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Album containing ca. 50 autograph and typed letters letters, signed menus, photographs and other ephemera. Oblong folio (365 x 265 mm). 31 leaves, brown calf giltstamped "Penelope Ann Drinkwater / July 26 1929" on upper cover (scuffed and stained, burn marks to spine). With a folder of ca. 100 loose autograph and typed letters, a printed Churchill address, and typed transcripts of letters by Rupert Brooke and others in folder annotated "sold to America" (ca. 160 pp., 8vo and 4to). Also, an original cartoon by David Low (pen, ink and coloured pencil, image 295 x 450 mm / 457 x 610 mm with frame, published in the Evening Standard, 28 April 1930, and in The Best of Low, 1930). An album assembled by John Drinkwater for his daughter Penelope Ann, celebrating the first years of her life from her birth in 1929 to her fifth birthday with a collection of letters and ephemera from literary and political figures of the day, and including an encounter with royalty. Despite being in the running for Poet Laureate, as the Low cartoon included here suggests, the position was taken by John Masefield after the death of Robert Bridges in April 1930. The collection comes from the family of Penelope Drinkwater. - Comprises: notes written by the Prince of Wales (the future Edward VIII) for his speech at the Stage Golfing Society Dinner, Savoy Hotel, 2 Nov. 1930 ("Handicapp / B-DARWIN / Filthy golfer / Filthy speaker / Keep pun clean"), accompanied by an explanatory letter from Drinkwater ("I was the guest of Sir Gerald du Maurier who sat between me and the Prince of Wales [...] The response was made by the Prince, and he put his notes on two sheets of paper. These were pocketed by Sir Gerald, and he gave me one of these for you [...] another scrap of history in a tiny way for you when you are growd up"). Also, some 50 autograph and typed letters by Edward Elgar (thanking him for the "exquisite Penelope's Trees - a beautifully inspired poem"), Arnold Bennett, John Galsworthy (including a poem in her honour), Hugh Walpole, Joan Sutherland, Sybil Thorndike, Harold Nicholson, William Rothenstein, Herbert Hoover (two on White House headed paper), E. G. Robinson, Ramsay Macdonald, and others; a menu from the Savoy Hotel, 24 June 1930, signed by Drinkwater, J. B. Priestley, H. G. Wells, Arnold Bennett, Edgar Wallace, Desmond Macarthy and others, with another from a dinner on 19 September 1930 inscribed by Max Beerbohm ("to dear little Penelope Anne. I know she is little because she is so young. And I know she is a dear because I know her parents"); ephemera including a programme for Drinkwater's play "A Man's House" signed by the cast (with Errol Flynn as 'First Soldier'), telegrams of congratulations (including James Joyce and John Galsworthy), a printed copy of Drinkwater's 1930 poem "Penelope's Trees", inscribed "This copy is darling Penelope's own / John Drinkwater", numerous photographs and press cuttings of the family, etc. - The folder of loose correspondence includes H. G. Wells (postcard, "warmest thanks for the poem. It's a nice habit this poetry" and autograph letter to Miss Jeffreys sending love to Penny, "I think she is a dear"), a pencil drawing annotated "sketch by T[homas] H[ardy] of a hay-knife", Edmund Blunden ("I would like you to leave me out of your anthology"), Vita Sackville West ("She seems to be a fruitful source of inspiration to you"), Eddie Marsh, Shane Leslie, Stefan Zweig, and others; with a printed Churchill address from 25 April 1925 with covering letter, as well as typed transcripts of letters by Rupert Brooke and others. - The David Low cartoon, signed "Low" and titled "Situation Vacant", depicts Drinkwater, Masefield, Kipling, Edith Sitwell and other possible candidates for the post of Poet Laureate lining up to see the Prime Minister ("W. B. Yeats and W. H. Davies arriving by the next bus"), labelled "The Property of Penelope Ann Drinkwater" on reverse.
Altogether 24 pieces. Mostly written to the Belgian socialist politician C. Huysmans, a member of the International Socialist Bureau. - I) 1911: Postcard from Hjalmar Branting, in French. - II) Letter from Tucovic, in German. - III) Letter from Engelbert Pernerstofer, in German. - IV) 1914: Letter from Edouard Vaillant, in French. - V) Letter from Friedrich Adler (in German, typed, autogr. sign.). - VI) Letter from Karl Liebknecht, in German. - VII) Postcard from Friedrich Ebert, in German. - VIII) Postcard from Georg Ledebour, in German. - IX) Postcard from H. Branting in French. - X) Aut. sign. of Keir Hardie. - We join 5 other doc. incl. 2 letters from Elisée Reclus, 1 from E. Vandervelde and 1 by Huysmans as well as some newspaper clippings or other.
