26 497 résultats
Oblong 4to. 1 page. To a friend with compliments on his article in Time Magazine, and offering him a chance to photograph his famous painting "Assumpta Corpuscularia Lapislazulina", a work of his "corpuscular" period which he considers historic and explosive, that is scheduled to be exhibited in New York at the end of the year: "Querido Amigo - Su noticia en Time muy brillante - A fines de Octubre se podra fotog[r]afiar mi 'Asomcion de la virgen' que sera expuesto fines de Diciembre en Nuewa York. Creo una oportunidad unica ya que es un cuadro 'corpuscular i explosivo' historico en mi vida [...]". Further, announcing a letter by his wife Gala Dalí (1894-1982), wishing her to receive the same treatment as he does: "Si recibieron una comunicación bastante sensacional de mi esposa Gala le ruego que la atienda como a mi mismo [...]". - The "Assumpta" was exhibited at the Julien Levy Gallery in New York in 1952 and commanded a record auction price of 4 million dollars in 1990. - With a small marginal flaw not touching the text.
8vo. 6 pp. Manuscript of poem from the great Surrealist poet to his long-time muse, the Belgian actress and singer Yvonne George. Written on six loose leaves of faded notebook paper, it is a moving testament to his obsession and unrequited love for a woman who inspired two collections of poetry and figured a major artistic inspiration in his life.
1 S. Qu.-kl.-8vo. Mit ms. adr. Kuvert. An die Schweizer Juristin und Frauenrechtlerin Elisabeth Nägeli (1897-1988), die ihm zum Geburtstag gratuliert hatte: "Freundlichen Dank für Ihre Mitteilungen, die alte Zeiten lebendig werden lassen. Ein alter Zigeuner hat es in dieser Beziehung nicht leicht […]". - Aus einer renommierten alten Basler Privatsammlung. Tadellos erhalten.
8vo. ½ S. auf blauem Doppelblatt. Bislang unbekanntes Zeitdokument zu einem der großen Skandale im Hause Wittelsbach, der außerehelichen Schwangerschaft ihrer jüngeren Schwester Marie Sophie Amalie (1841-1925): "Die Kaiserin an Seine Majestät den Kaiser. Marie wünscht dringend mich zu sehen. Kann ich ihr in Traunstein für wenige Stunden Rendez-Vous geben? Bitte gleich um Antwort". - Im Oktober 1862, als Marie von einer Wallfahrt aus Altötting zurückkehrte, trafen sich die Wittelsbacher Schwestern im Gasthof Wispauer in Traunstein. Die abgesetzte Königin von Neapel war zu diesem Zeitpunkt hochschwanger mit einem unehelichen Kind. Im Familienrat wurde beschlossen, dass Marie sich in das Ursulinen-Kloster in Augsburg zurückziehen solle, wohin sie sich direkt nach ihrem Aufenthalt in Traunstein begab. Im November brachte sie dort die Tochter Daisy zur Welt, die bald nach der Geburt an Pflegeeltern weitergegeben wurde. Zum Aufenthalt in Traunstein wurde berichtet, dass Marie dort ihren Hofstaat entlassen und nur die Zofe Mariette bei sich behalten habe; außerdem hätten die beiden Frauen das Hotel Wispauer nur einmal verlassen, um in die nahegelegene Kirche zu gehen. Marie soll mit Daisy in Kontakt geblieben sein, bis diese noch vor ihr starb, und auch an ihrer Beerdigung in Paris teilgenommen haben. - Wohlerhalten.
Altogether 4 pp. on 4 ff. Addenda. Four autograph draft menus for private dinners, two annotated with the names of the hosts and the dates, 17 February 1907 and 18 March 1908, three with prices for 10 or 12 covers at 12s 6d. - "Consommé Rossini / Saumon Royale / [...] Caneton de Rouen a l'orange / Fonds d'artichauts [...]" (Menu for "Powell Esq. Dimanche 17-2-07", annotated in blue crayon). Together with two additional menus transcribed by a clerk (on headed paper of The Carlton Hotel, London); 3 drafts with slight damage to paper through clipping, otherwise in good condition.
