.

These fears of censorship and prosecution were realized in September 1920, when charges were brought against The

Little Review after the New York Society for the Suppression of Vice lodged a complaint. The Little Review lost the ensuing legal battle and ceased its serialization of Ulysses, which was banned in the United States until 1933. It was also officially banned in Britain after a book-form version was successfully published in Paris in 1922, and remained illegal there until 1936. This edition of Joyce’s masterwork, the first edition of the complete work to be printed and published in England, was set from the second impression of Odyssey Press’s edition and proofed by Joyce. With the binding and typography designed by the English artist Eric Gill, it is widely considered to be the most handsome of all Ulysses editions. Starting Bid $1,000

James Joyce writes to C. K. Ogden, creator of Basic English and recorder of the beloved Finnegans Wake fragment,

Anna Livia Plurabelle

6111. James Joyce Autograph Letter Signed to the Inventor of Basic English. ALS, penned on an offwhite 5.75 x 4 postal card, October 23, 1931. Handwritten letter from James Joyce to British polymath C. K. (Charles Kay) Ogden. In part: “I did not register the note as it was after office hours but I hope you got them. There is a very good notice…in Spectator of 10 instant. You ought to see it and tell Henry…about it.” Joyce has addressed the reverse in his own hand. In fine condition, with a short tear to the bottom right edge, and a small postal cancellation touching Joyce’s last name.

C. K. Ogden (1889–1957), an English linguistic psychologist best known for his invention of Basic English, was contacted by James Joyce in the summer of 1929 to write an introduction to his soon-to-be-published Tales Told of Shem and Shaun. Ogden accepted and, in turn, requested that Joyce meet him at the Orthological Institute in Cambridge for a recording. Joyce acquiesced in kind and, in August, read for a recording of Anna Livia Plurabelle, a ‘fragment’ published in 1925 as a part of Joyce’s ‘Work in Progress,’ which evolved into his monumental 1939 work Finnegans Wake. Starting Bid $1000

Scarce signed limited edition of Finnegans Wake, James Joyce’s modernist masterpiece

6112. James Joyce Signed Ltd. Ed. Book - Finnegans Wake. Signed book: Finnegans Wake. First edition, limited issue, numbered 328/425. NY: Faber & Faber Limited, 1939. Hardcover with slipcase, 7 x 10.25, 628 pages. Signed on the colophon in fountain pen, “James Joyce.” Autographic condition: fine. Book condition: VG-/None in a G slipcase, with tape stains to the first free end page, spine darkened, and heavy soiling and scuffing to the case.

After seventeen years of composition—during which bits and pieces of Joyce’s ‘Work in Progress’ were published in literary magazines—Finnegans Wake was finally released

in book form by Faber & Faber in 1939. A literary behemoth, the work challenges readers with its complex, multi-layered narrative and linguistic innovations. Its significance lies in its experimental form, pushing the boundaries of conventional storytelling and language. Despite its initial reception as baffling and incomprehensible—thanks to Joyce’s use of streamof-consciousness, playful invented words, and multilingual puns—Finnegans Wake has since been recognized as a groundbreaking work that continues to influence literature and inspire new interpretations, cementing its place as a seminal text in the modernist canon. Starting Bid $300

“I am sending you two tickets for Yama”

6113. Aleksandr Kuprin Autograph Note Signed on Yama: The Pit. Rare ANS in Cyrillic, signed “A. Kuprin,” one page, 5.5 x 7, no date. Handwritten note to Vladimir Lvovich, in full (translated): “I am sending you two tickets for Yama.” In fine condition, with two file holes and a central horizontal fold. Kuprin’s novel Yama: The Pit was published in installments between 1909 and 1915, in Zemlya almanacs. The book, centering on the lives of women in a brothel, is remembered as one of Kuprin’s most ambitious and controversial novels. Starting Bid $200

Lawrence celebrates the publication of Lady Chatterley’s Lover with a poem: “When we printed Lady C.!”

6114. D. H. Lawrence Handwritten Poem on Publication of Lady Chatterley’s Lover. Unsigned handwritten poem by D. H. Lawrence, one page, 5.5 x 6.25, no date. Lawrence wryly comments on the publication of his controversial novel Lady Chatterley’s Lover, headed: “A little poem to go in with the Nettles: O Pino!” The poem. Read full poem online at www.RRAuction.com. In fine condition. This is a shorter version of a light, humorous poem written shortly after the first publication of Lawrence’s controversial novel Lady Chatterley’s Lover. The subject, Guiseppe ‘Pino’ Orioli, was a Florentine bookseller who published the original, limited edition of Lawrence’s censored novel. Crackling with puns and double-entendres, the poem wittily comments on the prudishness of inter-war Europe. While a French version of Lady Chatterley’s Lover was published in 1929, the novel did not appear in Lawrence’s homeland until 1932, and even then, it was published as an expurgated version. Lady Chatterley’s Lover was only published in the United States in 1959, and in London in 1960, when it became the subject of the sensational trial Regina v. Penguin Books Limited, galvanized around the work’s use of ‘taboo’ sex words. Starting Bid $200

6115. D. H. Lawrence

Partial Autograph Letter

Signed to Mother-in-Law.

ALS in German, signed “D.H.L.,” one page both sides, 5.25 x 8.5, no date. Untranslated concluding portion of a letter by Lawrence to his mother-inlaw, regarding a variety of family subjects. In fine condition. Lawrence’s wife, Freida, had been born into German nobility and was married to a language professor Ernest Weekley when they met. She became Lawrence’s muse, lover, and eventually his wife, playing a crucial role in his artistic development. Lawrence’s Lady Chatterley’s Lover is thought to be based partly on her relationship as an aristocrat with the working-class Lawrence. Starting Bid $200

6116. Harper Lee Signed Book - To Kill a Mockingbird. Signed book: To Kill a Mockingbird. First edition, fourth impression. Philadelphia & New York: J. B. Lippincott Company, 1960. Hardcover (brown boards and light green cloth spine with brown titles) with ‘Fourth Printing’ dust jacket, 5.75 x 8.25, 296 pages. Signed on the first free-end page in ink by Harper Lee, with another hand adding an inscription and date, “9/8/60.” Autographic condition: fine, with light toning over the right half of the signed page. Book condition: Starting Bid $200

6117. Harper Lee Signed Book - To Kill a Mockingbird (40th Anniversary Edition). Desirable signed book: To Kill a Mockingbird. 40th Anniversary Edition, first printing. NY: HarperCollins, 1999. Hardcover with dust jacket, 5.5 x 8.25, 323 pages. Neatly signed on the half-title page in blue felt tip by Harper Lee. In very fine condition. Starting Bid $200

6118. C. S. Lewis Autograph Letter Signed. Influential Irish author and scholar (1898-1963), a former atheist who became an eloquent convert to Christianity, best known for his works on Christian theology and his muchbeloved, seven-book juvenile fantasy series The Chronicles of Narnia. ALS, one page, 5 x 8, Magdalene College letterhead, May 13, 1958. Brief letter to Professor Przemyslaw Mroczkowski. In full: “Thank you very much. It will give us both much pleasure to come and eat with you on Saturday next at 7.30.” In fine condition. Starting Bid $200

London on the history of sustainable farming: “We are just beginning to farm in the United States. The Chinese knew the how but not the why. We know the why, but we’re dreadfully slow getting around to the how”

6119. Jack London Autograph

Manuscript Signed on Farming.

AMS signed “Jack London,” two pages, 7.5 x 5.5, stamp-dated October 6, 1916. In full: “The Chinese have farmed for forty centuries without using commercial fertilizer. I am rebuilding worn-out hillside lands that were worked out & destroyed in a generation by our wasteful California pioneer farmers. I am not using commercial fertilizer. I believe the soil is our one indestructible asset, & by green manures, nitrogen-gathering cover crops, animal manures, rotation of crops, proper tillage & draining, I am getting results which the Chinese have demonstrated for forty centuries. We are just beginning to farm in the United States. The Chinese knew the how but not the why. We know the why, but we’re dreadfully slow getting around to the how.” In fine condition, with several pinhole punctures to the lower left. London was a pioneer of sustainable farming in Sonoma County, California, where he had purchased a 1,000-acre ranch in 1905. This passage is published in The Book of Jack London, a biography of the great author written by his wife Charmian. Starting Bid $200

Scarce first edition, first issue of Jack London’s iconic The Call of the Wild

6120. Jack London: The Call of the Wild (First Edition). Scarce and sought-after first edition book: The Call of the Wild by Jack London. First edition, with two pages of publisher’s advertisements at rear. NY: The Macmillan Company, 1903. Hardcover bound in the publisher’s original vertically ribbed pictorial green cloth with gilt title and design stamped in red, black, and white, 5.5 x 7.75, 231 pages. Complete with 11 full–page color printed plates including frontispiece (tissue guard intact) and 7 full–page woodcuts by Philip P. Goodwin and Charles Livingston Bull, with numerous decorations by Charles Edward Hooper. Book condition: VG/None, with light edgewear, slightly cocked spine, wear to spine extremities, rubbing to gilt top edge, and ownership inscription to half-title page.

Named by Modern Library as one of the 100 greatest novels of the 20th century, The Call of the Wild is recognized as ‘one of the first American novels to examine the quest of the pioneering individual who breaks away from the sheltered environment of civilization and is romantically compelled to find freedom in nature. In the early part of the century this was considered the American dream’ (Parker, 16). Starting Bid $200

Lovecraft vacations in Florida and describes the caverns of Rock Springs: “Inside the layer of these tunnels there is a vast hidden chamber of eternal night – once used by the Indians as a refuge –beyond which another aperture leads back to unplumbed + inconceivable abysses of inner Earth”

6121. H. P. Lovecraft Autograph

Letter Signed to Robert Bloch. ALS signed “Luveh-Karaph,” one page, 5.5 x 9, August 7, 1935. Addressed from the home of author R. H. Barlow in DeLand, Florida, a handwritten letter to Lovecraft’s 18-year-old protege, Robert Bloch, the future author of Psycho, to whom Lovecraft salutes as the “Noble & Diabolic Dr. Prinn.” In part: “Congratulations once more! It’s getting to be a habit! You surely are a WT future these days… ‘the boy who made good!’ I shall avail ‘The Faceless God’ + other items with new expectancy, + trust that this reception by the public may prove favourable! Shall be interested to see how good ol’ Nyarlathotep fares in your hands!...I continue to have a good time down here… The other day we visited Rock Springs… where amidst a picturesque wooded valley a crystal stream issues forth from twin black tunnels in the side of a lofty tree-crowned cliff of hard-packed clay. About 60 ft inside the layer of these tunnels there is a vast hidden chamber of eternal night — once used by the Indians as a refuge — beyond which another aperture leads back to unplumbed + inconceivable abysses of inner Earth.” In very fine condition. Starting Bid $200

Maugham lists dozens of his short stories, including “Flotsam & Jetsam,” “A Marriage of Convenience,” and “The Three Fat Women of Antibes”

6122. W. Somerset Maugham Handwritten Bibliography. Unsigned handwritten manuscript by W. Somerset Maugham listing 62 of his own works, one page both sides, 8.25 x 10.75, no date. Maugham pens a list of dozens of his works, predominantly short stories. Titles include: “Flotsam & Jetsam,” “A Carnal Affair,” “The End of the Flight,” “Masterson,” “A Marriage of Convenience,” “Princess September,” “Portrait of a Gentleman,” “Straight Flush,” “A Man with a Conscience,” “German Harry,” “French Joe,” “Mr. Know All,” “The Colonel’s Lady,” “Louise,” “A String of Beads,” “The Ant & the Grasshopper,” “The Three Fat Women of Antibes,” “Gigolo & Gigolette,” “The Voice of the Turtle,” “The Point of Honour,” “The Man from Glasgow,” “A Woman of Fifty,” “In a Strange Land,” “Mayhew,” and many more. In fine condition. Starting Bid $200

“Allowing negative votes would enable a certain portion of the opinion of every elector to be expressed, which finds no expression now”

6124. John Stuart Mill Autograph Letter Signed. British philosopher and civil servant (1806-1873) who was an influential contributor to social theory, political theory, and political economy. Scarce ALS signed “J. S. Mill,” three pages on two adjoining sheets, 3.75 x 6, personal monogrammed Blackheath Park letterhead, August 17, 1867. Handwritten letter to Charles J. Grece, in part: “Your suggestion of allowing negative votes would enable a certain portion of the opinion of every elector to be expressed, which finds no expression now. Whether the importance of that portion is worth the additional complexity may perhaps be doubted, but the point is in all events worth attention.” In fine condition. Accompanied by the original hand-addressed mailing envelope. Starting Bid $200

Choice, bold handwritten letter by the Moby-Dick author

6123. Herman Melville Autograph Letter Signed. Choice, bold ALS signed “H. Melville,” one page, 5 x 8, December 14, 1869. Handwritten letter to insurance executive John H. Gourlie, written from New York, in full: “I am very glad to do as you desire.” In fine condition. Starting Bid $1000

Margaret Mitchell writes on Gone With the Wind, with commentary on its inspiration and success

6125. Margaret Mitchell Typed Letter Signed on Gone With the Wind: “Last month the book had sold a million copies in six months and my publishers tell me that this set a world record”. TLS, one page, 7 x 11, personal letterhead, January 12, 1937. Letter to “Mr. Emery,” replying to a letter about Gone With the Wind. In part: “If my book made you forget your surroundings even for a short while, then I feel that the labor I put into it was labor well spent. You were more than kind to write and tell me that you liked ‘Gone With the Wind’ and I thank you for your letter.

You say that you have no idea how ‘the people on the outside’ are receiving my book, so I will write you a few details. Last month the book had sold a million copies in six months and my publishers tell me that this set a world record. I am completely overwhelmed by its success as I never expected to sell more than a few thousand copies here in the South...I have never written anything else. However, I was a newspaper reporter for several years on The Atlanta Journal. Except for my newspaper articles, ‘Gone With the Wind’ is the first thing I have ever published.