Zusammen ca. 400 Objekte. - I. Lebenszeugnisse: 130 Schriftstücke, Brief(entwürfe), Notizen, Ausbildungs- und Arbeitszeugnisse, Quittungen und persönliche Dokumente mit zus. ca. 119 SS. auf 29 Doppelbll. und 81 Bll. von Eugen Pflaumer und weiteren Händen sowie einem eigenh. Arbeitszeugnis mit U. Koloman Mosers in brauner Folio-Ledermappe. Verschiedene Formate, kl. Visitenkartenformat bis Folio. Mit 6 (hs., ms., eh.) adr. Kuverts. - II. Korrespondenz: Zus. 57 Schriftstücke. Davon 25 eh. Briefe mit U., 2 Briefe mit eh. U., 12 ms. Briefe mit eh. U., ein hs. Telegramm, 16 eh. Postkarten mit U. und eine eh. Briefkarte mit U. verschiedener Hände. Zus. 76 SS. auf 21 Doppelbll. und 30 Bll. Mit vier adr. Kuverts, die Postkarten jeweils mit eh. Adresse. Verschiedene Formate, (Qu.-)8vo bis Folio. - III. Photographien: Über 100 Original-Photographien (Portraits, Landschafts-, Architekturaufnahmen), davon 30 montiert in ein Jugendstil-Album, zwei auf stärkeren Untersatzkarton und vier auf Untersatzkarton der Ateliers "Strauss & Co.", "Georg Ulrich" und "Thiele". Verschiedene Formate (60:60 bis 120:157 mm). - IV. Künstlerische Werke: Zus. 128 Objekte mit ca. 212 SS. auf 26 Doppelbll. und 130 Bll. Mit ca. 55 Schmuck- und Objektentwürfen (Messergriff) als Zeichnungen oder Photographien, davon 41 Schmuckdesigns auf 37 Bll. montiert in einem eh. Kassen- und Auftragsbuch Pflaumers in Halbleineneinband (8vo), die Entwurfszeichnungen in Tusche und Bleistift, meist koloriert. Verschiedene Formate (57:32 bis 365:192 mm). 14 Reliefportrait- und Objektentwürfe (Plakette, Pokal) in Photographie. Verschiedene Formate (74:42 bis 220:107 mm). 4 Original-Kupferstiche und 8 Original-Radierungen, die Druckplatte jeweils ca. 110:80 mm, sowie 10 Entwurfszeichnungen für Radierungen in verschied. Formaten (226:240 bis 405:290 mm). 30 Original-Zeichnungen und -Studien zur Botanik in verschied. Formaten (264:235 bis 627:470 mm), 5 Portraitzeichnungen und 1 Aquarell in verschied. Formaten (353:264 bis 500:335 mm), 6 architektonische Studien in verschied. Formaten (319:234 bis 538:543 mm), 11 Aktzeichnungen auf 8 Bll. in verschied. Formaten (320:264 bis 500:502 mm), 8 Original-Entwurfszeichnungen zur Ornamentik, zu Objekten (Degengriff) und Exlibris auf 7 Bll. in verschied. Formaten (241:335 bis 518:335 mm). Ein Großteil der künstlerischen Werke in einem illustrierten Papierumschlag der "Jahresmappe der Gesellschaft für vervielfältigende Kunst in Wien / 1912" (ca. 580:465 mm). Pflaumer gehörte zu den ersten Gold- und Silberschmieden, die von der Wiener Werkstätte angestellt wurden. Er führte Schmuckentwürfe für Josef Hoffmann und Objektentwürfe für Koloman Moser aus (z. B. Prunkkassette, MAK, Wien), war für einige Jahre Mitglied der Wiener Werkstätte und Professor für Goldschmiedekunst mit dem Meisterstempel "PE". - Hiervon zeugt u. a. ein eigenh. Arbeitszeugnis mit der U. des Malers, Grafikers und Kunsthandwerkers Kolo Moser und den weiteren Unterschriften des Architekten Josef Hoffmann und des Unternehmers Fritz Waerndorfer: "Herr Eugen Pflaumer ist in der Zeit vom 15. Juli 1904 bis 8. April 1906 der Goldwerkstätte, der Wiener Werkstätte, als Meister vorgestanden und hat sich allen Anforderungen gewachsen gezeigt. Er verlässt seine Stellung auf eigenes Ansuchen [...]" (mit Stempel der Wiener Werkstätte). - Weitere Arbeitszeugnisse sind jenes der "k. k. kunstgewerbl. Fachschule Gablonz" mit U. des Architekten und Direktors Moritz Knab, des Goldschmieds Tobias Todtschinder, zur Gehilfentätigkeit im Betrieb Carl Stolls mit Stempel "Friedr. Pflaumers Nachf. Carl Stoll Gold- und Silberarbeiter am Rathhaus Weissenburg a. S.", von W. Bauscher in London und Umlauf & Schad in Hamburg. - Ein größerer Teil der Dokumente bezieht sich auf den Bewerbungsprozess als Fachlehrer in Gablonz und als Feinmetalltechniker in Krefeld, außerdem finden sich gedr. Mitgliedsausweise, Schreiben und Quittungen des Österreichischen Werkbunds und des Deutschen Gebirgsvereins für Gablonz, Schriftstücke zur Teilnahme an der Ausstellung des Deutschen Werkbunds in Köln 1914 (gedr. Rechnung mit hs. Eintragungen), die