Large 8vo. 1 p. To Alfred Nion, Flaubert writes for news of his "fairy" play, Le Chateau Des Coeurs; desiring to demonstrate that this old form can be profitably revived, he is nevertheless pessimistic about the sucess of his play: "Eh bien, et la Feerie, cher ami? Je crois que contrairement au proverbe 'pas de nouvelles, bonnes nouvelles' la chose est completement flambée? Mon seuil en est tout fait. J'avais cependant été bien aise de gagner quelques portraits de l'empereur sur metal, avec cette folichonnerie […] on peut se servir d'un cadre usé [pour] rajeunir un vieux genre. Tu serais bien gentil de me dire ce que ton patron en a pensé". - Dated in the hand of Caroline Commanville, his literary executor; light creasing along old folds.
12+12+16 lines on 1¾ pp. 8vo. A fair copy manuscript, written in brown ink, formerly owned by the poet's son Friedrich and presented by him as a memento possibly to the publisher Friedrich Cohn in 1904 "Und es klagen ihre Tränen: | Weit der Himmel, tief die See, | Doch noch weiter geht mein Sehnen, | Und noch tiefer ist mein Weh […]" (from "Das Fischermädchen"). - This exquisitely written leaf was presented by Fontane's youngest son Friedrich (1864-1941) in 1904 apparently to Theodor Friedrich Cohn (1864-1936), a fellow partner in the Berlin publishing house of F. Fontane & Co. Although the date of the present manuscript is uncertain, all three of the present poems were originally written in the 1840s ("Guter Rat": 1849; "Das Fischermädchen": by 1844; "Der erste Schnee": 1841) and published in 1851. The present text of "Das Fischermädchen" and "Der erste Schnee" differs in places from the complete edition: see Theodor Fontane: Sämtliche Werke XX, pp. 7, 15-16).
1½ SS. 8vo. An einen "hochgeehrten Herrn Doktor" über die gesundheitlich bedingte Unmöglichkeit, eine Besprechung zu verfassen: "Ein Unternehmen wie das, von dem Sie berichten, hat natürlich Anspruch auf mein stärkstes Interesse. Wenn Sie meinen, daß eine Besprechung darüber mit mir wünschenswert ist, müßte ich zu Ihrer Verfügung sein. Es trifft sich aber daß ich jetzt leidend u. nicht einmal Herr meiner Zeit bin, da ich eine ebenso anspruchsvolle wie ermüdende Behandlung unternommen habe (Röntgenbestra[h]lungen). Ich getraue mich also nicht Ihnen jetzt einen Zeitpunkt für Ihren freundlichen Besuch anzugeben. Sollten Sie später Ihre Absicht wieder aufnehmen, so bin ich dann vielleicht in der Lage, Sie bei mir zu sehen [...]". - Freud war bereits 1923 nach seiner Gaumenoperation mit Röntgenstrahlen behandelt worden, weitere Behandlungen folgten 1930, 1931 und 1934. Ab Februar 1939 wurde er dann in London u. a. von Neville Finzi, einem der führenden Röntgenologen Großbritanniens, behandelt. Nach mehreren Sitzungen diagnostizierte im Mai der Oralchirurg George Exner, der u. a. in Wien bei dem Kieferchirurgen Hans Pichler studiert hatte, "erneute Krebsrezidive, hält eine Operation aber nicht mehr für angezeigt. Es wurde Radium mit Hilfe einer Prothese 2 Stunden pro Tag gegeben, daneben tiefe Röntgenbestrahlung. Die Geschwulst ist zurückgegangen, aber Metastasen sind aufgetreten". Im Juli und August bemerkte Freuds Leibarzt Max Schur verdächtige Läsionen in Freuds Mundhöhle und konnte Pichler, der Freuds Gaumenkrebs zwischen 1923 bis 1936 schon mehr als 30-mal operiert hatte, dazu überreden, persönlich nach London zu kommen und Freud zu untersuchen. Pichler traf am 7. September in London ein und stellte in einer gleich darauf anschließenden Untersuchung fest, daß operiert werden müsse. Die Operation am Tag darauf überstand Freud gut, den ganzen Monat jedoch sollte er nicht mehr erleben. - Auf Briefpapier mit gedr. Briefkopf; stellenweise gering fleckig und mit zwei kleinen alt hinterlegten Einrissen im Mittelfalz. Christfried Tögel, "Freud-Diarium" (Online-Version), S. 454.