I suppose that the character of Archie naturally interested you. From childhood I heard stories of the men who went out from the Georgia Penitentiary to fight for the Confederacy. They always interested me very much. I remember asking one old veteran what became of these men. He told me that many were killed in the last days of the War, fighting bravely. He also said, ‘I know several who are living right here in Atlanta now under names they were never born with. Most of us old veterans know them, but we have never told even our wives who they are. They were brave men and they had paid whatever debts they owed and we felt they had won the right to normal lives.’” In fine condition, with some light soiling and intersecting folds. Starting Bid $300

Mitchell sends thanks to a Maine admirer: “I appreciated your letter so very much and the many fine things you wrote about ‘Gone With the Wind’”

6126. Margaret Mitchell Typed Letter Signed on ‘Gone With the Wind’. TLS signed “Margaret Mitchell Marsh,” one page, 7 x 10.25, personal letterhead, December 15, 1937. Letter to Mrs. Gates, in part: “I appreciated your letter so very much and the many fine things you wrote about ‘Gone With the Wind.’ I am glad, too, that you liked the article in Collier’s Magazine. My friends and family thought it the best that has been written about me, and, after all, families are hard to please. You were kind to invite me ‘to refugee to Maine and spend the time in your white canoe.’ In the present rush of my life that sounds so quiet and peaceful. However, I do not know when I can ‘refugee,’ as business matters seem to keep me very busy. I always wanted to go to Maine.” Double-matted and framed with a portrait photo to an overall size of 19.25 x 17. In fine condition, with a few light stains at the top. Starting Bid $300

“I have never made talks, even of an informal nature, except brief remarks on the occasion of the premiere of ‘Gone With the Wind’”

6127. Margaret Mitchell Typed Letter Signed on ‘Gone With the Wind’ and Speaking Engagements. World War II-dated TLS signed “Margaret Mitchell Marsh,” one page, 7.25 x 10.5, personal letterhead, April 16, 1941. Letter to Miss Woodall, referencing the screen version of her best-seller, in part: “I am very sorry I cannot be your sponsor. If my situation were different, nothing could give me more pleasure…More than that, I have never made talks, even of an informal nature, except brief remarks on the occasion of the premiere of ‘Gone With the Wind’...I have been so busy in the past five years that I have been unable to accept any invitations to sponsor various classes in Atlanta schools. In some of these classes there were my own relatives, in others the children of my good friends.” In fine condition. Accompanied by a full letter of authenticity from PSA/DNA. Starting Bid $300

Mitchell clarifies a payment receipt “for the Hebrew translation rights to ‘Gone With The Wind’”

6128. Margaret Mitchell Typed Letter Signed on “the Hebrew translation rights to ‘Gone With The Wind’”. TLS signed “Margaret Mitchell Marsh,” one page, 8.5 x 11, personal letterhead, April 29, 1946. Letter to Elias Newman of the Scopus Publishing Company, in part: “I have received your check for $40.00 which was enclosed in your letter of April 25th. Thank you for it…The receipt sent me gives the impression that the $40.00 constitute full payment for the ‘Hebrew translation rights to ‘Gone With the Wind.’’ Actually the $40.00 are not payment in full for the entire Hebrew translation rights. They represent payment in full for only the first 2500 copies. Thereafter my royalties of five per cent and ten per cent begin…I hope that the enclosed two copies of a receipt will suffice for your files.” In fine condition, with some small chipping to the edges. Starting Bid $300

6129. Edgar Allan Poe: First/Early Appearances of ‘A Tale of the Ragged Mountains,’ ‘Marginalia,’ ‘Annabel Lee,’ and Others. Collection of bound volumes of periodicals featuring first and early appearances of stories and essays by Edgar Allan Poe. Includes:

- the first appearance of “A Tale of the Ragged Mountains,” in the April 1844 issue of Godey’s Lady’s Book, within a bound collection of the issues from January–June 1844.

- a bound collection of “Miscellaneous Magazines,” including issues of Graham’s Magazine with reviews by Poe: “Review of Wyandotte” (November 1843) and “Review of Orion” (March 1844).

- a bound collection of Graham’s American Monthly Magazine, Vol. XXXII, published in Philadelphia by George R. Graham & Co. in 1848, featuring three “Marginalia” essays by Edgar A. Poe. - a bound collection of Sartain’s Union Magazine of Literature and Art, published in Philadelphia by John Sartain & Co. in 1850, featuring the first authorized printing of Poe’s last poem, “Annabel Lee,” and a reprint of his essay “The Poetic Principle.”

Additionally includes the posthumously published essay collection The Literati: Some Honest Opinions about Autorial Merits and Demerits, published by J.S. Redfield in 1850; and a first edition of A Strange Discovery by Charles Romeyn Dake, written as a sequel to Edgar Allan Poe’s The Narrative of Arthur Gordon Pym of Nantucket. In overall good to very good condition, with moderate to heavy overall wear. Starting Bid $200

Proust sketches a religious statue, comparing it to an ‘In Search of Lost Time’ inspiration

6130. Marcel Proust Original Sketch on a Partial Handwritten Letter - ‘The Prophet Amos’. French writer (1871–1922) known for the monumental sixteen-volume In Search of Lost Time, regarded as one of the greatest achievements in world literature. Original ink sketch of of the statue “Le Prophète Amos” in the Cathedral of Le Mans, accomplished by Marcel Proust on a black-bordered 5 x 7.25 sheet, with the following inscription (translated): “In reality, resembles Aublet positioning himself at the appropriate distance from his canvas to view it,” referring to the painter Albert Aublet, believed to be the inspiration for the character M. Biche in In Search of

Lost Time. On the reverse is the beginning of a handwritten letter declining an invitation as he is “in a paroxysm of hay fever,” which makes him “fear going out, especially during the day and in the countryside.” Affixed by the top edge to a larger black sheet and in fine condition, with minor loss to one corner and a rough left edge. Proust was fascinated by medieval religious artwork and ancient churches, making cultural pilgrimages to the north of France to visit them; he often consulted Émile Mâle’s illustrated treatise, Religious Art in France, tracing and modifying illustrations from the book in some of his letters. Starting Bid $500

Rackham illustrates the turning-point in Washington Irving’s classic tale Rip Van Winkle

6132. Arthur Rackham Signed Original Illustration for Rip Van Winkle. British artist and illustrator (1867-1939) best known for his Art Nouveau-influenced illustrations. Marvelous original ink-and-watercolor painting accomplished by Arthur Rackham on 9 x 14.5 artist’s board, produced as an illustration for an edition of Washington Irving’s Rip Van Winkle, signed in the lower right in ink, “Arthur Rackham ‘05.” In Washington Irving’s famous tale, the hen-pecked Rip Van Winkle wanders into the Catskills and there meets a dwarfish and strangely costumed man whom he helps to carry a keg of liquor. They go into the mountains and arrive at a silent gathering of other strange men playing nine-pins. Rip nips from the keg, falls into a deep slumber, and awakens 20 years later with a full beard and white hair. He returns to his village to find his termagant wife deceased, his daughter married and with children of her own, and the whole country changed. Rip goes on to a happy old age.

Rackham created 51 paintings to illustrate this edition of Irving’s famous story. This striking watercolor is the most important illustration in the book, depicting, as it does, the major turning point in the narrative: a youthful Rip stands in the foreground, head thrown back, drinking from a flagon. A tapped keg, goblets, mugs, and jugs litter the ground behind him. Further back, eleven peculiar and scowling men loiter in four groups; two of the men hold nine-pin balls. In the book, this painting is captioned: ‘He even ventured to taste the beverage, which he found had much of the flavour of excellent Hollands.’ In fine condition, with light edge wear and soiling. Starting Bid $1000

Ayn

Rand

grants the right to “dramatize The Fountainhead into a stage play,” signing off on the original script

6133. Ayn Rand Signed Contract and Script for ‘The Fountainhead’ Stage Adaptation. Remarkable pairing of items: a DS signed “Ayn Rand” and “Barbara Branden,” four onionskin pages, 8.5 x 11, February 1, 1968, by which “Author grants to Dramatist the exclusive right to dramatize The Fountainhead into a stage play,” with stipulations involving writer’s credits, changes to the text, and the production of the play; and an original draft of Branden’s script, 122 pages, 8.5 x 11, initialed on the title page in ballpoint by both parties, “A.R.” and “B.B.” The script features changes to the dialogue on four pages, all done in Branden’s hand. In overall fine condition, with light edge creasing to the document.

After the publication and initial success of The Fountainhead in 1943, Rand adapted the novel into a screenplay—a format with which she was well familiar, as she worked as a reader and script-doctor for Paramount. She completed the screenplay in 1944, and the film was released some five years later by Warner Bros., starring Gary Cooper as Howard Roark. Several years later, she authorized her friend and follower Barbara Branden to adapt the novel for the stage, to be produced by the Nathaniel Branden Institute (NBI), an organization founded in 1958 to promote Rand’s philosophy of Objectivism; the project was ultimately shut down in 1968 after the Brandens’ public falling-out with Rand, and the play remained unstaged. Starting Bid $1000

Signed tenth anniversary limited edition of Atlas Shrugged

6134. Ayn Rand Signed Ltd. Ed. Book - Atlas Shrugged. Signed book: Atlas Shrugged. Special tenth anniversary edition, limited issue, numbered 450/2000. NY: Random House, 1967. Hardcover with slipcase, 6.25 x 8.75, 1168 pages. Signed on the colophon in blue ballpoint by Ayn Rand. Autographic condition: fine. Book condition: VG/None in a VG slipcase, with a cracked front hinge, and edgewear to the slipcase. Starting Bid $200

“Make me an offer I can’t refuse, Mario Puzo”— a fantastic signed first UK edition of The Godfather

6131. Mario Puzo Signed Book - The Godfather - With Quote: “Make me an offer I can’t refuse”. Signed book: The Godfather. First UK edition. London: Heinemann, 1969. Hardcover with dust jacket, 6 x 8.75, 446 pages. Signed on the title page in black felt tip, “Make me an offer I can’t refuse, Mario Puzo.” Autographic condition: fine. Book condition: VG+/VG, with the dust jacket’s spine slightly darkened and a few minor edge nicks. Puzo adapts The Godfather’s famous line—’I’ll make him an offer he can’t refuse’—for this presentation inscription, elevating an already desirable piece. The novel would be adapted for the screen in 1972, becoming one of the most celebrated films ever created: the film won Oscars for Best Picture, Best Actor (Marlon Brando), and Best Adapted Screenplay (for Puzo and Francis Ford Coppola). Starting Bid $200

Salinger expresses his disdain for “the writer as interviewee”

6135. J. D. Salinger Typed Letter Signed. TLS signed “J. D. Salinger,” one page, 4.75 x 7, The New Yorker letterhead, May 12, 1957. Letter to Marilyn Schachter at Douglass College in New Brunswick, New Jersey, declining an interview. In the brief, apologetic letter, Salinger explains his disdain for “the writer as interviewee.” In fine condition. Accompanied by the original mailing envelope.

Salinger’s reclusive behavior is the stuff of legend, and particularly his unwillingness to be interviewed by anyone, least of all a budding journalist. Marilyn Schachter was a student at Douglass College, graduating in 1959 with a degree in journalism. She went on to have a career as a writer and editor, in spite of Salinger’s polite snub. Starting Bid $300

“Chopin was dangerously ill while I was stuck here”—remarkable handwritten letter by George Sand on her virtuoso lover

6136. George Sand Autograph Letter Signed on Frederic Chopin. ALS in French, seven pages on two sets of adjoining sheets, 5.25 x 8, May 1847. Handwritten letter to Gabriel Falampin, highlighted by a rare reference to her lover, the celebrated composer Frederic Chopin. She apologizes for a delay in sending a requested article, citing the virtuoso’s illness (translated): “It is not an ordinary circumstance, the one that I find myself in, and I do not have my own head in place. Besides, Chopin was dangerously ill while I was stuck here, unable to leave my family for a single moment, and all of this moved and broke me beyond reason. Here he is once again saved.”

Sand further explains in detail her decisions related to properties and legacies, commenting that she donates the hotel at Narbonne to Solange, making inquiries regarding her financial affairs, and referring to the rental of an apartment belonging to M. Larac in Paris: “Warn him immediately, but asking him not to speak of it to Chopin who is ill and the idea of the family moving could cause him consternation at this time.” In fine condition. Falampin was the artistic director of ‘L’Illustration’ and manager of the financial affairs of George Sand. Starting Bid $300

View all pages at www.RRAuction.com

6137. Jean-Paul Sartre Autograph Letter Signed. ALS in French, signed at the head of the first page, “J. P. Sartre,” six pages both sides, 6 x 7.75, annotated July 21, 1937. Lengthy untranslated letter to French theatre actress Wanda Kosakiewicz. In fine condition. Accompanied by an export certificate from the French Ministry of Culture. Kosakiewicz was a love interest of Sartre and the younger sister of Olga Kosakiewicz, a student of the existentialist philosopher and writer Simone de Beauvoir, Sartre’s lifelong companion. Sartre wrote that Wanda was one of the reasons that his friendship with Albert Camus went sour. Starting Bid $300

Rare lithograph by Sendak honoring Mozart’s ‘The Magic Flute’

6138. Maurice Sendak Signed Ltd. Ed. Print - ‘Magic Flute (Three Boys)’. Rare limited edition 11.75 x 14.75 stone lithographic print entitled ‘Magic Flute (Three Boys),’ numbered 10/10, signed in the lower right corner in pencil by the artist, “Maurice Sendak, ‘02.” First illustrated by Sendak in 1980, this composite design is based on Wolfgang Amadeus Mozart’s opera ‘The Magic Flute,’ and portrays the composer with three child spirits; the dragon of “Act 1, Scene 1”; the “Act 1 Tree”; and ‘Temple No. 1.” This limited lithograph was printed by Tyler Graphics, New York, in 2002, in a very small edition. Framed to an overall size of 13.75 x 16.75. In fine condition. Starting Bid $500

Complete set of four oversized ‘Where the Wild Things Are’ prints signed by Maurice Sendak

6139. Maurice Sendak (4) Signed Prints from ‘Where the Wild Things Are’. Complete set of four color fine art prints of Maurice Sendak’s classic illustrations for Where the Wild Things Are, ranging in size from 11 x 23.75 to 14 x 23.75, each signed in the lower right in black ink, “Maurice Sendak.” Produced in an unsigned edition for distribution to collectors, friends, and family of the artist, the 1971 publication of these prints marked the first time these classic illustrations were printed on single sheets of paper for the collector market; over the years, Sendak autographed a small quantity of the prints, but their edition size is unknown. In overall fine condition.

One of the most beloved children’s picture books of the 1960s, Maurice Sendak’s Where the Wild Things Are follows a young boy’s adventures through a mysterious monster-inhabited jungle island. The book earned the 1964 Caldecott Medal as the previous year’s ‘most distinguished American picture book for children.’ With its evocative illustrations and poignant storytelling, Sendak’s masterpiece has achieved enduring popularity amongst audiences of all ages. Starting Bid $300

Remarkable correspondence archive from John Steinbeck to

his beloved typist— an incredible collection of warm, playful, and vulnerable signed books and letters

6144. John Steinbeck Incredible, Intimate Archive to His Typist: (7) Signed Books and (26) Letters.

INTRODUCTION

In 1958, the recently divorced Mary Morgan moved from Ottawa into a brownstone in New York City’s Upper East Side, temporarily postponing the ‘struggle’ of her pending acting career to enjoy the social whirl of the big city. One day she met an artist at a cocktail party who asked if she could type. Type? Of course she could type, and damn well. Why? Because a good friend, John Steinbeck, needed someone to transcribe his manuscripts. Of course! Mary went home and devoured every Steinbeck novel she could get her hands on before turning up at his address. An imposing, bearded figure opened the door. “F*#k!” said Mary, expecting the face from the dust jackets, “I just read all of Steinbeck and you’re Ernest Hemingway.” He loved her instantly.