kriegsbedingt früher als geplant beendet werden musste, und zu Ausstellungsversicherungen. Weitere Quittungen diverser Gold- und Silberschmiede, Fabrikanten, Edelsteinhändler und -schleifer, Scheideanstalten, sowie zwei Visitenkarten des Malers und Pädagogen Francis H. Newbery ("Introducing Herr Pflaumer [...]") liegen bei. Außerdem die Verleihungsurkunde des Preises der Stadt Gablonz über 400 Kronen mit U. des Historikers und Oberbürgermeisters von Gablonz Karl R. Fischer. - Zahlreiche Ausbildungsnachweise, darunter Schul- und Lehrzeugnisse der "Königl. Realschule in Weissenburg" und der "Königlichen Zeichenakademie in Hanau" mit eh. U. des Bildhauers Max Wiese sowie des Emailleurs W. Bastanier in Pforzheim erhellen Pflaumers Werdegang. Von Pflaumers persönlichen Dokumenten liegen eine Geburtsurkunde, ein Taufschein, ein Leumundszeugnis, ein Staatsangehörigkeits-Ausweis, zwei ärztliche Atteste und ein Führungszeugnis des Heers bei; bemerkenswert ist ein Krankenzettel mit dem Vermerk einer Schusswunde (o. D.). Die 29 eh. Briefentwürfe und Notizen Pflaumers stehen im Zusammenhang mit Bewerbungen um Arbeitsstellen, damit verbundenen organisatorischen Hürden, mit der Tätigkeit als Professor und mit Quittungen. - II. Die Briefe und Postkarten weiterer Hände meist sowohl beruflicher wie privater und freundschaftlicher Natur von Fachkollegen wie dem Goldschmied Julius Svensson (1877-1952) zu erwünschten Treffen und der Höhe eines neuen Lehrergehalts, den Direktoren und Architekten kunstgewerblicher Fachschulen Moritz Knab und Carl Wolbrandt mit Details zu den neuen Lehrstellen Pflaumers und von dem Schmuckdesigner Anton Pribil (Meisterstempel "AP" der Wiener Werkstätte). Pribils 12 eh. Begleitschreiben enthalten meist kurze Bemerkungen zum beginnenden Krieg, zum Militärdienst und zu Pribils Schritt in die Selbständigkeit aufgrund der wirtschaftlichen Probleme der Wiener Werkstätte: "Die W. W. ist jetzt ein großes ? Sie befindet sich jetzt in anderen Händen unter der Leitung eines Generaldierectors [!]. Mit der künstlerischen Leitung ist Professor Hoffmann betraut, nur das [!] sie jetzt noch höhere Verkaufspreise haben als früher [...]" (12. II. 1914). Die Postkarten zum Teil aus dem familiären Umfeld über Nachrichten eines Fritz von der Front und an Eugen Pflaumer im "Res. Inf. Reg. 218/5" im Lazarett Stübelallee. - III. Im fotografischen Teil der Sammlung finden sich zum einen Portraits aus dem Familienleben, mit Kollegen und Gruppenportraits in Kriegsmontur, zum anderen Landschafts- und Architekturaufnahmen vorrangig des römischen und mittelalterlichen Weißenburg, der Heimat Pflaumers, welche dieser als Motive für die Radierungen der vorliegenden Sammlung aufgriff. - IV. Im künstlerischen Werk beeindrucken neben Objekt-, Schmuck-, Portrait- und Aktzeichnungen vor allem die detailliert ausgeführten Pflanzenstudien (botanische Blätter) in Tusche und Bleistift (zum Teil mit Weißhöhung und koloriert/aquarelliert), die Pflaumers Können in 30 Folioblättern präsentieren und denen in bemerkenswerter Naturtreue auch etwas Jugendstil anhaftet. Historisch interessant ist auch ein eh. Kassen- und Auftragsbuch mit zahlreichen Original-Entwurfszeichnungen Pflaumers und einigen montierten Photographien der gefertigten Schmuckstücke (Broschen, Steckkämme, Ringe, Anhänger und sog. Schriftplatten), das Auftragsarbeiten für die Wiener Werkstätte und private Auftraggeber (Dr. Randa, Ullmann, Bauscher, Jul. Schindler, Friedr. Zeilis, Moritz Knab, Kleinert, Kaminsky u. a. m.) sowie die verwendeten Feinmetalle und Halbedelsteine einschließlich der Kosten dokumentiert. - Zum Teil mit deutlichen Altersspuren, Knicken und kleinen Einrissen. Beiliegend drei eh. Postkarten mit U. eines Robert, einige Photographien präparierter Tiere sowie eine Aktphotographie, ein hs. Gedicht, Ausschnitte aus Zeitungen und Illustrierten, zwei unbeschriebene Postkarten sowie ein ms. und drei hs. adr. Kuverts.
218 x 149 mm. An appealing portrait in full height, inscribed to the Gankaya Vezirkòpru Turkish Power Society. - Slightly rubbed and minor damage to edges; largish tear (c. 2 cm) to upper right edge.