2 SS. 8vo. Recto ein ganzseitiger Illustrationsentwurf zu "Damon. Phillis" (Zürich, 1756, SS. 44-47) mit einem Textzitat ("Doch setze mir zuerst den Kranz zurecht | Du hast mein Haar zerzaust") sowie einem weiteren Zitat aus "Die Erfindung des Saitenspiels und des Gesanges" (ebd., 91-99: "[Man pflanzte da zween Bäume auf einem hohen Hügel, dem Mädchen und] dem Jüngling, u. die späten Enkel erzählten [den K]indern in ihrem Schatten d. Erfindung des Saitenspiels u. des Gesangs"). Verso mit zwei Zitaten aus "Der Frühling" (ebd., 107-112) und "Die übel belohnte Liebe" (Salomon Gessners Schriften. Zürich: bey Orell, Gessner, Füssli u. Comp., 1770. Bd. 2, SS. 113-121; S. 120f.). - Gering fleckig.
1 S. 8vo. (227:137 mm). Mit typographischer Randleiste (Pfeilornament). Den Einblattdruck "Die Feier des siebenten Novembers 1825 dankbar zu erwiedern" hat Goethe in kleinster Auflage für den engsten Kreis seiner Freunde anfertigen lassen, um ihnen anlässlich der Glückwünsche zum 50. Jahrestag seiner Ankunft in Weimar (1775) zu danken. Offenbar reichte dazu die erste Auflage nicht aus, weshalb eine weitere nachgedruckt worden ist, beide bei Frommann in Jena, im Juni 1826 und November 1827. Laut Hagen (412) kann man die beiden Varianten des Blattes nur anhand der Gestaltung der einfassenden Bordüre unterscheiden: Hier ist es diejenige mit kleinen Pfeilen, die nach außen zeigen. Welche die frühere der beiden Varianten ist, ließe sich allenfalls anhand von Exemplaren feststellen, die Goethe datiert hat, doch tragen die wenigen nachweisbaren gewöhnlich (wie hier vorliegend) nur seine Unterschrift und die Ortsangabe. Unser Blatt dürfte wohl zur späteren Variante gehören, denn es ist noch ein anderes Exemplar davon bekannt geworden, das Goethe erst im Januar 1831 signiert und datiert hat. Mit der ursprünglichen Danksagung kann das nicht mehr viel zu tun gehabt haben: Goethe hat Restbestände des Drucks wohl in späterer Zeit für beliebige Grußadressen verwendet, zumal das Gedicht selbst ohnehin älteren Datums war. Unter dem Titel "Die Feier des achtundzwanzigsten Augusts dankbar zu erwidern" (incipit: "Sah gemalt, in Gold und Rahmen") war es bereits 1819 erschienen, damals anlässlich seines 70. Geburtstags. - Mit schmalen Rändern (die Vergleichsexemplare sind meist wesentlich enger beschnitten); leichte Falze mit geringen Randeinrissen; am oberen Rand verso geringe Montagespuren; leicht gebräunt. Kippenberg I, 104. Hagen 412. Goedeke IV, 3, 501, 114.
8vo. 2 pages on bifolium. An appealingly pithy letter in English to an unknown recipient, with a musical quotation. The letter betrays a certain exasperation with his correspondent's questions: "I should think it quite impossible to answer your questions / 1) as I have no method at all when composing! / 2) as the art of composition is not at all to be learned and still - must be learned! / 3) as I have no particular favourite composer. All good composers are my favourites!' [...]". - The musical quotation comprises four bars from the violin sonata no. 2 in G (op. 13), on two staves. - Two larger tears rebacked. Provenance: Christie's, 26 June 1996, lot 257.