Initially hired for a period of two weeks, she remained with Steinbeck for two years—she was an able typist, a good friend, and she provided a ‘warmth’ that his boys were missing at home. Their collaboration produced this most compelling collection of personal letters written by Steinbeck, a giant of American literature who earned the 1962 Nobel Prize for ‘his realistic and imaginative writings, combining as they do sympathetic humor and keen social perception.’ These qualities abound in the present letters, which document something more than a work relationship or a mere friendship—there is an unmistakable element of flirtation, an unconsummated intimacy. Mary’s charms were not lost on John, but she was young and a good Catholic; he was married and always a gentleman. He covers all topics—his work methods, his concern and love for his children, his passion for his craft—in a warm, playful, and vulnerable manner. All of the heart, humility, humor, and intelligence of the great John Steinbeck is on full on display in this archive.

LOT DESCRIPTION

Remarkable correspondence archive from John Steinbeck to Mary Morgan, who worked as his typist for a period of about two years beginning in 1958, including seven signed books—inscribed with dedications ranging from witty and lean to effusive and risqué—and 26 letters (with six TLSs, fourteen ALSs, three unsigned handwritten letters or notes, and three unsigned typed letters). Steinbeck’s signature appears in several different variations throughout the archive, including “J. S.,” “John,” “John Steinbeck,” and, once, interestingly, “John Legree Steinbeck.”

These letters and dedications reveal the close relationship between Mary Morgan and John Steinbeck, whose writings to her often take on a flirty tone—asking about her love life and future plans, offering literary forms of flattery, and closing with words of affection. In a lengthily signed and inscribed copy of The Pearl, the writer describes her as “delightful, brilliant, gorgeous, talented,” applauds her “sly and maidenly modesty,” and appraises her as “pretty, too.” In a letter written during the summer of 1958, hoping to retain her services upon his return from a trip to England, he implores: “If you have any change of plans or desires or directions, such as love or marriage or homesteading in Alaska I will be very sad because I like working with you…You see I don’t want to have to find someone else but if you have other plans, I will have to. Will you let me know?” In a later, more direct letter, he suggests, “I think you should get your mind off marriage and think of something a little more elevated like sex,” and closes the letter by saying, “Well enough of this silly love making.” During a later trip to England, in the spring of 1959, he inquires: “How are you? How is your love life.”

On learning of her marriage in 1961, Steinbeck offers congratulations but conveys a sense that he has lost more than a typist: “I’m glad you’re so happy, honey…Why should you

Continued on the next page.

care that both my typewriters are on the blink and I have no one to see that they are fixed. That I have a hundred pages of m.s. in handwriting and no one to type… Oh! No! You’re just interested in yourself…tell him I lost a damn fine secretary. Are you going to let him know you can type?” Few of Steinbeck’s publicly known letters offer similarly intimate content, on top of Steinbeck’s ever-crafty prose and good humor.

The author also consistently appeals to Mary for her approval, deriding his own drafts as “lousy” and “dreadful,” while excusing his “horrible hand writing” and his own meager skill as a typist: “You will now see how I use the new typewriter and I rather hesitate to go on record with an expert like you…This is a silly kind of letter. I just wanted to show you why I need you to do my typing.” Later, in another typed letter, he promises: “I will of course bring in this angel of a typewriter which, as you will see, I still don’t use very well.” In a letter of May 1959, stamped at the head with Steinbeck’s now-famous ‘Pigasus’ symbol, he proudly asks: “How do you like my rubric at the head of this letter. It was designed for me by an old man Count Fossi of Florence.”

Steinbeck discusses his work at length, principally concerning Once There Was A War (“It will be published in the Early Fall by Viking Press. It is a compendium of all of my war pieces with a new introduction…I can’t imagine many people wanting to read this old book of old reminiscences and Viking has no

idea at all whether they can sell any at all”) and his exhaustive work in the realm of Arthurian legend, which focused on the Winchester Manuscript text of Sir Thomas Malory’s Le Morte d’Arthur. Several letters date to his stay at Discove Cottage in Bruton, Somerset, England, a trip undertaken for his research into the legend of King Arthur and the Knights of the Round Table; he also discusses his subsequent struggles with writer’s block.

Commenting on his working process, Steinbeck writes: “After all the turmoil and fuss and feathers of research and travel I have finally got to work at the translation and do you know—I like what I am doing and I think you will like it too…I am doing my translating with pencil in my horrible hand writing. Then I shall read what I have written on the dictaphone. Then I can send both the handwritten copy and the belts to you so you can check my handwriting against my miserable voice with mumbling and vice versa….I don’t know anyone else I can trust with this very special material. Besides, in typing the notes, you became familiar not only with the subject but with my working methods. Only you have never seen me work at completely high speed and full concentration.” In a letter of September 1958, he explains: “I came back from England so full of the Arthurian subject that it was running out of my ears. That was the first of July and I had the childlike confidence that I could sit right down and turn on the tap. Well, that was that. I couldn’t! I have been fighting it ever since. Oh, the reams of yellow pages that

have found their way into the wastebasket. Like autumn leaves they are.”

A year later, he offers an update on the project: “My work, while continuing, is very confused and confusing. And I still don’t know what is likely to come out of it if anything. It’s a rather unpleasant balancy feeling. Sometimes I get so damned mad at Malory. He writes down nonsense things, doesn’t even understand them himself.” In the meantime, Steinbeck sends various manuscript drafts and dictaphone recordings (“I have tried my barber shop soprano out on the squawk box and it sounds just as mellifluous as always—like the rattle of bones in a garbage can”) to Morgan for her transcription, encouraging her to “keep a list of your expenses, mail, paper, carbons etc.,” while noting: “I don’t particularly want comment until I’m well along. Also please keep the contents under your mental hat. I don’t want my theme to get out.” Ultimately, although he worked intensely on the King Arthur material from November 1956 through late 1959, Steinbeck’s retelling of Sir Thomas Malory’s Le Morte d’Arthur was unfinished at the time of his death; it was finally published posthumously in 1976 under the title The Acts of King Arthur and His Noble Knights.

In one of the final letters from Steinbeck to Morgan, a postcard dated December 12, 1960, he refers the the long road trip that inspired Travels with Charley, and the sale of his manuscript for the novel The Winter of Our Discontent: “Just got home from a 10,000 mile tour of America. Very big, America! Quite tired I am. Got home to the usual—kids lurching for delinquency. Nothing changed. The book you started to type bought by McCall’s, Readers Digest etc. Off, isn’t it. Not a pleasant book.”

A final theme of the archive is Steinbeck’s relationship with his children, Thomas and Catbird, weighing in on their trials and

triumphs at school and camp, and asking Mary to keep an eye on them; in one instance, he asks for an investigative favor: “You are very sweet to flush Tom out of the brush. Thank you. Will you please find out subtly what he wants for his birthday. He’ll know what you are doing but he won’t tell. You tell me.” In another, he asks for her aid in comforting the boys, sent off to boarding schools: “Both boys are in school now, and as it must be to all men, homesickness is upon them. It is not true that you are only homesick for a good home. You are moved to agony by change…If you feel the urge of kindness, please drop them a card.” He goes on to express some thoughts on the parenting philosophies in America: “I think one of the great crimes american parents commit against their childre[n] is trying to protect them from things that are going to happen anyway and the later the harder. The second american crime is trying to make everything fun. This is nonsense and I have never done it. Latin grammar and basic arithmetic is not fun. It is a deadly dreary chore but it has to be done. Only after it is over can you have fun with it—the joy of Vergil or the pleasure of using a formula the learning of which was terrible.” An itemized list, with comprehensive descriptions of each piece, is available online at RRAuction.com. Starting Bid $5000

Steinbeck sells the motion picture rights to his final novel, The Winter of Our Discontent

6145. John Steinbeck Signed Contract and Typed Letter Signed for ‘The Winter of Our Discontent’.

Partly-printed DS, one page both sides, 9 x 17, February 1961. Agreement between John Steinbeck and Metro-GoldwynMayer, Inc. by which Steinbeck sells the motion picture rights to his last novel, The Winter of Our Discontent. In the document, Steinbeck confirms that he is the “sole author of and has sole and unencumbered ownership of all motion picture rights in certain unpublished literary writings and material, known as ‘The Winter of Our Discontent.’”

Signed at the conclusion in fountain pen by John Steinbeck, and countersigned in ballpoint by his agent, Annie Williams, and countersigned by an MGM vice president. Includes the unsigned ‘Exhibit B’ document related to the contract.

Includes a related TLS on Metro-Goldwyn-Mayer letterhead, 8.5 x 11, February 1961, sent to Steinbeck, confirming: “Simultaneously herewith you and we are executing an agreement whereby we are acquiring motion picture and allied rights in ‘The Winter of Our Discontent’ on the terms and conditions set forth in said agreement.” The letter clarifies that Steinbeck is to use his “best efforts to obtain certain assignments with respect to translations” and regarding international editions of his publication. Signed at the conclusion in fountain pen by John Steinbeck, and countersigned in ballpoint by an MGM vice president. In fine condition, with some light edge wear. Starting Bid $200

El Gato Ensombradero signed by Dr. Seuss

6143. Dr. Seuss Signed Book - The Cat in the Hat. Signed book: The Cat in the Hat (in English and Spanish) [El Gato Ensombradero]. First edition. NY: Random House, 1967. Hardcover with dust jacket, 7 x 9.25. Signed and inscribed on the title page in red felt tip, “For Sean, Dr. Seuss.” Autographic condition: fine. Book condition: VG/VG-, with wear to spine and corners (minor splits at spine head), and edge nicks, wear, and creasing to the price-clipped dust jacket. A very scarce bilingual title signed by Dr. Seuss—the only such example we have been able to locate. Starting Bid $200

“What a sadness it is to be delivered after his death to a vile hypocrite like this Moore”— Stendhal denounces Irish writer Thomas Moore and his latest effort on behalf of the late Lord Byron

6146. Stendhal Autograph Letter Signed on Lord Byron, Thomas Moore, and Opium. Rare ALS in French, signed “H. Beyle,” one page, 8.25 x 10.25, February 19, 1830. Handwritten letter to Madame O´Reilly, confessing to his overconsumption of opium (translated): “I am full of gratitude to you, Madam. I was given so much opium that I was devastated.” Stendhal then refers to the Lord Byron work he was reading the night before: “I didn’t have any funny book. I spent the night reading this poor Byron. [Thomas] Moore has no talent in this book, he even seems a little naughty…I knew Lord Byron. What a sadness it is to be delivered after his death to a vile hypocrite like this Moore.” Before concluding, Stendhal refers to his works and announces to his correspondent, “Tomorrow I will send again one or two volumes.” The reverse of the integral page is addressed by Stendhal and bears its original red wax seal. In very good to fine condition, with multiple intersecting folds, and toning and slight chipping along the right edge. Stendhal was ostensibly reading Moore’s Letters and Journals of Lord Byron: With Notices of His Life, which was published in 1830. Starting Bid $500

The adventure author

drafts the plot and title page for “Kidnapped: Containing the personal adventures of David Shaw...

Written by himself, And now first printed by Robert Louis Stevenson”

6147. Robert Louis Stevenson Autograph Manuscript

Signed for the Publication of Kidnapped, with Original Drawings. Handwritten drafts in pencil by Robert Louis Stevenson for the title-page, prefatory verses (not published) and list of chapter headings for his novel Kidnapped, plus two original drawings by Stevenson: one of a highland landscape of austere receding hills, and the other a contour drawing of a mountain, captioned above: “Those glazed and whirling circles that we call wells.” All are inlaid into larger sheets and bound together in a full leather 9.25 x 11.75 volume, titled in gilt on the front board and spine.

The first page, headed “Kidnapped, David Shaw,” appears to be an early outline or scheme for the novel, listing 22 numbered narrative sections. These parallel but differ considerably from the 30 chapter headings ultimately adopted for the published book, beginning: “1. He leaves home - 2. Is he a chapter day on the journey? - 3. He comes to his uncle’s house - 4. he has a dreadful fright - 5. He goes into Newcastle and meets Captain Hoseason - 6. On board the Kidnappers.” Beneath, Stevenson has written a four-part outline of the structure for the book: “Part 1. Part 2. Kidnapped. Part 3. Castaway. Part 4. With the wild Highlandmen.”

On the reverse, Stevenson drafts the book’s title page, deliberately evoking the wordy titles of 18th-century sensationalist narratives: “Kidnapped: Containing the personal adventures of David Shaw; how he was Kidnapped and castaway; his voyage in the wild Highlands; and what he suffered from his uncle Ebenezer Shaw. Written by himself, And now first printed by Robert Louis Stevenson.” Beneath, Stevenson adds an eight-line poem (beginning, “On the grey rocks he stood; In his hand was the cold iron,” and ending “Bright sun, when you are weary So will be the sun of slaughter”). The poem, perhaps conceived as a prefatory verse, was not used in the published version of the book. Following are two separate pages with Stevenson’s sketches, evidently documenting the views and

wanderings of David Shaw as conceived by the author while working on the novel. Also bound into the volume are typed transcripts of Stevenson’s handwritten pages, a portrait of the author featuring his facsimile signature, and dozens of blank pages. In fine condition, with wear to the boards and binding. Starting Bid $2500

6148. Bram Stoker Autograph Letter Signed. ALS, one page, 5 x 8, February 13, 1899. Handwritten letter to an unidentified gentleman, sent by Bram Stoker on behalf of Henry Irving. In full: “Sir Henry asks me to send with his kind regards the enclosed seats which have just come back & which are the only ones available.” In very good to fine condition, with some light creases, and scattered light foxing and staining. Stoker worked as business manager for Henry Irving’s worldfamous Lyceum Theatre in London between 1879 and 1898, where he supplemented his income by writing a large number of sensational novels—his most famous being the vampire tale Dracula, published in 1897. Starting Bid $200

Rare oversized portrait of the Bengali polymath

6149. Rabindranath Tagore Signed Photograph. Bengali poet, playwright, philosopher, and author (1861–1941) who became the first non-European to win a Nobel Prize (Literature) in 1913. Scarce vintage sepia 8.25 x 11.5 paperstock photo of Rabindranath Tagore in a noble bust-length pose, signed in the lower border in Bengali in fountain pen. A small printed caption bearing his name is affixed to the right of the autograph. In very good to fine condition, with tears to the top, and to the side borders, repaired with tape on the reverse. The largest signed portrait of Tagore that we have ever offered, and a great portrayal of one of literature’s foremost minds. Starting Bid $300

Rare fragment of Thackeray’s handwritten manuscript for The Newcomes

6150. William Makepeace Thackeray Handwritten Manuscript for ‘The Newcombes’. Fragment from William Makepeace Thackeray’s handwritten manuscript for his novel The Newcomes, totaling four pages on three sheets, ranging in size from 5.5 x 6 to 5.5 x 8.75, circa early 1850s. Thackeray worked on his famous novel The Newcomes intermittently between August 1852 and June 1855, and first published it serially in 1854 and 1855. Penned in Thackeray’s distinctive and diminutive hand, the text features several corrections and emendations in his own hand, and a few unpublished passages. Otherwise, with the exception of some variant punctuation, the published text follows this manuscript exactly.