Folio. 1 page. With integral address leaf. Letter signed and subscribed ("assured/ fr. verulam Canc[ellarius]"), as Baron Verulam and Lord Chancellor, to Lord Zouch, Lord Warden of the Cinque Ports, notifying him of a forthcoming legal case affecting his prerogative: "There are protest gone out at Mr Attorney Generalls prayer against Hugh Hugginson and Josias Ente concerning the busines against the Dutchmen in Starchamber. Out of a desire to extened the ancient priviledges and customes due to your place not to serve such protest within your jurisdiction without your leave and contente, I have thought it good hereby to desire your Lordship for his Majesties service, that you would cause them forthwith to be sent papers to answer Mr Attorneys Bill and abide such further proceedings as their case shall require". - Written in a secretarial hand, with the place, date and closing in an italic hand, as is Bacon's signature and subscription; contemporary endorsement. - From the Spiro Family Collection (Christie's, London, 3 December 2003, lot 59). Printed by Spedding; two other manuscript sources (although not our original) are listed by the online CELL calendar, The Correspondence of Francis Bacon.
4to. 1 p. With original ink drawing. To his friend Pierre Berès: "Je suis surpris d'être sans nouvelles de vous depuis assez longtemps [...]". Balthus's drawing depicts the church of the small village of Moutonne (near Orgelet, Franche-Comté). In the foreground, the artist draws the "castle" of the same village - in fact, a massive stone building. The present letter was exhibited from July to September 1992 at the Balthus exhibition at the birthplace of Gustave Courbet.
Oblong 8vo. 1 page. Five bars from The Triumphlied (Op. 55), a work for baritone solo, choir and orchestra, with underlined text: "Denn wahrhaftig u. gerecht sind seine Gerichte etc." Brahms wrote the work on the occasion of the German victory in the Franco-Prussian War and dedicated it to emperor Wilhelm I.
160 x 205 mm. Gelatin silver print, stamped in purple on verso: "...Kindly Acknowledge to J. C. Patel A.R.P.S., C/o Bombay Photo Store..., Calcutta". Framed and glazed. Richard Casey (1890-1976) was made Governor of Bengal by Winston Churchill in January 1944, in the immediate aftermath of the great famine, and against a background of increased nationalist agitation. He "was shocked by British racial snobbery, and he tried to break down walls between Government House in Calcutta and the local community" (Australian DNB), partly through the organisation of a series of face-to-face meetings held between himself and Gandhi in Kolkata (Calcutta) in December 1945, at one of which our photograph was taken. In later life Casey served as Governor-General of Australia from 1965 to 1969. - Provenance: Arthur Hughes, Indian Civil Service, Labour Commissioner and Registrar of Trade Unions, Bengal (mentioned in the King's Birthday Honours list for 1943), and later Senior Master at Doon School; by descent to the second last owner. Arthur Hughes and his brother Jack were present in Calcutta at the time of the meeting with Gandhi. Arthur was working for the Civil Service, as correctly stated, and managed to find a role for his younger brother as he left the Gurkhas, with whom he was serving in Bengal at the time. Jack was assigned as Richard Casey's assistant, which launched his career in the Civil Service and he was awarded an OBE in 1959.
Folio (300 x 227 mm). 1 p. With integral address panel and endorsement in Italian "received 29 April 1421 by way of Haifa". In Italian, to Lorenzo Dolfin, nephew and business partner of the late Venetian consul in Alexandria, Biagio Dolfin. Gusmieri was charged with settling Dolfin's affairs while he was absent from Alexandria and gives a detailed account of his receipts and expenses. The letter offers valuable clues to the life of Venetian merchants in Egypt, their business affairs, and common prices at the time. Most remarkably, Gusmieri sold a black slave called Rovego for 12 ducats and payed off a debt on a female black slave on Dolfin's behalf. With respect to kitchen equipment, he remarks that "it is hard to find anyone to buy it, but I have sold some for about 3 ducats. I shall do my best to sell the remainder of the things". Gusmieri also mentions the death of Sultan Shaykh al-Mahmudi (d. 13 January 1421) and the apparently peaceful transition of power to his infant son: "On the 15th of this month I learned from Cairo that the Sultan had died, and his son was made Sultan without any trouble". In closing, Gusmieri informs his friend that he will relocate to Damascus and therefore intends to allocate Dolfin's assets to the Venetian consul in Alexandria. - The watermark, a Gothic letter "R" with a Latin cross, is close to Briquet III, nos. 8924-8946: mostly Italian papers recorded from the late 14th to mid-15th centuries. With papered seal and traces of folds. A fairly large tear on the lower right edge (no loss to text). - Transcribed in full with English translation.
53 documents in manuscript or typescript, altogether 77 ff. 23 signed letters (12 autogr. and 11 in typescript. 32 pp. in quarto, 4 pp. in octavo), 25 signed postcards (21 autogr. and 4 typed) and some addenda. All to Prof. Oswald Kleinschmidt (1903-84) in Gernsbach. Jünger writes about his work and publications. His main focus are semantic questions regarding symbols and myths. - Includes 2 printed items: an obituary for his first wife and a wedding announcement for his second wedding.