8vo. 1 page. With two enclosures (see below). To an unidentified correspondent ("Hochgeehrter Herr College"), reproaching him for ignoring his reminder of a few weeks ago, stressing the trouble this matter has caused him, and stating that he knows no reason why he should not have paid him the six thalers which were due three months ago: "Ich verdiene nicht, dass Sie meinen vor einigen Wochen geschriebenen Mahnbrief unberücksichtigt lassen. Diese Angelegenheit gibt mir so viel Mühe […]". - Together with a copy of a printed speech given by Grimm on the centenary of Schiller's birth ("Rede auf Schiller", Berlin, Verlag der kgl. Akademie der Wissenschaften, 1859), inscribed by Grimm on the upper wrapper to his friend, the jurist and rector of the Humboldt University of Berlin, Adolf August Friedrich Rudorff. Also enclosed is a manuscript note in an unidentified hand itemising some remarks by W. Grimm for the printer ("Bemerkungen von W. Grimm für den Stecher", oblong 8vo, 1 page). - Letter with some small defects to edges. Formerly in the collection of the Berlin pianist and composer Ernst Rudorff, the son of Adolf August Friedrich Rudorff.
4to. 13 numbered pp. on folded bifolia, 3 final blank pp. Black ink on paper; one diagram in the text. Several autogr. revisions and notes in pencil and blue crayon. Apparently penned in connection with Hasenöhrl's hydromechanics lecture (Mechanics II), which Hasenöhrl taught in the summer semesters of 1908, 1911, and 1914; possibly written for or during the concomitant seminar course. Two crayon markings ("1 V" and "2 V") typical for Hasenöhrl's documents show the progress made at each session. - In his 1933 Nobel Prize acceptance speech, Erwin Schrödinger looked back on the gift of his teacher Hasenöhrl to discuss a subject matter in the lecture hall both extensively and closely: "The lecture cycle, which spanned eight semesters of five periods per week, treated the advanced theories of mechanics as well as the eigenvalue problems of continuum physics with the degree of detail that I would later need dearly - I have never been able to study from books with any ease [... He died in the War], and a feeling tells me that, but for that, it would be he who would be receiving this honor in my place today." In his 1904 treatise "On the Theory of Radiation in Moving Bodies", Hasenöhrl had applied the concept of "electromagnetic mass" to a cavity filled with radiation, arguing that any kind of thermal radiation provides such a body with an apparent increase of mass. This achievement, which makes the connection of energy and mass and - in its most radically compressed form "m = E/c²" - seems to anticipate Einstein's special theory of relativity, won Hasenöhrl the 1905 Haitinger Prize (at Boltzmann's suggestion) and was the basis for his appointment to the Vienna Chair of Physics the following year. In 1905, Einstein generalised Hasenöhrl's equation (which the latter had applied only to cavity radiation) and managed to embed it within an encompassing theory, thus arriving at the iconic "E=mc²" equation (for Hasenöhrl's role in the development of the equation cf. Stephen Boughn's recent article, "Fritz Hasenöhrl and E=mc²", in: The European Physical Journal H 38/1 [Jan. 2013], p. 1-18). Incidentally, Hasenöhrl taught Einstein's theory of relativity in his lectures - a highly uncommon course topic for the time. In 1911, Hasenöhrl participated in the historic first "Conseil Solvay", the invitation-only Brussels conference that united the world's elite of experimental and theoretical physicists to discuss the fundamental problems of their field. Themed "La théorie du rayonnement et les quanta", that first conference tackled the various approaches of classical physics and the emerging quantum theory; among the other participants were Einstein, Marie Curie, Ernest Rutherford, H. A. Lorentz, Wilhelm Wien, Heike Kamerlingh Onnes, and Henri Poincaré. Hasenöhrl also participated in the second Solvay Conference in 1913. - Edges slightly frayed and dusty, otherwise perfect. Of the utmost rarity: Hasenöhrl manuscripts are considered virtually unobtainable; auction records since 1975 list not a single leaf of writing in his hand (in contrast with more than 1000 records for Albert Einstein, more than 100 of which are manuscripts). The Göttingen State Library holds a 17-page transcript of Hasenöhrl's lecture on spherical functions (Cod. Ms. G. Herglotz E 15) in the hand of the student Gustav Herglotz (1881-1953), later professor of Mathematics at Leipzig and Göttingen. The Austrian Central Library of Physics keeps an archive of Hasenöhrl material: a single-box corpus containing mainly photographs, offprints, and photocopies of personal documents, but no manuscripts at all (with the exception of a single page of equations on the reverse of a letter from a bookseller). Several letters by Hasenöhrl are to be found in the personal archives of scholars (e. g., to Prof. Stefan Meyer, in the Archives of the Institute for Radium Research, Austrian Academy of Sciences). Cf. Stephen Boughn, "Fritz Hasenöhrl and E=mc²", in: The European Physical Journal H 38/1 [Jan. 2013], p. 1-18.