The unpublished passage comes from Chapter 51, and reads, with the first part struck through: “[Before the two gentlemen parted, the Baronet asked his uncle casually whether Clive was acquainted with the subject of their conversation that evening and was informed that] the young man was quite ignorant that his father had any other business with Sir Barnes Newcombe than that connected with the Bundelcund Banking Company.” The passage picks up with the text as published: “Barnes lauded the caution which his uncle had displayed. It was quite as well for the young man’s interests (which Sir Barnes had most tenderly at heart) that Clive Newcome should not himself move in the affair, or present himself to Lady Kew. Barnes would take the matter in hand at the proper season; the Colonel might be sure it would be most eagerly, most ardently pressed.”

The second page, smaller and double-sided, comes from Chapter 66, and includes the fine passage of Clive seeing Ethel again at Sir Barnes’ lecture. In part: “the Baronet suddenly stopped and became exceedingly confused over his manuscript: betaking himself to his auxiliary glass of water before he resumed his discourse, which for a long time was languid, low, and disturbed in tone. This period of disturbance, no doubt, must have occurred when Sir Barnes saw before him F. Bayham and Warrington seated in the amphitheatre; and, by the side of those fierce scornful countenances, Clive Newcome’s pale face. Clive Newcome was not looking at Barnes. His eyes were fixed upon the lady seated not far from the lecturer—upon Ethel, with her arm round her little niece’s shoulder, and her thick black ringlets drooping down over a face paler than Clive’s own.”

The last page is from Chapter 67, and consists largely of dialogue. In part: “’I know a friend of the people if ever there was one,’ F. Bayham interposes. ‘A man of wealth, station, experience; a man who has fought for his country; a man who is beloved in this place as you are, Colonel Newcome: for your goodness is known, sir—You are not ashamed of your origin, and there is not a Newcomite old or young, but knows how admirably good you have been to your old friend, Mrs.—Mrs. What-d’-you-call’em.’ ‘Mrs. Mason,’ from F. B. ‘Mrs. Mason. If such a man as you, sir, would consent to put himself in nomination at the next election, every true Liberal in this place would rush to support you; and crush the oligarchy who rides over the liberties of this borough!’ ‘Something of this sort, gentlemen, I own to you had crossed my mind,’ Thomas Newcome remarked.” In overall fine condition. Starting Bid $500

“It is largely about Bilbo’s magic ring, and Gandalf and Gollum are very important in it”— Tolkien on The Lord of the Rings, forewarning an 8-year-old reader that the Hobbits “get involved in very grim and rather frightening adventures”

6152. J. R. R. Tolkien Autograph Letter Signed on The Hobbit and The Lord of the Rings. Magnificent ALS, one page both sides, 5.25 x 7, personal 76 Sandfield Road (Headington, Oxford) letterhead, December 28, 1961. Beautifully penned handwritten letter to eight-year-old fan Christopher Howard, in full: “Thank you very much indeed for your letter. I was very pleased to have it, and I liked learning about the parts that specially pleased you. I don’t think Nicky missed much, as ‘The Hobbit’ was specially written for reading aloud. Though, of course, it is, I think, more fun to do the reading, and there are lots of books that can only be taken in quietly by oneself.

I am sorry that I did not get this off in time to wish you both a Merry Christmas, since yours arrived in good time for my Christmas, but there is a lot to do just before the 25th. But I wish you a very happy New Year.

I have in fact written other books in which Hobbits play a main part, and Bilbo makes an appearance — though not as a chief character as he is getting very old (60 years have gone by) and the story began on his 111th Birthday. (Which he calls eleventy-first and not hundred and eleventh!). But this book or books is very long — (about 6 times as long as The Hobbit), and is in 3 volumes (1) The Fellowship of the Ring (2) The Two Towers (3) The Return of the King. It is largely about Bilbo’s magic ring, and Gandalf and Gollum are very important in it. I am afraid it’s very expensive, but it can be got out of any good public library. Some I am told keep several copies, as it is in demand. There is not much fun in it — though at the beginning, which is in Bilbo’s village, the Hobbits behave in their usual comic way; but they soon get involved in very grim and rather frightening adventures, which make old Smaug seem almost harmless by contrast.

If it is any colder in Lancashire than it is down here, then you must be frozen stiff. It was as cold here last night as in Sweden and has been freezing hard all day. I put some water out for the birds this morning at half past ten in the bright sunshine, and it was frozen solid by lunch time.” In fine condition. Accompanied by the original mailing envelope hand-addressed by Tolkien.The recipient, Christopher Howard, was just an 8-year-old schoolboy when the great J. R. R. Tolkien replied to his letter in the waning days of 1961. Howard’s mother, an English teacher, would read bedtime stories to him and his younger brother at their home at ‘Asmall Lodge, Asmall Lane, Ormskirk, Lancashire.’ When they were old enough, ‘aged six and eight,’ she began reading The Hobbit. The book’s creative world prompted Howard to read it on his own. ‘The magical effect of reading words that created pictures in my mind amazed me,’ recalled Howard. ‘I could see the dragon, Smaug, in his lair, the Dwarves in their mountain halls, Wizards, Orcs, and of course, Hobbits.’

Curious if the author had written other books, Howard wrote a letter. His mother forwarded it to Tolkien’s publisher, George Allen & Unwin, which was relayed to Professor Tolkien, who replied to Howard on December 28, 1961. ‘Immediately, on seeing the envelope, in my mind, Professor Tolkien’s beautiful handwriting transported our home straight to Middle Earth. It became, ‘A small Lodge, A small Lane, Ormskirk, Lancashire.’’ The detailed reply, from the perspective of a Tolkien collector, was akin to finding the Arkenstone of Thrain, a great and wondrous jewel of amazing Middle-earth-related content. Penned gorgeously in his flowing, semi-florid handwriting, the letter offers an elusive double dose of Tolkien titles: The Hobbit and The Lord of the Rings. Letters from Tolkien that mention, or even allude to, either of these defining works are of exceptional desirability; that this example mentions both is, quite matter-of-factly, cause for excitement, as Tolkien letters of this ilk are rarely offered for public sale.Starting Bid $2500

Philosophy book from the personal library

of J. R. R. Tolkien, coupled with handwritten notes on the ‘square circle’ concept and war-dated course instructions for Navy and Air Force cadets, referring to both Sir Orfeo and The Canterbury Tales

6153. J. R. R. Tolkien’s Personal ‘Introduction to Philosophy’ Book and Handwritten Notes for Royal Navy and Air Force Cadet Courses. Rare signed book from the personal collection of J. R. R. Tolkien, which is accompanied by a two-sided sheet of handwritten notes by Tolkien, who on one side addresses the concept of a “square circle” found on page 192 of the book, and on the other side pens a “History of the English Language” study guideline for Royal cadets.

An Introduction to Philosophy by Jacques Martin (Translated by E. I. Watkin). Seventh impression. London, England: Sheed & Ward, 1942. Hardcover, 5.5 x 7.75, 272 pages. Neatly signed and dated on the first free-end page in fountain pen with his ownership signature, “J. R. R. Tolkien, 1944.” Autographic condition: fine. Book condition: VG/None, with slight sunning to spine, minor wear to spine ends, and a bookseller’s notation (“Tolkien’s Copy”) penciled on the front pastedown.

Tolkien’s handwritten notes, unsigned, no date (circa 1943), are annotated in ink and pencil on both sides of an off-white 6 x 7 sheet of notebook paper, with the side in pencil headed “p. 192” and containing Tolkien’s thoughts on the content of said page. The notes, in part: “Square circle is not even a ‘pseudo-idea,’ it’s a mere verbalism, and due to invention of adjectives. But the ‘free adjective’ can by application is the names of things other than those from which it was originally abstracted general ideas (and images). Why not ‘square circle’? Because nouns (names) are not all of the same order. Thus we can say Blue Moon because although ‘moon’ has not usually the accident ‘blue,’ it would remain moon if it had that accident.”

The opposite side, which is penned in bold ink and headed “R.N. and R.A.F. Cadets, History of the English Language,” contains several of Tolkien’s course instructions, which read: “These copies of the Extracts (Old and Middle English) and Text are for use in Papers I and II Monday morning, 11 September; and Tuesday morning, 12 September. They should not be marked, and should be returned with the answer-paper at the end of the morning session on 12 September. The passage set for translation in The Reeve’s Tale (170-206) will be found on page 9 ‘Those sely clerks’ to page 10 ‘as is your guise!’ The passage set from Sir Orfeo is page 7 ‘O way!’ to the last line of the page (234-264).” In overall fine condition.

These ink notes undoubtedly date to Tolkien’s tenure as the first director of the Navy and Air Force cadet courses for the English School at Oxford, which was intended to broaden the mind of the British serviceman. Of further interest is the mention of “The Reeve’s Tale,” the third story told in Geoffrey Chaucer’s The Canterbury Tales, and of Sir Orfeo, a version that Tolkien prepared for the naval cadets’ course at Oxford; following Tolkien’s death in 1973, his son Christopher discovered an unpolished translation of Sir Orfeo, which he published in edited form with Sir Gawain and the Green Knight and Pearl in 1975. Accompanied by an original “Special Examination for R.N. and R.A.F. Cadets, English, Use of English” test sheet, one page, both sides, 5.75 x 8.75, dated “[Vacation, 1944],” which contains a total of six problems that were ostensibly created and arranged by Tolkien. Starting Bid $500

Verne advises a reader on the protagonist’s name in Around the World in Eighty Days: “The Christian name of our friend Fogg is Phileas and not Phineas”

6154. Jules Verne Autograph Letter Signed on Around the World in Eighty Days: “The Christian name of our friend Fogg is Phileas and not Phineas”. ALS in French, one page, 4 x 5.25, February 23, 1890. Handwritten letter to a “Mademoiselle,” clarifying the spelling of the name of his protagonist in Around the World in Eighty Days. In part (translated): “The Christian name of our friend Fogg is Phileas and not Phineas. I am happy to have been able to set you straight on this point.” In fine condition, with splitting to the central horizontal fold, repaired with archival tape on the reverse. Starting Bid $200

“There are eight books in the ‘Little House’ series and that is all the books I have written and I am not writing any more”

6156. Laura Ingalls Wilder Autograph Letter Signed on Her “Little House” Series. ALS, one page, 5 x 8, January 29, 1954. Handwritten letter to Carolyn Wilber, in full: “I am glad you like my stories. There are eight books in the ‘Little House’ series and that is all the books I have written and I am not writing any more. I am the only one of my (Ingalls) family living. Sorry but I have no picture I can send you.” In fine condition. Accompanied by the original mailing envelope hand-addressed by Wilder. Starting Bid $200

Wells weighs in on his best book: “My best piece of significant story writing The Invisible Man... I am fond of The War of the Worlds because of its destruction of property”

6155. H. G. Wells Handwritten Letter on His “Best Book,” Commenting on The Invisible Man, The War of the Worlds, and Dr. Moreau. Unsigned partial handwritten letter by H. G. Wells, two pages on two adjoining sheets, 4.5 x 7, Spade House letterhead, no date. Partial handwritten letter with important autobiographical literary content, in part: “I really do not know which is my best book…It’s like asking which I think my best garment, my hat, my collar or my left boot. My biggest thing, my most intimate thing, my first line-of-battle ship is Anticipations, my best piece of significant story writing The Invisible Man. I think the Wonderful Visit manages to be pretty & that Love & Mr. Lewisham is as near beauty as I am likely to get, and I am fond of The War of the Worlds because of its destruction of property. I don’t like The First Men in the Moon as a whole, but I think it contains some of the best descriptive writing I have ever done. And I have a great tenderness of The Island of Dr. Moreau, because it is the only book of mine that I think has been treated unfairly.” In fine condition. Starting Bid $200

Wilder sends a

“few short characterizations of my works”— “Our Town is intended to be much more than a picture of small town life”

6157. Thornton Wilder Autograph Letter Signed on Our Town, The Cabala, and The Bridge of San Luis Rey. ALS, one page both sides, 6 x 7, personal letterhead, December 15, 1947. Handwritten letter to “Mrs. Coker” of the “X.X.M.D. Study Club,” commenting on his works. In part: “Perhaps I can interest your members by putting down a few short characterizations of my works. The Cabala exhibits a young American’s sense of wonder and fascination at first coming into contact with European civilization. At the end, he is moved to return to the U.S. with redoubled interest. The forces, once so vital in Europe, seem now to be defeating themselves. The Bridge of San Luis Rey is Europe-in-America. It asks a philosophical question: whether God intervenes in the big and little occasions of life—a question already raised in the ‘Astrée-Luce’ section of The Cabala.

The Woman of Andros asks: What did the noblest type of person

in pre-Christian paganism have to cling to in life’s extremest difficulty? Heaven’s My Destination moves to America, and to the crudest levels of America. It is a very serious novel under a comic surface. Its question is: How does one reconcile the ideals of behavior with the conditions of the daily life, particularly among people who make no pretense of ideals whatever. Having written four plays I changed to the drama.

Our Town is intended to be much more than a picture of small town life. Its central emphasis lies in the last act which is based on an anecdote or myth already told in The Woman of Andros. The Story of the hero who after death is permitted to return to earth for one day. The Skin of Our Teeth was written just before I entered the army to take part in a world war for the second time. Again, many people have failed to see how serious it is because the treatment is comic. Its emphasis again is in the last act.” In fine condition. Starting Bid $200

Rare, early working draft for unused scenes in Tennessee Williams’s

‘Ten Blocks on the

6158. Tennessee Williams. Handwritten working draft in pencil by Tennessee Williams of a scene related to his play Ten Blocks on the Camino Real, 58 pages inside a 3 x 5 spiral-bound pocket notebook, circa 1946. This manuscript, totaling approximately 1,000 words, consists of dialogue among the characters “Kilroy,” “Gypsy,” “Esmerelda,” and “Nursie,” which—though they do not appear in the published versions of the play—more or less correspond to the climactic and erotically charged moments when Kilroy and Esmerelda meet for the first time, and again after her virginity is restored by the full moon.