8vo. (3¼+1½+1+3½ =) 9¼ pp. on 2 bifolia and 5 single leaves. Includes 2 bills of exchange signed (oblong 8vo, [1+1 =] 2 pp.) and a copy of a letter to Emmanuel Arago (8vo, 2 pp.). Address list (Karl Marx, Longuet, F. Engels, Louis Blanc, etc.). - Draft of an appeal to the figureheads of the events of the Paris Commune to participate in a Memorial celebration, recounting how Lachâtre was sentenced by a council of war for having, among the papers seized at his home, a letter addressed to Félix Pyat. - "Programme de l'avenir" (Programme of the Future) signed (San Sebastian, 31 May 1873), advocating equality of civil and political rights of men and women, separation of church and state, abolition of the death penalty, etc., declaring a "République fédérale, démocratique, sociale, universelle". - Letter, incomplete at the beginning, (to Henri Oriol?) concerning a journal's publication and its financial provision, the payment of a fine, etc. - Includes 2 bills of exchange signed (Paris, 10 June 1868) for Messrs. Comas y Jarmot in Barcelona, and the copy of a letter to Emmanuel Arago (Paris, 24 Nov. 1870).
4to. 3 pp. To the music publisher Carl Haslinger, asking him to have a look at "the arrangement for 2 pianofortes on which [he] has spent 3 days annotating and editing" in order to propose a new version, with many annotations for the piano and fewer parts for instruments. He also sends his Hungarian Rhapsody "properly instrumented" and asks Haslinger "to prepare a similar edition." Liszt leaves for Zurich to stay with his friend Wagner. - Inserted in Robert Bory's book "The Life of Franz Liszt in Pictures" (Editions du journal de Genève, 1936, 1st numbered copy on Holland Van Gelder paper, bound in bordeaux leather). - Provenance: Robert Bory, musicologist. Together with several autograph letters signed by Alfred Cortot (2), Daniela Thode, Winifred Wagner, Bladine Gravina, and Daniel Ollivier.
8vo. 6 ½ pp. on 10 ff. Sketches: ca. 22 x 25 mm and 20 x 35 mm in black ballpoint pen. In French. Highly interesting correspondence with his friend, the Belgian librarian and writer André Bormans, touching upon various subjects, especially semiotics and the theory of art. In the earliest letter, Magritte invites Bormans for the Christmas holidays and announces that he will show him his latest unfinished paintings: "Particularly: La Joconde, L'Enfance d'Icare and La Colère des Dieux that you will, I believe, enjoy to get to know" (17 Nov. 1960). In closing, Magritte asks whether Bormans can obtain for him Upton Sinclair's 1931 novel "The Wet Parade", which deals with the social effects of alcoholism and prohibition, from the communal library. - Another letter, from 22 October 1963, contains profound semiotic reflections on the relationship between image and word and the effects of the "unification" of word and image. Magritte refers to his famous text-image combinations entitled "Les Mots et les Images" from the last issue of "Révolution Surréaliste" published in 1929, underlining that he now believes that it is more accurate to say that word and image are united rather than re-united: "Depuis, c'est 'unir' qui me semble juste. Réunir obligerait de croire que les choses après avoir été 'unies' ne le seraient plus, qu'elles auraient été désunies. En somme croire à quelque chose d'indifférent". He then gives specific examples from his work such as "La Cascade" and "L'Empire des Lumières", arguing that what the painting "presupposes is partly to be defined". The pictorial representation thus "challenges thinking to be able to think (unite)", which he calls a "contraction", in the case of "L'Empire des Lumières" that of "night and day". To underline the mutual exclusion whose terms are still interdependent, Magritte quotes the Belgian surrealist writer Marcel Lecomte: "The absence of a footstep materializes". Even more dear to him is Louis Scutenaire's statement: "When I exhale I commit a crime". Inspired by his friend's semantic dramatization of something as banal and automatic as exhalation, Magritte exclaims: "What I have painted 'suffices' - What he has written 'suffices' - But not painting and not saying anything also 'suffices'. Your 'The dream requires genius' suffices as 'expression' (expression in the sense of writing, the words not saying what they designate - like in La Cascade, the images not showing what they are)". Magritte closes with the announcement of the title for a painting contributed by Scutenaire: "For a new painting (trees-orange foliage) Scut found a beautiful title: 'The princes of autumn' (which is a beginning of a precious 'commentary')". This section is accompanied by a charming little sketch of the painting. - Just a week later Magritte sends a short letter in which he corrects statements from a previous missive not part of the collection. Magritte writes that he did not express himself well when he was discussing Pierre Étaix's 1962 romantic comedy "The Suitor" and tries to characterize the humor exemplified by this film, referring to a specific scene. He also mentions Charles Muselet's 1866 collection of biographies "Portraits après déces" and a magazine, probably of a Christian cult, that he has been handed in the streets. Finally, Magritte announces that he will send Bormans a photograph of his close friend, the publisher and fellow surrealist E. T. L. Mesens (1903-71). - The latest dated letter, from 18 July 1965, is rather short but includes a charming sketch of Magritte's painting "Le Pan de Nuit" ("The patch of night"), showing a disembodied patch of long red hair in a bowler hat from behind: "The painting on which I am currently working, awaiting its title". He also reports his recovery from an illness, announces two photographs of new paintings ("Le Char de la Vierge" and "Parmi les Bosquets légers"), and recommends Proust's "Contre Saint-Beuve". - Magritte's undated letter offers recommendations for changes to a text that Bormans has written for an exhibition catalogue: "A proposition: 'to enrich our humble means in making the world known' occasions me to ask for a small change that protects the reader from contenting himself with the belief that the 'means' are to be enriched, to be perfected and that knowledge is of secondary importance. This possible misunderstanding could perhaps be avoided in saying: 'to aid our humble knowledge of the world'. The advantage of this phrasing also allows to counter the glorification of the 'means' [...]". The explanation for his final suggestion makes Magritte's anti-positivist stance even more explicit, as he jokes: "or another modification that does not jeopardize 'the subjectivity' that is dear to the experts of 'objectivity'!". - Four of the five letters on stationery with printed letterhead. Well preserved.