Folio (246 x 333 mm). 31, (1) pp. Engraved title-page and engraved music throughout, signed "Haydn mp" in ink in lower right comer of title-page. Bound with 31 other pieces, including another collection of six Haydn canzonettas. Paginated by a contemporary hand and bound in early 18th century half calf with gilt-lettered red morocco label "K. M. M. Saunders / Songs / Vol. II" to upper board. Manuscript index at rear. Edges sprinkled red. First edition, signed by the composer with his characteristic paraph, as in all copies. This first set of "Canzonette" was issued by Haydn from his lodgings during his final visit to London in 1794. lt must have been a commercial success, for a fair number of copies survive, and remains one of the few generally obtainable examples of an original signature of one of the 18th century masters of Viennese classicism. Two examples have appeared at auction before: both at Stargardt in Berlin, in 2004 and 2006, commanding €3,600 and €4,400 respectively. In both cases it was only the separate signed title-page (with the beginning of "The Mermaid's Song" on the verso) that was sold, having been removed from the 32-page score. - The present example is clear and unfaded, having been "in situ" since its early life, part of a bound collection of 31 similar pieces and collections from an Irish source, including many scarce examples of Dublin-printed songs, including Hime's very rare 1706 Dublin edition of Haydn's second set of Canzonettas, but also Mozart (1), Handel (4), Thomas Philipps (6), and J. A. Stevenson (3), all published ca. 1794 to 1803. - Binding worn but sound with a few professional repairs to hinges and spine. Minor soiling and small stains throughout, but a very good copy. Provenance: Katherine M. M. Saunders, probably of Dublin (her label to upper cover and ink name at head of several of the scores). Hoboken IX (1991) 1525. Hirsch III, 799. RISM H 2656.
Large 4to. Altogether 3¼ pp. on 4 pp. With one autogr. envelope. To George Brown, the owner of a gymnasium in Manhattan, Hemingway's personal trainer, boxing coach, and friend. - I: Hemingway's affection for his sporting pal is evident in this revealing and highly personal letter, written shortly before Ernest and Mary left for an African safari: "How are you kid? Mary sends her best. We are fine and in very good shape and think of you often. Were out on a trip together on the boat for two weeks and we go to bed every night after it gets dark and have plenty of time to talk and to sleep good [...]". Hemingway then gives news of his sons, and mentions his youngest son ("Gig"), who, in his early twenties, was turning violently hostile to his father: "I am sorry I spoke against Gig since he is a friend of yours and used to be of mine as well as my favorite son. But he changed very strange very fast. As bad as though the devil was managing him. I couldn't ever see him again; not even to go and see him hanged. But if he seems good to you, O.K. I haven't heard from him since last November when he came of age [...]" (Finca Vigia, San Francisco de Paula, Cuba, May 12, 1953). - II: Written on the eve of the latter's visit to Cuba and while preparations are being made for the film of The Old Man And The Sea: "George you can't have any confidence in any of those characters. They are all tighter than a hogs ass in fly time. That Goldwyn kid was nice as could be when it was a question of seeing us and thus becoming an old pal of old Ernie […]" (ibid., August 18, 1955). - III: Written from his sickbed. Preparations were still being made for the film mentioned above, and Hemingway had spent September trying to get actions shots of leaping marlins for the producer Leland Hayward. Apparently, too, Hemingway was making an effort to get Brown involved in getting Spencer Tracy in shape, for he writes: "I am very sorry about [Peter] Viertel [wrote the screenplay] behaving so carelessly. He is a very selfish boy but I think he has a little bit of an excuse in that he was with Zinneman on the script and was expecting you out there. While Zinneman was down here we discussed the whole thing about your getting Spencer in shape and agreed it was absolutely necessary and we spoke about it again on the long distance phone […]" (ibid., November 25, 1955; with several autogr. lines in pencil). - On personal stationery of Finca Vigia. - Partly light-soiled, otherwise in fine condition.