Camino Real’

Much of the dialogue in this early draft is between Kilroy and Esmerelda, and it opens with a preliminary meeting between Kilroy and Esmerelda in which they eat a “tongue sandwich”—a recurring theme throughout the piece. It also includes an unusual musical section in which a poem (“Moment in a Room”) is sung by Esmerelda (“We have not long to love / A night, a day / The tender things are those we fold away”), followed by a section of rhyming dialogue between the two potential lovers, with violin accompaniment. In fine condition. Accompanied by a later printing of the ‘acting edition’ of American Blues: Five Short Plays by Tennessee Williams, published by the Dramatists Play Service, Inc., which includes ‘Ten Blocks on the Camino Real.’

Camino Real, Tennessee Williams’s most surreal and dream-like play, grew out of his earlier one-act play entitled Ten Blocks on the Camino Real, which was written in 1946 and first published by Dramatists Play Service in 1948. This series of ten scenes, or ‘blocks,’ was first staged in a workshop by Elia Kazan at the Actors Studio in 1949, then expanded by Williams in 1952 into a three-act, sixteen-scene version, foreshortening the title to Camino Real. That play made its Broadway debut in 1953, directed by Elia Kazan and starring Eli Wallach as Kilroy and Barbara Baxley as Esmeralda. Final revisions were made after Camino Real closed in New York for the version published by New Directions in October 1953.

This early, unpublished manuscript probably represents a working draft of Ten Blocks on the Camino Real from 1946, soon after Williams had finished The Glass Menagerie and was at work on A Streetcar Named Desire. Williams was inspired to write the play during a romantic, dreamy visit to Mexico in 1945, commenting on its origins in an unpublished foreword to the one-act play, penned in 1946: ‘I catch a glimpse of a childishly drawn inscription, one that I have seen in a thousand different public places in the States but never before in Mexico. KILROY WAS HERE, it announces…He comes into the Sonata like hot licks on a trumpet, he and the world that he lives in, a world of pawn-shops on Rampart Street, jitney dance-halls, dollar-a-night hotel rooms, bars on Skid Row, all the vivid, one-dimensional clowneries and heroisms of the nickel comic and adventure strips, celebrated in the raw colors of childhood’s spectrum. This is Kilroy, the most famous citizen of America, about whom nothing is known except that he goes everywhere that it doesn’t cost much to go, the poor man’s Don Quixote or Paul Bunyan.’ Starting Bid $500

6159. J. M.

Autograph Letter Signed. Starting Bid $200

6160.

6162. Edgar Rice Burroughs (2) Signed Checks. Starting Bid $200

6163.

6165.

Signed Photograph and Typed Letter Signed. Starting Bid $200

6161. Robert Browning Signature. Starting Bid $200

6164. James

Starting Bid $200

George Washington Cable Signed BookThe Grandissimes. Starting Bid $100

Brendan Behan Signed BookBrendan Behan’s Island. Starting Bid $100

Barrie

Erskine Caldwell

M. Cain Typed Letter Signed.

6166. Thomas Carlyle Signed BookThe Early Kings of Norway. Starting Bid $200

6167. Raymond Chandler Typed Letter Signed. Starting Bid $200

6168. James Fenimore

Cooper Handwritten Manuscript Excerpt from ‘The Water-Witch’. Starting Bid $200

6169. James Fenimore

Cooper Signed Check. Starting Bid $200

6170. Noel Coward (2) Autograph Letters Signed and (1) Typed Letter Signed. Starting Bid $200

6171. Philip K. Dick Autograph Letter Signed. Starting Bid $200

6172. Arthur Conan Doyle Autograph Letter Signed to “Mrs. Holmes”. Starting Bid $200

Starting Bid $200

Starting Bid $200

6175. Eugene

Autograph Letter Signed. Starting Bid $200

6173. Ralph Waldo Emerson Autograph Letter Signed.

6174. Ralph Waldo Emerson Signature.

Field

6176. Anatole France Autograph Letter Signed. Starting Bid $200

6177. Joel Chandler Harris Autograph Letter Signed, with thanks for “transcripts of the Negro songs”. Starting Bid $200

6179. Joel Chandler Harris Autograph Letter Signed on Abraham Lincoln. Starting Bid $200

6180. Nathaniel Hawthorne Autograph Letter Signed. Starting Bid $200

6182. Oliver Wendell Holmes,

Autograph Letter Signed. Starting Bid $200

6183. Oliver Wendell Holmes, Sr. Autograph Quotation SignedFinal Stanza of ‘The Chambered Nautilus’. Starting Bid $200

6178. Joel Chandler Harris Signed Photograph. Starting Bid $200

6181. Hermann Hesse Signed ‘Birthday’ Slip. Starting Bid $200

6184. Julia Ward Howe Signature. Starting Bid $100

Sr.

6185. Langston Hughes Typed Note Signed. Starting Bid $200

6186. Victor Hugo Autograph Letter Signed. Starting Bid $200

6187. Robinson Jeffers Autograph Letter Signed Twice. Starting Bid $100

6188. Harper Lee Signed Photograph. Starting Bid $200

6189. Harper Lee Signed Souvenir Typescript. Starting Bid $200

6190. Sinclair Lewis Typed Letter Signed. Starting Bid $200

6191. Jack London Signed Check. Starting Bid $200

6192. Henry Wadsworth Longfellow Autograph Letter Signed, Sending Thanks for a Copy of ‘The Aeneid’. Starting Bid $200

6193. Henry Wadsworth Longfellow Autograph Letter Signed. Starting Bid $200

6194. Amy Lowell Signed Book - John Keats. Starting Bid $100

6195.

Typed Letter Signed. Starting Bid $200

6196. John

Autograph Letter Signed. Starting Bid $200

6197. Eugene O’Neill Signed Book - Days Without End. Starting Bid $100

6198. Mario

Signed Book - The Last Don. Starting Bid $200

6199. George

Signature. Starting Bid $200

6200. Dr.

Typed Letter Signed. Starting Bid $200

Starting Bid $200

Starting Bid $200

Seuss

Sand

Puzo

Stuart Mill

H. L. Mencken

6201. Samuel Francis Smith and James R. Randall (2) Signed and Handwritten Items.

6202. John Steinbeck Signature.

6203. H. G. Wells Autograph Letter Signed. Starting Bid $200

6204. Eudora Welty (20) Signed Unused Book Pages. Starting Bid $200

6206. John Greenleaf Whittier Autograph Letter Signed. Starting Bid $100

6207. Kate Douglas Wiggin Signed BookThe Old Peabody Pew. Starting Bid $100

6209. Cornell Woolrich Typed Letter Signed on ‘The Bride Wore Black’. Starting Bid $200

6210. William Wordsworth Autograph Quotation Signed from ‘The Fountain’. Starting Bid $200

6205. John Greenleaf Whittier Autograph Letter Signed, Hoping to “Nullify the Fugitive Slave Law”. Starting Bid $200

6208. Tennessee Williams Twice-Signed Check. Starting Bid $100

6211. Emile Zola Autograph Letter Signed. Starting Bid $200

Classical Music

Immensely rare church cantata fragment by Johann Sebastian Bach—a dark, dramatic meditation on human suffering

6215. Johann Sebastian Bach Handwritten Church Cantata Manuscript. Remarkable autograph musical manuscript by Johann Sebastian Bach, one page both sides, 7.75 x 6.25, no date but circa 1728, being a fragment from the church cantata Ich habe meine Zuversicht (BWV 188). This section is the lower half of folio 17 of the original manuscript, comprising bars 59b-66 and 73-76 of the 4th movement, scored for alto with cello and organ obbligato, on four systems of four hand-drawn staves. The present fragment comprises 111⁄2 bars from the conclusion of the movement, including the words “…Seinen führt, unerforschlich ist die Weise, Wie der Herr die Seinen führt, unerforschlich ist die Weise, Wie…” The piece has been inlaid in a larger sheet and encapsulated in archival mylar; the lower stave is in very good condition with minor ink acidification, while the upper system is affected by heavy ink corrosion causing a number of cracks and losses, reinforced with early archival film (now toned). Displayed in a handsome custom-made blue morocco portfolio, with only the attractive lower half displayed.

Most likely composed for October 17, 1728 (or possibly November 6, 1729), BMV 188 is a cantata for the 21st Sunday after Trinity and uses text drawn from Picander. Bach wrote the piece in the key of E minor, which he frequently associated with the crucifixion. The ensemble is made up of four voices,

two oboes, viola, organo obbligato and basso continuo. In the fourth movement, the dramatic heart of the cantata, the text “Unerforschlich ist die Weise” (“The ways of the Lord are past understanding,” a meditation on the cross and human suffering) is elaborated as a dark, expressive aria for alto voice set against a virtuoso organ obbligato.

Bach’s original manuscript for BMV 188 has suffered more vicissitudes than most, with the first 10 of the 18 leaves being lost at an early date (probably before the 1827 auction of the estate of Wilhelm Friedemann Bach), taking with them the great majority of the first movement. The remaining leaves are now widely scattered, with four leaves being cut up (as here) into two or even three pieces. Although the resulting fragments are now located in ten holdings in eight countries, they are nevertheless sufficiently continuous to enable the 2nd to 5th movements to be reconstituted. The present fragment, which comprises the lower half of fol. 17, is identified in the “Kritischer Bericht” of the Neue Bach-Ausgabe [New Bach Edition] as A14 (“unbekannter Privatbesitz”). The same source notes that the marked ink acidification which has affected the upper half of the present fragment is typical of the dismembered leaves, and is in part a result of the dense compositional script of the composer, in this instance with many tripletised semi-quavers. Starting Bid $50,000

A long-awaited reunion: Beethoven’s emotionally charged first sketch of “Neue Liebe, neues Leben,” a setting of Goethe’s 1775 love poem

6217. Ludwig van Beethoven Autograph Musical Manuscript. Significant autograph musical manuscript by Ludwig van Beethoven, unsigned, three pages on two 12 x 9 sheets, no date but circa 1798–1799. Beethoven’s first draft for the lied ‘Neue Liebe, neues Leben’ [New Love, New Life], a setting of a 1775 poem by Johann Wolfgang von Goethe, begun in late 1798. The present sketch, jotted down without interruptions in a very cursory, almost rushed hand, already contains the melody and the words with no expression markings, but includes occasional bass sections as well as parts of the piano accompaniment at the end of verses. It shows several important departures from the version printed in 1810. At the head of the first page, written in a different ink and pen and comprising the first four staves, are the first eight bars of the finale of Beethoven’s String Quartet No. 1 in F major (Op. 18, No. 1, composed between 1798 and 1800, published in 1801), providing the violin voice with the theme chorus of triplets.

The lied in its present version (WoO 127) was published in early 1808, nearly a decade after this first sketch, by Simrock in Bonn as the first part of the ‘III deutsche Lieder,’ apparently without the composer’s consent. Beethoven subsequently revised his work and published it the following year with Breitkopf & Härtel in Leipzig as part of his ‘Sechs Gesänge’ (Op. 75, No. 2); the manuscript of that revision, dated 1809, is today kept at the Beethoven Haus in Bonn. In 1811 Beethoven presented a manuscript copy of that second version, the first leaf of which is also kept in Bonn (while most of the remainder is at the Pierpont Morgan Library in New York), to Bettina Brentano on the occasion of her wedding to Achim von Arnim. Nohl has pointed out that the present first draft with its ‘dramatic, aria-styled phrasings’ retains a somewhat ‘grandiose and dark quality’ as compared to the reduced later version, and ‘if one were to interpret the urgent stride so vividly apparent in this sketch, dashed off, as it seems, without a single interruption and in a mood of deep emotional excitation, then one feels instinctively that forces of an even greater passion than such

as Bettina could have aroused in Beethoven must have been at work here’ (cf. p. 695).

In fine condition, with occasional quite insignificant brownstaining; altogether very crisp. Both leaves annotated with Beethoven’s name in a near-contemporary hand. At the head of the first page is the ‘mysterious caption’ (cf. Nohl), also by a different, early hand: “Der Schluß von seinem letzten Septuor als Motto für den Text” (apparently referring to Beethoven’s Septet, Op. 20, also written in 1799; a tentative explanation is advanced by van der Zanden, p. 168). The second leaf is mounted to a cloth stub with another, blank sheet of contemporary paper. Housed in a handsome red morocco presentation folder with ornate engraved plate on the front: “Beethoven, Neue Liebe, Neues Leben, WoO 127.”

Beethoven manuscripts written before 1800 almost never come to market; no other complete autograph manuscript of this version is known. The two leaves formerly were a single bifolium owned by baroness Anna von Gleichenstein, the sister of Beethoven’s friend Therese Malfatti (remembered as a possible dedicatee of ‘Für Elise’), which was soon separated. Even in 1865, when Nohl edited the first leaf, its counterpart was no longer in the possession of the Gleichenstein family. The first sheet later surfaced in the archives of the music publisher Schott in Mainz and was sold at Sotheby’s in 2002 (6 December, lot 14: £65,725). The second leaf was offered in 1968 by Hans Schneider of Tutzing in his catalogue 136 (lot 37, DM 17,800; then again in cat. 142, lot 266, with illustration on p. 45) and was acquired in 1969 by a private collector who had it auctioned by Venator & Hanstein in Cologne in 2011 (cat. 118, lot 861: EUR 108,000). Now that both leaves have been reunited, Hans Schneider’s words, written half a century ago about only the final 62 measures, are no less true: ‘Through Beethoven’s synthesis of his own music with a text by Goethe we are presented with a musical autograph as desirable as it is beautiful’ (cat. 136, p. 37). Starting Bid $25,000

Rare handwritten letter by Beethoven, sending cryptic instructions to his devoted secretary:

“The matter must be approached cleverly”

6218. Ludwig van Beethoven Autograph Letter Signed to His Secretary. ALS in German, signed “Beethoven,” three pages on two adjoining sheets, 5 x 8, no date but circa mid-February 1826. Handwritten letter to Karl Holz, who played the second violin in Ignaz Schuppanzigh’s string quartet, a close friend of Beethoven’s and the composer’s devoted secretary toward the end of his life; Beethoven frequently entrusted with his quotidian missions. The background of the letter is obscure: it probably refers to an episode involving Beethoven’s housekeeper, Ms. Lindner, with whose work he was dissatisfied, and to the problem of supervising the lifestyle of Karl, Beethoven’s troubled young nephew. He also makes a request for some flannel cloth; Beethoven’s conversation notebooks reveal that Holz’s sister Anna attended to the requested purchase of the flannel in mid-February 1826.

In full (translated): “As token payment the cane did its job yesterday. I would much prefer if you located somebody to trace the K. trail, perhaps we shall find something better than we expect—and only then is action to be taken according to conviction—whatever the cost, I will gladly refund all, only the matter must be approached cleverly. I ask you sincerely to instruct your sister, whom I send my regards, to buy two cubits of flannel according to this swatch; you can bring the cloth along when you visit me this noon—I only regret having to burden you in so many matters. In haste.” In very good to fine condition, with moderate overall foxing, and minor loss to the edges.