Oblong 8vo. 1¼ pp. With autograph address. In pencil. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about a campaign against him raised by the AKhRR (Assotsiatsia Khudozhnikov Revolutsionnoi Rossii - Association of Artists of Revolutionary Russia), and on being accused of formalism: "I am running about; the matters stand so that one cannot speak of it; it turns out there is a government campaign [?] against me, labelling me a Formalist [...] Therefore, there is nothing for me anywhere, not even for my urn [...] but I shall sue and refute them [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 29.
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about his arrival at Moscow and Kirill Ivanovich Shutko (1884-1941), the editor-in-chief of the magazine "Soviet Cinema", who was earmarked as candidate for the office of Director of the GAKhN (State Academy of Artistic Sciences), a meeting place for avant-garde from 1923 to 1929. "[...] I had a long conversation with him and tried to convince him to accept this assignment. At the moment, he is heading for Rome, and will leave on July 27. He is now working on a book called 'Lenin and Culture' [...]". - Trace of vertical fold. Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 35.
Oblong 8vo. 1 p. With autograph address. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), reporting on how he spends his days, about his appointments with Ivan Klyun and others, about waiting for the meeting of the construction committee, and trying to sell works to a Ukrainian museum: "[...] It is warm outside, but there is still snow in the woods, it's dirty, and it's raining heavily. Less bread will be issued in Moscow as of the 1st, and there will be no white bread. People are hungry [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 31.
Folio. 2 pages. A beautiful and rare letter to her mother, Antoinette de Bourbon. After a year spent in France, she returned to Scotland with her daughter Marie to take over the Regency of the kingdom, entrusted to the count of Arran. Through her brother, the cardinal Charles de Lorraine, she had received a letter of great consolation which her mother had written to him: "[...] presantement je fais mon anbarquement. Je croy on me metera en terre à la Rie [Rye, sur les côtes du Sussex] ung por d'Angleterre. Les navires de Flandre sont dehors a se que j'entens quy me fera prandre plustost terre. Le voyage sera de grande despanse et tou l'iver mais non sy dangereux sy ne laisse aprocher mes voisins de ma poupe [...]. Quant à mes afair Mons. le Cardinal et moy an navons devizé anplement j'ai tout remis à vous et à luy [...]". - Some damage to edges; stained.
Folio. 1 p. With autogr. address and traces of seal. To Johannes Weber, priest in Neustadt an der Orla, praising him for a decision in a matter of matrimony and giving him further advice: the marriage of Georg Jüngkling and Else Moser is declared invalid; Jüngkling must separate from her as long as the fate of her first husband remains uncertain. However, for the time being he must not remarry, and the marriage will become valid if it is proved that the first husband is dead: "S[alutem] D[ico] | Bene facis, quod con[s]tanter attingis controversias matrimoniales. De negocio d. georgii sic sencio[:] Quod illud matrimonium contractum, cum mulier incerta esset de vita, ac voluntate viri prioris, qui ipsa consenciente abiit, sit irritum. Est igitur liber georgius. Sed movet me scandali racio, ne statim concedam ei ducere aliam uxorem. Agendum prius est per magistratus, cum illa muliere, aut per nos cum amicis mulieris, ut res exploretur de vita prioris mariti certo. Si ipsa mulier volet abire ad priorem maritum, non detineas eam, quia hoc secundum coniugium non est iure contractum. Habes meam sentenciam, quam te rogo, ut ita modereris, ne plus offensionum ex hac re oriatur [...] Prohibebis etiam, ne georgius et illa mulier, re inexplorata, redeant ad se mutuo. Sed si consentit virum esse mortuum, scandali caussa, velim georgium hanc mulierem re[tin]ere". - The background is explored in Luthers Briefwechsel, vol. V, note to no. 1494: Else Moser had been married to the gunsmith Hieronymus Malter, who had fought in the service of King Louis of Hungary and had been taken prisoner at the Battle of Mohács in 1526. A letter written by Malter, requesting his wife to visit him in Hungary, where he was being held prisoner of war, arrived only in 1529, shortly after she had remarried. Thus, it had to be determined whether or not the first husband was still alive. - Slightly dust-soiled and some edge damage; slight tears to folds remargined. Melanchthons Briefwechsel (ed. H. Scheible), vol. IV (Stuttgart 2007), p. 878.