4to and (oblong) 8vo. A total of 19½ pp. on 20 ff. Amicable correspondence with the Konstanz dentist and composer Alfred Schlenker (1876-1950) and his wife Martha, reporting on his travels, his wish to see them, his health, his family, and his artistic work. - "Der Sommer holt noch etwas vom Versäumten nach, das ist gut. Aber in Lugano stehen die Fremden einander auf den Zehen, alles ist unleidlich überfüllt. Die Autocars aus aller Welt stehen Schlange [...]" [postmarked Zug, 1953]. - "Mit dem in Osnabrück abgebrochenen Stück Zahn konnte ich nicht, wie ich damals wollte, gleich zu Ihnen kommen, da ich inzwischen auf dieser merkwürdigen Reise auch noch um meinen Blinddarm gekommen bin [...]" [postmarked Frankfurt, 29 Nov. 1909]. - "Das was das Radio neulich gesendet hat, war eine von mir 'besprochene' Platte. Falls Sie einen Apparat für Langspielplatten besitzen und es wünschen, bekommen Sie diese Platte von mir geschenkt [...]" (postmarked Zug, 9 July 1959). - "[Das Kölner Hessearchiv] wurde vor einigen Jahren ohne mein Wissen und sehr gegen meinen Geschmack von einem ehrgeizigen Mann [...] gegründet, und ich habe Zeitlang gegen ihn Nachsicht geübt [...] Aber bald wurde dieser Mann so lästig und aufdringlich, und hat namentlich alle meine Freunde, deren Adressen er erschnüffelte, so frech und rücksichtslos ausgenützt, ihnen Briefe von mir abgeschwatzt [...] dass ich ihn durch meinen deutschen Rechtsanwalt warnen lassen musste [...]" (annotated by a collector: "postmarked Montagnola 27 April 50"). - The 12-line poem "Nachtgefühl" includes an autograph watercolour. Corners trimmed. - Includes two prints with a few autograph lines to Alfred and Martha Schlenker on the last page; also, a signed portrait woodcut of Hesse by Max Bucherer and a fragment of a portrait of Hesse drawn by an unidentified hand (13 x:29 cm, trimmed at top and bottom). - A few insignificant edge flaws, but generally in perfect condition. Pflicht und Passion. Die Freundschaft zwischen Hermann Hesse und Alfred Schlenker, Gaienhofen 2010, p. 21 (reproducing a postcard from this collection).
Oblong 4to. Contemporary red morocco, spine, covers leading edges and inner dentelle elaborately gilt, front cover showing crowned monogram "F.C.". Green moirée silk endpapers. All edges gilt. Comprises eight inscriptions (some mounted) by members of Hugo's circle, including Marie Nodier ("Le printemps est fini [...]", ½ p.), Félix Lecler ("Confiance", 1883, 1 p.), Louis Boulanger ("[Ode à Victor Hugo]", 1 p.), Auguste Souillard Saint-Valry ("Ode à Mr le Cte de Peyronnée", 1 p.), and, finally, Victor Hugo himself, represented by the last stanza of his poem "Ô mes lettres d'amour, de vertu, de jeunesse": "Oublions! oublions! Quand la jeunesse est morte, | Laissons-nous emporter par le vent qui l'emporte | A l'horizon obscur, | Rien ne reste de nous; notre oeuvre est un problème. | L'homme, fantôme errant, passe sans laisser même | Son ombre sur le mur!" - Several of the contributors counted among Hugo's circle of friends: Marie Nodier travelled to Switzerland with him; Louis Boulanger was the official painter of the Hugo family; Auguste Souillard Saint-Valry was a childhood friend of Hugo's and later trustee of his literary estate.
Folio. 2 pp. Letter in Russian to Alexej von Jawlensky (1864-1941) concerning the preparation of the exhibition "30 deutsche Maler aus unserer Zeit" which would be held from April to July 1930 at the "Nassauischer Kunstverein" in Wiesbaden. - Kandinsky explains that despite his difficulties in communicating with the Germans, not being German himself, he managed to get Jawlensky to present seven paintings there. He pointed out to him that he should not be disappointed because it was more than for most of the other participants, and asked him not to be angry with him since the decision was not up to him. Kandinsky also writes about the two other members of the exhibition group "The Blue Four", which he founded with Jawlensky in 1924: Paul Klee and Lyonel Feininger. - Left margin with punched holes (no loss to text).