Citation: Beethoven, Briefwechsel, vol. 6, no. 2117 (“original unknown”), based on Kalischer’s inaccurate edition (1908), vol. 5, no. 1181. From the collection of Adolf Göttmann, Berlin (cf. MGG vol. 5, cols. 460f.). Starting Bid $10,000

6219. Ludwig van Beethoven

Personal Visiting Card. Ludwig van Beethoven’s personal visiting card, 3.25 x 1.75, engraved with his name in a simple, italicized font: “Ludwig van Beethoven.” In fine condition, with a bit of old mounting remnants along the back right edge.

Provenance:

(1) Marie Pachler (1794-1855), Austrian pianist and friend of Schubert.

(2) Julius Schneller (1777-1833), historian and writer.

(3) Schøyen Collection. Starting Bid $500

Barber’s magnum opus, ‘Adagio for Strings’

6216. Samuel Barber Autograph Musical Quotation Signed for ‘Adagio for Strings’. Extremely rare AMQS on an off-white 10.75 x 8.5 musically lined sheet, signed and inscribed in bold fountain pen, “With best wishes to the young composer, Sincerely, Samuel Barber, Capricorn, Mount Kisco, ‘61.” Above Barber adds four bars of music from the opening of his masterful 1936 work, “Adagio for Strings,” which he pens across two staves. In fine condition. Memorably used in the films The Elephant Man and Platoon, Adagio for Strings remains one of the most instantly recognizable pieces of 20th-century classical music, handwritten musical quotations of which are exceptionally rare and highly coveted. Starting Bid $500

6220. Maria Callas Signed Photograph. Vintage matte-finish 4.75 x 6.5 head-and-shoulders photo of the influential opera singer, signed in black felt tip, “Maria Callas.” In very fine condition. Starting Bid $200

Substantial handwritten musical quotations from a trio of Italian master composers

6221. Gaetano Donizetti, Gioachino Rossini, and Saverio Mercadante Autograph Musical Quotations

Signed. Booklet of three ample AMQSs from esteemed Italian composers Gaetano Donizetti, Gioachino Rossini, and Saverio Mercadante, penned in ink on the front and back of two off-white 16 x 11 sheets of music paper, with each composer adding lyrics to their impressive arrangements. The front sheet is comprised of Donizetti’s lengthy handwritten musical quotation that contains approximately 100 bars of music for an unidentified piece, signed and inscribed in the lower right, “Donizetti,” who adds the date above, “Roma, 10 Feb. 1841,” the day before he premiered his opera Adelia at the Teatro Apollo in Rome. The Rossini AMQS constitutes the two interior pages and contains over 60 bars of music from the arietta ‘L’esule,’ signed and inscribed at the conclusion, “G. Rossini, Bologna 8 Marzo 1843”; and the Mercadante AMQS features a total of 36 bars of music from his 1842 opera “Il Proscritto,” signed prominently below, “Roma, 25 Giugno 59, Saverio Mercadante.” In overall fine condition, with the names of the two inscriptions scratched out. Starting Bid $300

6222. Edward Elgar Signed Photograph. Scarce vintage matte-finish 3.25 x 5.25 postcard photo of Edward Elgar in a handsome seated pose, signed in fountain pen by the composer, adding the date of August 1912. In very good to fine condition, with a small corner crease, light silvering, and poor-to-moderate handwriting contrast. Starting Bid $200

“The skies were fairer, the shores were firmer, from ‘Sea Pictures’”

6223. Edward Elgar Autograph Musical Quotation Signed from ‘Sea Pictures’. Leading English composer (1857–1934) and a significant figure among late Romantic European musicians. Wonderful AMQS from Edward Elgar on an offwhite 5.25 x 3 sheet, which is signed below in fountain pen by Elgar, who above adds three bars of music from ‘The Swimmer,’ the fifth song from his classic 1899 song cycle Sea Pictures, Op. 37. Below the music, Elgar adds lyrics and the title, “The skies were fairer, the shores were firmer, from ‘Sea Pictures.’” Double-matted with a portrait photo to an overall size of 9.75 x 16. In fine condition. Starting Bid $200

6224. Edvard Grieg Autograph Letter Signed. Important Norwegian composer and pianist (1843-1907) whose works, often with a strong nationalistic flavor, include such repertory staples as the ‘Piano Concerto in A minor,’ the incidental music to Peer Gynt, and the ‘Holberg Suite.’ Choice ALS in Norwegian, one page, 4.5 x 7, December 3, 1905. Handwritten letter to Norwegian author Bernt Lie, written from the Hotel Westminster, Kristiania [Oslo]. In part (translated): “Your new book is in front of me…Many thanks for it, both from me and my wife. We are very much looking forward to it, as soon as some calm falls on us.” In very fine condition. Starting Bid $200

6226. Franz Liszt Autograph Letter Signed. Romantic era composer and pianist (1811–1886) whose prowess at the keyboard earned him a cachet as perhaps the greatest virtuoso in the history of the instrument. ALS in German, signed “F. Liszt,” one page both sides, 5 x 4, no date. Untranslated handwritten letter by Franz Liszt, with reference to a fellow kapellmeister. In fine condition, with light staining to one corner. Encapsulated in a PSA/DNA authentication holder. Starting Bid $200

Sought-after signature of Austrian master Joseph Haydn

6225. Franz Joseph Haydn Signature. Austrian musician (1732-1809) who takes a place among the first rank of composers in the history of Western music. The sheer magnitude of his gift, along with his seemingly inexhaustible industry, resulted in one of the largest and most significant bodies of work by any single figure. His mastery of two forms, in particular—the string quartet and the symphony—practically defined the classical style and exerted a potent influence on all composers who followed, most notably Wolfgang Mozart and Ludwig van Beethoven, both of whom were intimate acquaintances of the older composer. Rare and sought-after ink signature, “Haydn,” with his paraph, on an off-white 2.75 x 2.25 slip. Handsomely double-matted and framed with a portrait of the revered composer to an overall size of 9.5 x 15.5. In very good to fine condition, with light creasing and soiling. Starting Bid $500

The Italian master pens four bars from Madame Butterfly

6227. Giacomo Puccini Autograph Musical Quotation Signed for ‘Madame Butterfly’. Marvelous AMQS in bold fountain pen on an off-white 7.25 x 4.5 sheet, signed below by the esteemed composer, “Giacomo Puccini, Milano, 1 marz 1914,” who pens four bars of music from his famous “Madame Butterfly.” In very fine condition. A wonderful quote from one of Puccini’s most enduring works: today, Madame Butterfly is the sixth most-performed opera in the world. Starting Bid $300

“When our two countries people are fighting side by side against the threatening East, a greeting from Hungary is particularly dear to me”

6228. Jean Sibelius Typed Letter Signed. Distinguished Finnish composer (1865–1957) of Romantic-nationalistic tendencies, best known for his seven completed symphonies and the tone poem Finlandia. World War II-dated TLS in German, signed in pencil, one page, 6.5 x 7.75, May 8, 1942. Addressed from Jarvenpaa, Finland, a letter to Paul von Balogh, in full (translated): “Thank you very much for your friendly greeting, which I return most warmly. Especially today, when our two countries people are fighting side by side against the threatening East, a greeting from Hungary is particularly dear to me.” In fine condition. Accompanied by the original mailing envelope. Starting Bid $200

6229. Camillo Sivori Autograph Musical Quotation Signed. Italian virtuoso violinist and composer (18171894) perhaps best remembered as the only known pupil of Niccolo Paganini. Rare AMQS on an off-white 15.75 x 11 sheet of hand-lined music paper, signed and inscribed in black ink, “Camillo Sivori, Roma 12 Dec’bre 1854,” who neatly pens eight bars of music from an unidentified work. In fine condition. Starting Bid $200

Verdi pens 16 bars of music from his 1871 tragic opera masterpiece, Aida

6230. Giuseppe Verdi Autograph Musical Quotation Signed for ‘Aida’. Exquisite AMQS from Giuseppe Verdi on an off-white 8.25 x 5.25 sheet, signed below in crisp black ink, “G. Verdi, 15 Agosto 1883,” who pens four lines and a total of 16 bars of music from his classic 1871 tragic opera Aida, the name of which Verdi has added to the upper margin. In fine condition. Aida premiered at Cairo’s Khedivial Opera House on December 24, 1871, and has since been performed countless times in opera houses around the world, cementing its status as a cornerstone of the operatic repertoire. A marvelous musical quotation from the Italian master, whose Aida holds a central and significant place in the operatic canon as a quintessential example of Italian grand opera. Starting Bid $1000

6231. Ludwig van Beethoven: Bohemian Quartet. Starting Bid $100

6232. Georges Bizet Signature. Starting Bid $200

6234. Enrico Caruso Signed Photograph. Starting Bid $200

6233. Enrico Caruso Signed Sketch. Starting Bid $200

6235. Charles Ives Rare Third-Person Autograph Letter Signed. Starting Bid $200

6236. Jules Massenet Signature. Starting Bid $200

6237. Darius Milhaud Autograph Musical Quotation Signed. Starting Bid $200

6238. Ignace J. Paderewski Signed Program. Starting Bid $200

6239. Giacomo Puccini Autograph Letter Signed to Sister. Starting Bid $200

6240. George F. Root Autograph Musical Quotation Signed from ‘The Rally Cry of Freedom’. Starting Bid $200

6241. Johann Strauss Signature. Starting Bid $200

6242. Arturo Toscanini Signed Photograph. Starting Bid $200

6243. Siegfried Wagner Autograph Letter Signed. Starting Bid $100

6244. William Walton Signed Photograph. Starting Bid $200

Conditions of Sale

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Section 1

The Parties1.1 RR Auction and Auction

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1.2

Bidder

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Section 4

Bidding

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4.8 RR Auction may at its sole and absolute discretion, make loans or advances to Consignors and/or prospective Bidders.

Section 5 Bidding Options

5.1 Non-Internet bids (including but not limited to in-person, facsimile, phone and mail bids) are treated similarly to floor bids in that they must be on-increment. Any in-person, facsimile, phone, or mail bids that do not conform to a full increment will be rounded up or down to the nearest full increment and this revised amount will be considered Bidder’s high bid.

5.2 When identical bids are submitted, preference is given to the first received. To ensure the greatest accuracy, written bids should be entered on the standard printed bid sheet and be received at RR Auction’s place of business at least twenty-four (24) hours before the Auction start. RR Auction is not responsible for executing mail bids or facsimile bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is RR Auction responsible for proper execution of bids submitted by telephone, mail, facsimile, e-mail, Internet, or in person once the Auction begins.

5.3 In all Auctions, bids on an item must raise the current high bid by at least 10%, or as specified on a per-Auction basis. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted. In a live sale, bids on an item can change at the discretion of RR Auction.

5.4 RR Auction reserves the right to accept or decline any bid. Bids must be for an entire lot and each lot constitutes a separate sale. All bids are per lot unless otherwise announced. Live auction lots will be sold in their numbered sequence unless RR Auction directs otherwise. It is unlawful and illegal for Bidders to collude, pool, or agree with another Bidder to pay less than the fair value for lot(s). For live auctions, RR Auction will have final discretion in the event that any dispute should arise between Bidders. RR Auction will determine the successful Bidder, cancel the sale, or re-offer and resell the lot or lots in dispute. RR Auction will have final discretion to resolve any disputes arising after the sale and in online auctions. If any dispute arises, RR Auction’s sale record is conclusive.

Section 6 Payment

6.1 Subject to fulfillment of all of the Conditions of Sale set forth herein, upon the sooner of (1) the passing of title to the offered lot pursuant to these Conditions of Sale, or (2) possession of the offered lot by the Bidder, Bidder thereupon (a) assumes full risk and responsibility (including without limitation, liability for or damage to frames or glass covering prints, paintings, photos, or other works), and (b) will immediately pay the full purchase price or such part as RR Auction may require. In addition to other remedies available to RR Auction by law, RR Auction reserves the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from RR Auction’s premises by the Bidder at his/her expense not later than sixty (60) business days following its sale and, if it is not so removed, RR Auction may send the purchased property to a public warehouse for the account, at the risk and expense of the Bidder.

6.2 Payment is due upon closing of the Auction session, or upon presentment of an invoice. RR Auction reserves the right to void an invoice if payment in full is not received within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date. In cases of nonpayment, RR Auction’s election to void a sale does not relieve the Bidder from their obligation to pay RR Auction its fees (seller’s and Buyer’s Premium) on the lot and any other damages pertaining to the lot.

6.3 All sales for total invoices greater than $1,000 are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, eChecks, and bank money orders), and are subject to all reporting requirements.

6.4 All deliveries are subject to good funds; funds being received in RR Auction’s account before delivery of the Purchases; and all payments are subject to a clearing period. RR Auction reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten (10) calendar day hold, and ten (10) business days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via e-Check, personal or corporate checks.

6.5 In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If Bidder attempts to pay via check and the financial institution denies the transfer from Bidder’s bank account, or the payment cannot be completed using the selected funding source, Bidder agrees to complete payment.

6.7 If RR Auction refers any unpaid invoice to an attorney for collection, the Bidder agrees to pay and shall be liable for RR Auction’s attorney’s fees, court costs, and other collection costs incurred by RR Auction in addition to the invoice amount and interest the greater of 1.5% per month or at the maximum legally allowable rate from date of invoice to collection. If RR Auction assigns collection to its house counsel, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

6.8 RR Auction shall have a lien against the merchandise purchased by the Bidder (as well as to the extent it is a consignor any other monies owed or due to Bidder) to secure payment of the Auction invoice. RR Auction is further granted a lien and the right to retain possession of any other property of the Bidder then held by RR Auction or its affiliates to secure payment of any Auction invoice or any other amounts due RR Auction or affiliates from the Bidder. With respect to these lien rights, RR Auction shall have all the rights of a secured creditor, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the Bidder waives any and all rights of offset he might otherwise have against RR Auction and the consignor of the merchandise included on the invoice (the Consignor”). If a Bidder owes RR Auction or its affiliates on any account, RR Auction and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.

6.9 All checks, cashiers checks, bank checks, or money orders are payable to R&R Auction Company of Massachusetts, LLC. RR Auction clients with an invoice totaling $1,000 or under will have the option to pay by VISA, Mastercard, Discover or Paypal. All Paypal payments must be sent to FinanceDepartment@ rrauction.com. Authorize.net, a third-party service provider contracted by RR Auction for processing on-line payments, charges a nonrefundable service fee of 3%, which will be added to your final invoice should you pay by credit/debit card.