4to. 1 page. With fly-leaf bearing address in his handwriting, and his seal (head of Lady Hamilton). Fine autograph letter to "Lady Hamilton, 23 Piccadilly, London". An important letter written when Nelson was Commander-in-Chief in the Baltic, six weeks after the Battle of Copenhagen. The political situation was complicated in that the Russians, while not now openly hostile, were definitely unfriendly. The cold air of the northern latitudes disagreed with Nelson, who had a severe cough and chill, and he was depressed at the separation from Lady Hamilton and concerned about their baby daughter Horatia, who had been born in January. The letter is discreet, evidently because of Nelson's fear that it might fall into other hands, and he employs the deception previously arranged with Lady Hamilton of referring to himself as "Thomson". The tone of the letter is melancholic, and Nelson concludes by quoting the last portion of an equally unhappy letter he had written recently to the First Lord of the Admiralty Lord St. Vincent: "My Dearest Friend, | The Harpy Brig sails tomorrow for England, you will not receive this Line for a fortnight after her arrival. I cannot say a word on Politicks. I expect to find a new Admiral on my return which will be in a very few days, poor Thomson is return'd from Petersburgh he desires his kindest affections to his Wife and familiy [i. e. to Emma Hamilton herself and Horatia] - And ever believe me Your Most attach'd & affectionate | Nelson & Bronte. | Most probably you will never receive this letter I have 3 wrote for you now laying by me, firm as a Rock, finish of 8 lines to Lrd. St. V[incent]. I expect to find a new Ad[mira]l when I return off Bornholm, or most probably you will never see again your aff[ectiona]te | N & B".
8vo. 1¾ pp. on bifolium. With an postscript from his mother Franziska, née Luser (1884-1935), to the same recipient (1¾ pp.), and a photograph. Charming German-language letter by the 12-year-old to his cousin Emilie Tyrolt, in the United States, thanking for a "lovely Christmas card" and describing his efforts at school: "Habe Deine liebe Weihnachtskarte erhalten, für der ich Dir bestens danke. Unter einem sende ich Dir ein Bild von meinem Schwesterlein, den 'Pitzbub' wirst Du hoffentlich noch kennen. Wie Du vielleicht schon erfahren haben dürftest, besuche ich die Realschule. Da gibt es viel zu lernen, denn man wird sehr sekiert. Aber das macht nichts, 'Geduld bringt Rosen, 'Herrumrutschen' zerrißne Hosen' […]". - Includes a photograph of Oskar and Elfriede Schindler, taken in February 1920, from the studio of A. Papouschek, Zwittau (145 x 103 mm, mounted on cardboard).
4to. 1 p. on bifolium with integral address leaf. In German, to the grammar school teacher Carl Schütz (1805-93), who had sent Schopenhauer books with congratulations on his birthday: "Please accept my heartfelt thanks for your taking such an interest in my philosophy and even in my birthday, as well as for your much-appreciated gift. During the past few years I have been blessed with a number of such testimonies, often presented with quite similar sentiments, and they have invariably been a great joy and encouragement to me, as they vouchsafe to me the appeal which my teachings will witness in future times, even if I probably will not live to see them myself. Your translations from Sanskrit are of great interest to me, as is everything Indian, and I will devote myself to them very soon. Your two readers will also afford me much pleasure, as they contain many specimens of the more and most recent literature, about which I am little knowledgeable and glad if others choose the finest pieces for me. Sending you my fondest greetings and counting you among my own, I am [...]". Schütz's letter must have touched Schopenhauer deeply, for he communicated it to Julius Frauenstädt on 4 March 1854: "A homage of this kind is meaningful. He is a new disciple. Of course I responded in the most cordial terms." In his letter, Schütz had praised Schopenhauer as "the greatest of thinkers": "as the tired wayfarer feels invigorated by a cool bath and capable of new exertions, so do I feel uplifted and fortified when, having briefly conversed with you, I return to my everyday business." Schütz's letter (dated Bielefeld, 19 February 1854) is published in: Hübscher, Briefwechsel (1933), no. 492. It is kept at the Schopenhauer Archive at the Frankfurt University Library. - Traces of folds; some staining to address leaf. Published: Hübscher (1987), no. 318.
8vo. 2½ pp. on bifolium. With autograph envelope. Unpublished letter in Russian to Aleksandr Glazunov (1865-1936) in which Tchaikovsky expresses his fatigue and anxieties three weeks before the premiere of "The Queen of Spades" and asks a favour: "I am deadly tired from the opera's rehearsals; tomorrow awaits another one, demanding again great attention and all kinds of anxieties of an author. I am afraid for my disease not to repeat, not going to the concert today. Laziness is unfortunate, but it is necessary [...]. I have a request for you: ask to visit me on Tuesday evening Lyadov [Anatoly Lyadov], both Blumenfelds [Felix and his brother Stanislav Blumenfeld] and Lavrov [Nikolay Stepanovich Lavrov], whom you will not see today, but perhaps you’ll write him a note. I do not know his address. Remind as well Nikolay Andreevich [Rimsky-Korsakov], I am most convincingly asking him to be at my place on Tuesday evening. And please, do not forget! [...]" (transl.). - This important letter adds to only twelve known letters from Tchaikovsky to his friend and protegé Glazunov, dating from 1887 to 1892. It provides insights into Tchaikovsky's St. Petersburg circle, members of which included the composers Glazunov, Nikolay Rimsky-Korsakov and Anatoly Lyadov, who were part of the so called Belyayev circle, the composer and conductor Felix Blumenfeld (1863-1931), his brother the piano teacher Stanislav Blumenfeld (1850-97), and the pianist Nikolay Stepanovich Lavrov (1861-1927). The letter was written during the rehearsals for "The Queen of Spades" which premiered successfully at Mariinsky Theatre in St. Petersburg on 19 Dec. 1890 (Gregorian calendar). - Folded and slightly smudged; envelope somewhat foxed.