440 x 505 mm (image, platemark 522 x 601 mm) on cardboard (620 x 690 mm). Heliogravure by the Viennese art publisher J. Löwy after Gustav Klimt's watercolour, now in the Wien Museum (IN 31.813), inscribed to the statesman Count Eduard Taaffe, Viscount Taaffe, in German in the lower right margin: "Sr. Excellenz dem Herrn Ministerpräsidenten Grafen Taaffe in größter Ehrfurcht. Gustav Klimt 30/I 1890" ("To His Excellency the Minister-President Count Taaffe in deepest veneration. Gustav Klimt 30 Jan. 1890"). Taafe is depicted on the first balcony, fourth from the left. In 1888 Klimt had been commissioned to record for posterity the old Court Theatre on Vienna's Michaelerplatz (St. Michael's Square), to be demolished in autumn that same year. Klimt integrated some 200 miniature portraits of contemporary celebrities into his painting. - Edges a little bumped and scuffed, cardboard stained and browned. Image nearly flawless; inscription and signature a little faded.
4to. 19½ pp. on 1 bifolium and 8 single leaves. With fiscal stamps. Contracts, four of which drafted by Lachâtre, stating his sale of the plates for the "Histoire de la Bastille" by Arnoult, Alboize and Maquet to Mme Languet (21 June 1881), of "N’a-qu’un-œil" by Cladel and of Marx's "Le Capital" to Auguste Milbert and his wife Mme Bonaventure-Milbert (31 Dec. 1882), of the "Histoire de la Bastille" and "Histoire du Donjon" by Arnoult, Alboize and Maquet to William Heiss (31 Dec. 1882), as well as the plates and copyright to the "Dictionnaire universel de Lachâtre", the plates of the "Mystères du peuple" by Eugène Sue, as well as a large stock of books (sewn or unbound) to Henry Oriol (31 Dec. 1882). - Cession of the bookshop "Librairie du Progrès", up to this point owned by Henry Oriol and Mlle Marie-Ange Garrette, to Lachâtre and others (31 Dec. 1885). Second leaf somewhat brownstained. - Contract in duplicate between Lachâtre, Marie-Thérèse Garrette and the other shareholders of the "Librairie du Progrès", stating that copyright and licence fees will not be paid in cash, but transferred to the respective accounts of Lachâtre and Garrette for a period of at least three years (26 Aug. 1886). - Furthermore enclosed are 6 documents, 3 letters and 2 postcards, partly addressed to Lachâtre; 4to and oblong 8vo, 19½ pp. on 9 single leaves and 1 sewn libellum comprising 2 bifolia: - Two postcards addressed to Lachâtre, one by the Lisbon publisher Joaquim Gonçalves Pereira, expressing his opinion on the engravings sent to him (22 Nov. 1892), the other by an unidentified Belgian bookseller, asking for several pages of Lachâtre's dictionary (1 Sept. 1897). - Letter by the paper manufacturer George Gratiot & Cie, probably to Lachâtre, about archival files the addressee had sent him (6 March [?] 1886). On headed stationery. - Letter by an unknown writer giving an inventory of the "Dictionnaire Lachâtre" (27 May 1921). - Document signed by Edouard Ducret paying his debt to Henry Oriol (26 Oct. 1883). - Cessions of copyright of "N’a-qu’un-œil" by Cladel and Marx's "Le Capital" to Mme Milbert (1890), of Ducret's "Un baiser funeste" to Henry Oriol (11 March 1886), and of the work of Eugène Sue to the "Société Jules Rouff" (29 July 1904). - Two contracts stating the sale of two journals owned by Henry Oriol to J. Le Poullain (2 July 1880), as well as the printing of the same (2 July 1887). - Furthermore, the statutes of the "Librairie du Progrés", in duplicate (4to, 4 pp. on 2 bifolia), as well as 6 blank 4to leaves of the bookshop's headed stationery.