Section 7 Sales Tax

RR Auction is a remote seller and we are now required to collect Sales/Use Tax from our bidders. The states that we have nexus in we will be required to collect and remit sales tax on your behalf. Each state has different requirements to meet nexus. When RR Auction has achieved a certain monetary and/or invoice threshold in each state we will apply sales tax to your total invoice. The states that are affected are: ARIZONA, ARKANSAS, CALIFORNIA, COLORADO, CONNECTICUT, FLORIDA, GEORGIA, ILLINOIS, INDIANA, IOWA, KANSAS, KENTUCKY, MAINE, MARYLAND, MASSACHUSETTS, MICHIGAN, MINNESOTA, NEBRASKA, NEVADA, NEW JERSEY, NEW YORK, NORTH CAROLINA, OHIO, OKLAHOMA, PENNSYLVANIA,RHODE ISLAND, TENNESSEE, TEXAS, UTAH, VIRGINIA, WASHINGTON, WISCONSIN

If we have not achieved nexus in a particular state it is still your responsibility to pay sales tax on your purchases.

The sales tax rate is determined by the State, Country, and City where purchases are shipped to. If you decide to pick up your purchases at our New Hampshire location you will not be required to pay sales tax. The State of New Hampshire does not have a general sales and use tax. All purchases picked up at our Massachusetts location will be taxed at the current rate of 6.25%.

If you have a resale number please email Sue@RRAuction.com or fax to (603) 732-4288 a copy of your state resale certificate and you will be exempt from paying sales tax.

Section 8

Delivery; Shipping; and Handling Charges

Bidder is liable for shipping and handling and providing accurate information as to shipping or delivery locations and arranging for such. RR Auction is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Bidder agrees that

service and handling charges related to shipping items which are not pre-paid may be charged to a credit card on file with RR Auction.

Successful international Bidders shall provide written shipping instructions, including specified Customs declarations, to RR Auction for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price and RR Auction shall use the correct harmonized code for the lot. Domestic Bidders on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

Section 9

Title

Title shall not pass to the successful Bidder until all invoices of Bidder (including those pertaining to the item(s) at issue) and amounts owed to RR Auction are paid in full. It is the responsibility of the Bidder to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Section 10

Rights Reserved

RR Auction reserves the right, at any time before, during or after an auction has ended to: withdraw any lot before or at the time of the Auction, cancel any bid, and/or to postpone the Auction of all or any lots or parts thereof, for any reason. RR Auction shall not be liable to any Bidder in the event of such withdrawal, cancellation, or postponement under any circumstances. RR Auction reserves the right to refuse to accept bids from anyone at any time.

Section 11

Conducting the Auction

11.1 RR Auction reserves the right to postpone the Auction or any session thereof for a reasonable period of time for any reason whatsoever, and no Bidder or prospective Bidder shall have any claim as a result thereof, including consequential damages.

11.2 RR Auction’s Discretion: RR Auction shall determine opening bids and bidding increments. RR Auction has the right in its absolute discretion to reject any bid in the event of dispute between Bidders or if RR Auction has doubt as to the validity of any bid, to advance the bidding at its absolute discretion and to determine the successful Bidder in the event of a dispute between Bidders, to continue the bidding or to reoffer and resell the lot in question. In the event of a dispute after the sale, RR Auctions record of final sale shall be conclusive. RR Auction also may reject any bid if RR Auction decides either that any bid is below the reserve of the lot or article or that an advance is insufficient. Unless otherwise announced by RR Auction at the time of sale, no lots may be divided for the purpose of sale.

11.3 Reserves

Lots may be subject to a reserve which is the confidential minimum price below which the lot will not be sold. Consignors may not bid on their own lots or property. RR Auction may, from time to time, bid on items that it does not own. RR Auction may execute bids consecutively or otherwise up to one bid increment below the reserve.

11.4

Off-Site Bidding

Bidding by telephone, facsimile, online, or absentee bidding (advance written bids submitted by mail) are offered solely as a convenience and permitted subject to advance arrangements, availability, and RR Auction’s approval which shall be exercised at RR Auction’s sole discretion. Neither RR Auction nor its agents or employees shall be held liable for the failure to execute bids or for errors relating to any transmission or execution thereof. In order to be considered for off-site bidding in any manner, Bidders must comply with all of these Conditions of Sale and the terms contained on the Registration Form.

11.5 Estimate Prices:

In addition to descriptive information, each item in the Catalog sometimes includes a price range which reflects opinion as to the price expected at auction (the “Estimate Prices”). In other instances, Estimate Prices can be obtained by calling RR Auction at (603) 732-4280. The Estimate Prices are based upon various factors including prices recently paid at auction for comparable property, condition, rarity, quality, history and provenance. Estimate Prices are prepared well in advance of the sale and subject to revision. Estimates do not include the Buyer’s Premium or sales tax (see under separate heading).

11.6 Owned or Guaranteed Property:

RR Auction generally offers property consigned by others for sale at public auction; in very limited occasion, lots are offered that are the property of RR Auction.

11.7 Before the Auction:

Bidder may attend pre-sale viewing for all of RR Auction’s auctions at no charge. All property to be auctioned is usually on view for several days prior to the sale. Bidder is encouraged to examine lots thoroughly. Bidder may also request condition reports (see below). RR Auction’s staff are available at viewings and by appointment.

11.8 Maximum Bids In All Auctions:

To maximize Bidder’s chance of winning, RR Auction strongly encourages the use of maximum bids. RR Auction will then bid for Bidder until the lot reaches Bidder’s specified maximum. Maximum bids are strictly confidential. Placing arbitrary, non-incremental bids on lots with prior maximum bids may result in these lots being sold for less than 10% above the under Bidder’s bid.

11.9 Successful Bids:

The fall of RR Auction’s hammer indicates the final bid. RR Auction will record the paddle number of the Bidder. If Bidder’s salesroom or absentee bid is successful, Bidder will be notified after the sale by mailed or emailed invoice.

11.10 Unsold Lots:

If a lot does not reach the reserve, it is bought-in. In other words, it remains unsold and is returned to the Consignor. RR Auction has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

11.11 Bidding in Timed Auction:

Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right.

The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.

To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.

Any Bidder may bid on any lot prior to 6 pm EST/EDT. At that time, an extended bidding period goes into effect. If Bidder has not bid on a lot before 6 pm EST/ EDT, Bidder may not bid on that lot after 6 pm EST/EDT. Only those Bidders who have placed bids on a lot before 6 pm EST/EDT will be allowed to bid on that lot after 6 pm EST/EDT. If Bidder is the only Bidder on a lot at 6 pm EST/ EDT, that lot is awarded to Bidder. During the extended bidding period, a lot will remain open only to those who bid on that lot prior to 6 pm EST/EDT. All lots WITHOUT an opening bid at 6 pm EST/EDT will remain OPEN to ALL Bidders until 7 pm EST/EDT or until they receive their first bid. These lots will close immediately upon receipt of a bid or at 7 pm EST/EDT, whichever comes first. For all lots that are active after 7 pm EST/EDT, bidding will remain open until 30 minutes pass without a bid being placed on THAT lot (the “30 Minute Rule”).

The 30 Minute Rule is applied on a PER LOT BASIS; each lot in the Auction closes individually based on bidding activity after 7 pm EST/EDT. On a PER LOT BASIS, the 30 minute timer will reset each time a bid is placed after 7 pm EST/EDT. If Bidder is the high Bidder, raising Bidder’s maximum bid will NOT reset the timer. RR Auction reserves the right to close the Auction at any time at its sole discretion.

11.12 Bidding - Internet Live Auction:

Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right.

To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.

During live internet or live auction, property is auctioned in consecutive numerical order, as it appears in the catalog. The auctioneer will accept bids from those present in the salesroom or absentee bidders participating by telephone,

internet or by written bid left with RR Auction in advance of the auction. The auctioneer may also execute a bid or bids (successively or otherwise) on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve. All auctions for lots are with reserve unless specifically stated otherwise.

During live Auctions, internet bids can be placed in real time through one or more of the following Third Party services: www.liveauctioneers.com, www.invaluable. com and www.icollector.com. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. RR Auction treats any third-party site bids as floor or telephone bids. Floor bids and telephone bids are always considered first over third party sites bids, and floor bids are considered earlier than telephone bids. All RR Auction lots purchased through the third-party sites carry an additional Buyer’s Premium.

11.13 Miscellaneous:

Agreements between Bidders and Consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize RR Auction’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, RR Auction reserves the right to charge Bidder the applicable Buyer’s Premium and Consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by RR Auction in the future. In conformity with ”donot-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. RR Auction may from time to time contact Bidder concerning sale, purchase, and auction opportunities available.

11.14 Rules of Construction: RR Auction presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Conditions of Sale by these additional rules and shall be construed to give force and effect to the rules in their entirety.

Section 12

RR Auction’s Remedies

Failure of the Bidder to comply with any of these Conditions of Sale or the terms of the Registration Form is an event of material breach or default. In such event, RR Auction may, in addition to any other available remedies specifically including the right to hold the defaulting Bidder liable for the Purchase Price or to charge and collect from the defaulting Bidder’s credit or debit accounts as provided for elsewhere herein: (a) cancel the sale, retaining any payment made by the Bidder as damages (the Bidder understands and acknowledges that RR Auction will be substantially damaged should such default occur, and that damages under subpart (a) are necessary to compensate RR Auction for such damages); (b) resell the property without reserve at public auction or privately; (c) charge the Bidder interest on the Purchase Price at the rate of one and one-half percent (1.5%) per month or the highest allowable interest rate; (d) take any other action that RR Auction, in its sole discretion, deems necessary or appropriate to preserve and protect RR Auction’s rights and remedies. Should RR Auction resell the property, the original defaulting Bidder shall be liable for the payment of any deficiency in the purchase price and all costs and expenses associated there with, including but not limited to warehousing, sales-related expenses, reasonable attorney fees and court costs, commissions, incidental damages and any other charges due hereunder which were not collected or collectable. In the event that such Bidder is the successful Bidder on more than one lot and pays less than the purchase price for the total lots purchased, RR Auction shall apply the payment received to such lot or lots that RR Auction, in its sole discretion, deems appropriate. If RR Auction does not exercise such discretion, the lots to which the payment shall be applied will be in descending order from the highest purchase price to the lowest. Any Bidder failing to comply with these Conditions of Sale shall be deemed to have granted RR Auction a security interest in, and RR Auction may retain as collateral such security for such Bidder’s obligations to RR Auction, any Bidder’s property in RR Auction’s possession or to which title has not yet passed to Bidder. RR Auction shall have the benefit of all rights of a secured party under the Uniform Commercial Code (U.C.C.) as adopted by the Commonwealth of Massachusetts.

Section 13 Warranties

13.1 RR Auction does not provide any warranties to Bidders, whether expressed or implied, beyond those expressly provided in these Conditions of Sale. All property and lots are sold ”as is” and “where is”. By way of illustration rather than limitation, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to merchantability or fitness for intended use, condition of the property (including any condition report), correctness of description, origin, measurement, quality, rarity, importance, exhibition, relevance, attribution, source, provenance, date, authorship, condition, culture, genuineness, value, or period of the property. Additionally, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to whether the Bidder acquires rights in copyright, trademark, or other intellectual property (including exhibition or reproduction rights) related to the item, or whether the property is subject to any limitations or other rights. RR Auction does not make any representation or warranty as to title.

13.2 All descriptions, photographs, illustrations, and terminology including but not limited to words describing condition (including any condition reports requested by Bidder, see also Terminology), authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition, and relevance, used in the Catalog, bill of sale, invoice, or anywhere else, represent a good faith effort made by RR Auction to fairly represent the lots and property offered for sale as to origin, date, condition, and other information contained therein; they are statements of opinion only. They are not representations or warranties and Bidder agrees and acknowledges that he or she shall not rely on them in determining whether or not to bid or for what price. Price estimates (which are determined well in advance of the Auction and are therefore subject to revision) and condition reports are provided solely as a convenience to Bidders and are not intended nor shall they be relied on by Bidders as statements, representations or warranties of actual value or predictions of final bid prices.

13.3 Bidders are accorded the opportunity to inspect the lots and to otherwise satisfy themselves as to the nature and sufficiency of each lot prior to bidding, and RR Auction urges Bidders to avail themselves accordingly.

13.4 All lots sold by RR Auction are accompanied by an Auction Certificate (“AC”). On any lot presented with an AC issued by RR Auction, the certification is only as to its attribution to the person or entity described or to the lot’s usage and only as explicitly stated therein (the “AC”), to the exclusion of any other warranties, express or implied, including but not limited to those pursuant to the Uniform Commercial Code. The AC inures only to the original Bidder (as shown in RR Auction’s records). Bidder may not transfer, assign, or otherwise convey the AC and such purported transfer, assignment, or conveyance shall be null and void.

Section 14

Firearms

RR Auction complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A Bidder is required to provide appropriate documents and the payment of associated fees, if any. Bidder is responsible for providing a shipping address that is suitable for the receipt of a firearm.

Section 15

Unauthorized Statements

Under no circumstances is any employee, agent or representative of RR Auction authorized by RR Auction to modify, amend, waive or contradict any of these Conditions of Sale, any term or condition set forth on a registration form, any warranty or limitation or exclusion of warranty, any term or condition in either the Registration Form or these Terms and Conditions regarding payment requirements, including but not limited to due date, manner of payment, and what constitutes payment in full, or any other term or condition contained in any documents issued by RR Auction unless such modification, amendment, waiver or contradiction is contained in a writing signed by all parties. Any statements, oral or written, made by employees, agents or representatives of RR Auction to Bidder, including statements regarding specific lots, even if such employee, agent or representative represents that such statement is authorized, unless reduced to a writing signed Bidder and by an authorized officer of RR Auction by all parties, are statements of personal opinion only and are not binding on RR Auction, and under no circumstances shall be relied upon by Bidder as a statement, representation or warranty of RR Auction.

Section 16

Bidder’s Remedies

16.1 Except as stated expressly herein, Bidder’s sole and exclusive remedy related to or pertaining to items it bids upon, views, or purchases from RR Auction, and any claims by Bidder related to authenticity, ownership, condition, title or value, shall be against Consignor only.

16.2 This section sets forth the sole and exclusive remedies of Bidder as against

RR Auction (inclusive of its affiliates, officers, managers, employees or agents), or in any way arising out of, related to, or in connection with these Conditions of Sale, , and is expressly in lieu of any other rights or remedies which might be available to Bidder by law. Time is of the essence with respect to these procedures.

16.3 Title to Items

The Bidder hereby accepts the benefit of the Consignor’s warranty of title and any other representations and warranties made by the Consignor for the Bidder’s benefit. In the event that Bidder demonstrates in writing, satisfactory to the sole discretion of RR Auction, that there was a breach of the Consignor’s warranty of title concerning a lot purchased by Bidder, RR Auction may make demand upon the Consignor to pay to Bidder the Purchase Price (including any premiums, taxes, or other amounts paid or due to RR Auction). Should the Consignor not pay the Purchase Price to Bidder within thirty days after such demand (if any made), RR Auction may disclose the identity of the Consignor to Bidder and may assign to Bidder all or some of RR Auction’s rights against the Consignor with respect to such lot or property. Upon such disclosure and/or assignment, all responsibility and liability of RR Auction, if any, with respect to said lot or item shall automatically terminate related to or arising from these Conditions of Sale or such transaction operating as a complete waiver and general release by Bidder as to RR Auction and its agents, contractors, and affiliates, as to any and all claims concerning or related to the item, if any . RR Auction shall be entitled to retain the premiums and other amounts paid to RR Auction by Consignor only. The rights and remedies provided herein are for the original Bidder only and they may not be assigned or relied upon by any transferee or assignee under any circumstances.