4to. 3 pp. on bifolium. Black ink. The newest tragedy by Saurin, "Blanche et Guiscard, tragédie imitée de l'anglais de Tancred and Sigismunda de Thomson", gives Voltaire a reason to repeat his aversion to Shakespeare and English theatre: "Vous avez fait, monsieur, bien de l'honneur à ce Tomson. Je l'ai connu il y a quelque quarante années. S'il avait scu être un peu plus interessant dans ses autres pièces, et moins déclamateur, il aurait transformé le théâtre anglais, que Gilles Shakespear a fait naître et à gâté, mais ce Gilles Shakespear avec toute la barbarie et son ridicule, a comme Lopez de Véga des trais si naïfs et si vrais, et un fracas d'actions si imposant, que tous les raisonnements de Pierre Corneille sont à la glace en comparaison du tragique de ce Gilles [...] Les anglais on un autre avantage sur nous, c'est de se passer de la rime. Le mérite de nos grands poëtes est souvent dans la difficulté de la rime surmontée et le mérite des poëtes anglais est souvent dans l'expression de la nature [...] Vous savez il n'y a pas un mot de vrai dans l'histoire de Sigismunda et Guiscardo, mais je vous sais bon gré d'avoir donné des louanges à ce Mainfroid dont les papes [biffé et réécrit] ont dit tant de mal [...] Un temps viendra où la St Barthelémi sera un sujet de tragédie [...]". - Voltaire. Correspondance. Édition Theodore Besterman. Vol. VII. Paris: Gallimard, 1981, lettre 8186, pp. 589-590.
Large 4to. 2¾ pp. on bifolium. With autogr. address. Important letter with political content, written to the German politician and stenographer Franz Jacob Wigard (1807-1885), then a member of the Frankfurt Assembly, the first freely elected parliament for all of Germany. In his peremptory letter, Wagner laid down what in his opinion were the principles that ought to guide the Frankfurt assembly. He looks to the meeting of the German National Assembly in Frankfurt to assume unified power from the old Bundestag, to introduce rearming the German people, to make a defensive treaty with France and, finally, to create a rational and coherent German nation out of the myriad of princely states, both large and small, overcoming the opposition of the Princes themselves, emphasizing that only then can the Assembly begin its work and without which all their good work so far will be undone. "I am apprehensive of much harm", he wrote, "if the German Parliament does not in the first instance resolve on the following: (1) that Parliament at once vests the sole constitutive power in itself, as well as the authority to nominate a Provisional Executive from among its members; (2) immediate introduction of Folk-arming after the model known to us; (3) an offensive and defensive alliance with France [...] Let the fourth step be the Territorial question of the German States. If the Frankfort Assembly intends to create a constitution that will unite Germany, it must first address itself to the inequality of the individual States: it must appoint a commission to formulate proposals for a rational and natural construction on the basic principle that no single State shall have less than four or more than six million inhabitants. That is the definitely decisive point, without the establishment of which all our labours would be merely patchwork [...]". - A fine letter outlining Wagner's political views and his desire to see a unified German nation, in the wake of the 1848 Revolution in France and turmoil within Germany. Barricades were put up in Dresden and the king was presented with demands for constitutional reform. Wagner joined the revolutionaries, hoping that this would lead to the reform of a National Theatre. His letter was prompted by the convening of the National Assembly at Frankfurt on 18 May, and is addressed to the Saxon Delegate at the Assembly, Jacob Franz Wigand, who had earlier been dismissed from the University at Dresden for his radical political views. - Published in the "Sämtliche Briefe", II, no.256, after a press-cutting in the Wagner Archives and without reference to the original. - Torn margins repaired, dust-marked.
Large 4to. 4 pp. on bifolium. To an undisclosed recipient, i. e. August Frhr. v. Loën, director of the Court Theatre at Weimar and the court orchestra, in the matter of the foundation of the Bayreuth Festival Theatre. - The laying of the foundation stone for the theatre took place on May 22, 1872, Wagner's 50th birthday. Marie ("Mimi") Baroness (from 1879: Countess) von Schleinitz (1842-1912) - whom Wagner is mentioning - was an influential salonnière of the early German Reich in Berlin and one of the most important supporters of Richard Wagner and one of the principal advocates of the Bayreuth Festival. WBV 5898.