16.4 Authenticity Challenge Process

(1) If Bidder wishes to dispute or challenge the Authenticity of the lot or item (including asserting that it is incorrect), Bidder must adhere to the following procedure: Within 30 days of the Auction Date, Bidder must present written evidence to RR Auction, that the lot is not authentic as determined by a known expert in the field (and one recognized by RR Auction within its discretion) and send the physical item or lot at issue to RR Auction along with all evidence relied upon by Bidder for contesting the Authenticity. (“Authenticity Challenge Process”) “Authenticity” shall mean a gross discrepancy in the between the description, genuiness, or attribution of the item as represented by RR Auction in the Catalog or at the auction, and the item. If RR Auction concurs that the lot is not Authentic as was represented (it is sole discretion), Bidder’s sole and exclusive remedy as against RR Auction (inclusive of its affiliates, agents, employees, and contractors) shall be a refund of the purchase price of the subject item paid by Bidder, with no other costs, liabilities or amounts recoverable by Bidder. If RR Auction does not agree with the assertion by Bidder, then the Parties shall follow the dispute resolution procedures of these Conditions of Sale. Strict adherence to the Authenticity Challenge Process is a condition of standing for Bidder to initiate suit or claim.

(2) So long as Bidder has complied with the Authenticity Challenge Process, any claim, suit or action, by Bidder concerning an AC or Certification of Authenticity, or related to the authenticity of the item must, without any exception, be brought within one (1) year of Auction Date and is subject to the other limitations and conditions stated in the Conditions of Sale.

16.5 Other Issues. Any dispute or claim by Bidder against RR Auction (or its affiliates, directors, employees, officers, agents, or contractors)) other than Authenticity, concerning any item or lot bid upon, or purchased, including value, title, condition, bidding process, or description must be asserted (if at all) in the following manner:

(1) If the description of any lot in the Catalog is materially or grossly incorrect (e.g., gross cataloging error), or there is any other gross material issue pertaining to the item or lot, the item or lot may be returned if returned within five (5) calendar days of receipt, and received by RR Auction no later than twenty-one (21) calendar days after the Auction Date with explanation in writing.. If there is any discrepancy between the description in the Catalog and a certificate of auction, then the description in the certificate of auction (“Lot Challenge Process”). This paragraph shall constitute Bidder’s sole right with respect to the return of items, and no refunds shall be given for any items not returned to and received by RR Auction within the period of time stated herein or not materially or grossly in deviation from the description. Such a refund is subject to RR Auction’s sole discretionary review, and any request for refund must be made concurrently with returning the physical item or lot to RR Auction. Any item not returned within said frame will constitute acceptance of the item and a waiver and release of any and all claims by Bidder pertaining to the item other than with respect to authenticity; and

(2) Provided that the Bidder has engaged in the Lot Challenge Process, any

claim concerning such must be brought no later than one (1) year of the Auction Date for the item or lot at issue and is subject to the other limitations and conditions stated in the Conditions of Sale.

NO RETURN OR REFUND OF ANY AUCTION LOT WILL BE CONSIDERED OR PROVIDED EXCEPT AS PROVIDED IN THESE CONDITIONS OF SALE AND BIDDERS OR AS MAY BE REQUIRED BY LAW. FAILURE TO COMPLY WITH SUCH SHALL BE A COMPLETE DEFENSE TO ANY CLAIMS BY BIDDER RELATED TO THE CONDITIONS OF SALE, ANY AUCTION OR BID.

16.6 LIMITATION OF LIABILITY. For any and all claims by Bidder arising out of or related to this Agreement, Bidder’s viewing, bid, or purchase of items, or any agreement between the Parties, or otherwise, Bidder agrees that to the fullest extent such can be limited under the law, Bidder shall have no right to recover and hereby waives any and all rights to recover from against RR Auction or its affiliates, directors, employees, officers, agents, or contractors, consequential or indirect damages, lost profits damages, punitive, exemplary, statutory (or multiplier damages), physical or emotional distress damages, general or special damages of any kind (beyond amounts actually paid by Bidder for item(s) at issue), and in the event of recovery of any damages whatsoever, such shall be limited by the amounts actually paid by Bidder to RR Auction for the item(s) at issue in such claim, or if no money was paid to RR Auction by Bidder for items at issue, or there items are at issue, the amount of $150.00.

Section 17

RR Auction’s Additional Services

For Bidders who do not remove purchased property from RR Auction’s premises, RR Auction, in its sole discretion and solely as a service and accommodation to Bidders, may arrange to have purchased lots packed, insured and forwarded at the sole request, expense, and risk of Bidder. RR Auction assumes no and disclaims all responsibility and liability for acts or omissions in such packing or shipping by RR Auction or other packers and carriers, whether or not recommended by RR Auction. RR Auction assumes no and disclaims all responsibility and liability for damage to frames, glass or other breakable items. Where RR Auction arranges and bills for such services via invoice, RR Auction will include an administration charge.

Section 18

Headings

Headings are for convenience only and shall not be used to interpret the substantive sections to which they refer.

Section 19

Entire Agreement

Except to the extent Bidder is also a consignor (in which case the terms of the consignment agreement shall also govern), these Conditions of Sale constitute the entire agreement between the Parties together with the terms and conditions contained in the auction Registration Form. They may not be amended, modified or superseded except in a signed writing executed by all parties. No oral or written statement by anyone employed by RR Auction or acting as agent or representative of RR Auction may amend, modify, waive or supersede the terms herein unless such amendment, waiver or modification is contained in a writing signed by all parties.

If any section of these Conditions of Sale or any term or provision of any section is held to be invalid, void, or unenforceable by any court or arbitrator of competent jurisdiction, the remaining parts of the agreement and remainder of the sections or terms and provisions of the section and all sections shall continue in full force and effect without being impaired or invalidated in any way.

Section 20 Governing Law and Enforcement

20.1 The Parties agree that all agreements between the Parties including but not limited to these Conditions of Sale are entered into in Boston, Massachusetts, no matter where Bidder is situated and no matter by what means or where Bidder was informed of the Auction and regardless of whether catalogs, materials, or other communications were received by Bidder in another location.

20.2 The Parties agree that these Conditions of Sale, any other related agreement(s), along with all claims between the Parties, including those arising out of or related to such are governed by the laws of the Commonwealth of Massachusetts, without regard for its conflict of laws principles. The Parties agree that any dispute between the Parties, including but not limited to those related to or arising out of these Conditions of Sale, or related to or arising out of any other related agreement(s) shall be submitted to confidential binding arbitration (the ”Arbitration”) before a single Arbitrator of the American Arbitration Association

(the “AAA”) The Parties agree that the Arbitration shall be conducted pursuant to the commercial rules of the AAA in Boston, Massachusetts, unless the Consumer Arbitration Rules apply, in which case, such rules and venue will govern. In the event that the Parties cannot agree on the selection of the Arbitrator, then the Arbitrator shall be selected by the AAA. The prevailing Party in the Arbitration shall also recover all of its related fees and costs, whether before or after the formal institution of the Arbitration, including but not limited to its reasonable attorneys’ fees and costs, if RR Auction prevails, such recovery, in addition to all remedies available at agreement or law, shall include the Buyer’s Premium as defined in these Conditions of Sale. Federal arbitration law, including the Federal Arbitration Act apply to this agreement to arbitrate and its related provisions. The arbitration and all related proceedings shall be held strictly confidential and all documents and discovery shall be held confidential and not used, published or disclosed publically or to anyone outside the Parties or expert consultants or counsel who shall agree to hold such confidential.

20.3 The Parties consent to the Commonwealth of Massachusetts as exclusive jurisdiction and venue for all claims between the Parties except as provided specifically herein and may seek confirmation of the decision in the Arbitration pursuant to the Federal Arbitration Act in any Court of competent jurisdiction, including the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts. To the extent such is necessary under the law, RR Auction may enforce the Arbitration award against Bidder and any related Party in any court of competent jurisdiction. Nothing in this Agreement shall be construed as RR Auction consenting to jurisdiction or venue in any location outside of the Commonwealth of Massachusetts.

THE PARTIES MAY NOT BRING CLAIMS AGAINST EACH OTHER AS A CLASS OR CLASS MEMBER IN ANY CLAIMED CLASS, OR IN A REPRESENTATIVE ACTION UNLESS OTHERWISE AGREED. UNLESS OTHERWISE AGREED, THE CLAIMS AGAINST EACH OF THE OTHER CANNOT BE CONSOLIDATED OR JOINED WITH MORE THAN ONE ADDITIONAL PERSON OR ENTITIES’ CLAIMS. NO INJUNCTIVE OR DECLATORY RELIEF SOUGHT BY BIDDER IF ANY, CAN AFFECT OR BE ORDERED TO AFFECT ANY OTHER BIDDERS OR PERSONS.

20.4 Except as provided specifically in these Conditions of Sale in Bidder’s Remedies against RR Auction (along with its affiliates, directors, agents, officers, employees, and contractors) for any dispute, claim, cause of action related to or arising out of these Conditions of Sale or any other related agreement(s), brought by Bidder must be brought within the earlier of the Auction Date as it pertains to the item(s) at issue or no later than one (1) year of the acts, omissions or circumstances occurred giving rise to the alleged claim, without exception. This provision is intended as a full, complete and absolute bar to and release of any claims by Bidder initiated after one (1) year of such acts, omissions or circumstances. The Parties agree further that these waiver provisions are intended to be binding in the event of any dispute, specifically including but not limited to third party claims and cross-actions brought by Bidder. These provisions are consideration for the execution of these Conditions of Sale.

20.5 To the fullest extent under applicable law and except as specifically stated herein Bidder hereby holds harmless, releases and discharges RR Auction and its agents, officer’s directors, affiliates, successors, and assigns from any and all claims, liabilities, obligations, promises, agreements, damages, causes of action, suits, demands, losses, debts, and expenses of any nature whatsoever, known or unknown, suspected or unsuspected existing prior to these Conditions of Sale. Bidder agrees to the Conditions of Sale and upon each instance that Bidder participates in any auction, bids, or otherwise agrees to such terms and reaffirms this release as of the date of so participating or agreeing unless Bidder otherwise provides clear written notice to RR Auction prior to so bidding.

20.6 The Bidder hereby agrees that RR Auction shall be entitled to present these Conditions of Sale to a court in any jurisdiction other than set forth in this paragraph as conclusive evidence of the Parties agreement, and the Parties further agree that the court shall immediately dismiss any action filed in such jurisdiction.

20.7

Liquidated Damages for Specific Breaches

In the event that Bidder provides false information in connection with registering for bidding, fails to correct or update information or breaches the Conditions of Sale by failing to pay the purchase price when due after becoming the winning bidder, as liquidated damages associated with such breaches, R&R may obtain from Bidder the greater of (1) 150% the reserve of the item (if any); (2) the amount bidder bid; or (3), the full amount that bidder would have otherwise paid. Bidder will also be liable for an additional 20% of such amount to account for additional administrative costs, shipping, additional advertising, and other damages and liabilities fees that are difficult to calculate on an item-by-item basis.

20.8 Indemnity. Bidder agrees to defend, indemnify, hold harmless RR Auction

(along with its officers, directors, agents, contractors, and affiliates) from and against any and all claims, costs, fees, damages, and liabilities arising out of or related to these Conditions of Sale, view of items, or lots, bidding, or participation in any auction by RR Auction, and/or or in any way connected to any item you viewed, bid upon or purchased through RR Auction.

Section 21: State-by-State Law Issues

This Auction is being conducted in and the sale shall take place in the State of Massachusetts. Notwithstanding, the foregoing, should these terms and conditions violate the law of any State should that state’s law be found to govern, or any provision herein determined to be invalid, the clause itself and the remainder of the Agreement shall be valid to the fullest extent allowed. Also, to the extent other states law apply to any transaction arising out of the Agreement (without admitting such), RR Auction states:

For Residents of California:

SALE OF AUTOGRAPHED COLLECTIBLES: AS REQUIRED BY LAW, A DEALER WHO SELLS TO A CONSUMER ANY COLLECTIBLE DESCRIBED AS BEING AUTOGRAPHED MUST PROVIDE A WRITTEN EXPRESS WARRANTY AT THE TIME OF SALE. THIS DEALER MAY BE SURETY BONDED OR OTHERWISE INSURED TO ENSURE THE AUTHENTICITY OF ANY AUTOGRAPHED COLLECTIBLE SOLD BY THIS DEALER.

A written express warranty is provided with each autographed collectible, as required by law. This dealer may be surety bonded or otherwise insured to ensure the authenticity of any autographed collectible sold by this dealer.

Section 22

Glossary of Condition terms

Information provided to prospective Bidders with respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by RR Auction.

Use of the following terms constitutes an opinion as follows:

VERY FINE describes an item believed to be in virtually flawless condition, and is used sparingly for items of exceptionally attractive appearance.

FINE is the most common statement of condition, and applies to most items that we offer. It describes items that we believe to show expected handling wear, generally acceptable random flaws (such as light creases, small bends, etc.), and an overall appearance that is pleasing to the majority of collectors.

VERY GOOD describes an item that we believe exhibits more moderate flaws (such as toning, light staining, professional reinforcements or repairs, etc.). Most collectors would be comfortable with items in very good condition, and this would be the expected condition for many formats (early presidential documents, for example).

GOOD describes an item which we believe to have obvious visible flaws, including heavy wear, missing portions, or repairs that affect appearance; generally items in this condition are offered only if an item is otherwise believed to be exceedingly rare or important.

Bidder may call and request further details and information about RR Auction’s opinions concerning any item via phone or email which shall provided in RR Auction’s discretion.

Certificate of Auction, Certificate of Authenticity and Goods Acquired:

Bidder warrants that Bidder (and its agents, assigns, successors, and affiliates) shall not purposely deface, destroy, dismember, cut-up into parts the item or Lot purchased at auction from RR Auction and in the event such shall occur whether purposefully or accidently, Bidder (and its agents, assigns, successors, and affiliates) shall refrain from advertising, promoting, or marketing the item as having been purchased from RR Auction and shall in no event display, expressly claim, or imply that the item was certified or auctioned in such state by RR Auction. As liquidated damages for such breach, Bidder agrees to be liable to RR Auction for the greater of the amount of three (3) times the hammer price of the item along with all other fees and costs as otherwise provided in this Terms of Sale.