Large 8vo. 2 pages on bifolium. With autogr. address. To the engraver and illustrator Daniel Chodowiecki (1726-1801), about producing a series of engravings. - Lichtenberg's landlord, publisher, bookseller, wine merchant, and friend Johann Christian Dieterich (1722-1800) was also publisher of the "Musenalmanach", continued after the death of its editor Erxleben by Lichtenberg (as "Göttinger Taschen Calender"). The periodical targeted a wide audience of limited education. Shrewdly, Dieterich had made it a point from the beginning to include engravings, and the engagement of Chodowiecki, one of the most-sought illustrators of his time, was an additional factor that appealed to the picture-hungry audience. The issue discussed here by Lichtenberg was published in 1781, containing 2 fashion engravings and 12 monthly engravings by Chodowiecki on the subject of "Twelve Ways to Propose". - Slight defect to f. 2 due to broken seal. Such early letters by Lichtenberg are uncommon: auction records list no similarly early letters, nor any part of Lichtenberg's correspondence with Chodowiecki.
3 SS. auf Doppelblatt. Kl.-4to. Freundschaftliche Zeilen an den Mäzen, Cellisten und Komponisten Michel Wielhorski zur Übersendung von sechs Partituren und mit einer Einladung nach Weimar, wo er ihm mehrere seiner sinfonischen Dichtungen vorspielen wolle: "Il y a peu de semaines je priai le Prince Eugène Wittgenstein de vous porter de ma part le paquet de mes six premières partitions parues, et aujourd'hui S.E. le Baron de Vitzthum veut bien se charger de vous remettre ces lignes. Si vous avez jeté un coup d'oeil sur les partitions vous vous serez apperçu (car votre regard sait entendre) que les années écoulées ne m'ont pas rendu plus mauvais musicien qu'auparavant, et maintenant je désirerais que ces lignes puissent vous dire avec plénitude aussi, combien je suis resté fidèlement attaché au souvenir de ceux qui ont été bons et bienveillans pour moi, parmi lesquels vous me permettrez de vous réserver une place particulière, - quelque chose comme celle du maître de chapelle dans l'orchestre, car plus d'une fois vous avez pris le soin d'indiquer la mesure et les nuances à plusieurs des exécutans lesquels ne s'en étaient pas bien avisés. Cmbien je serais heureux de reprendre avec vous quelques-unes de ces conversations où j'avais toujours un double profit d'agrément et d'instruction à faire! Peut-être viendrez-vous pourtant à quelque beau jour dans ces contrées, et si j'avais une faveur à demander à Madame la Grande Duchesse ce serait celle de vous inviter à venir passer l'inspection de notre nouveau ménage musical de Weymar. Ce me serait une véritable fête de vous faire entendre plusieurs de mes Poèmes symphoniques et de vous communiquer d'autres élucubrations de ma nouvelle sorte, lesquelles à défaut d'autre mérite ont au moins celui d'être l'expression propre et non empruntée de mon individu tel quel, qui vous restera toujours très sincèrement affectionné et respectueusement reconnaissant […]". - Einer kleinen Eingangsnotiz zufolge ("reçu le 9/21 août") hatte Wielhorski den Brief am 21. August erhalten, knapp viereinhalb Wochen vor seinem Tod am 21. September. - Mit kleinen Faltspuren und einem montierten Portrait Liszts auf Bl. 1 recto. Aus dem Besitz Arturo Toscaninis.
1 S. 4to. Befehl, seine Räte möchten ermitteln, ob Memoiren bestimmter französischer Minister vorlägen; auch solle sein Hofsekretär Lorenz Düfflipp am 13. des Monats die Komödie "Der kleine Richelieu oder Der erste Waffengang" (von Bayard) aufführen und am Vortag entweder die Wagner-Oper "Das Rheingold" oder Julius Leopold Kleins Lustspiel "Die Herzogin" zur Aufführung bringen lassen: "Befehlen Sie für morgen Nachmittag Mohl, Braun, Pfeuffer heraus. Wollen Sie sich erkundigen u. zwar bald ob Mémoiren vom kgl. franz. Minister Maurepas od. v. dem Minister Maupeou od. Terray (alles Zeit Louis XV) existieren; schreiben Sie sofort Düfflipp u. befehlen Sie in meinem Namen auf den 13. den ersten Waffengang, dieses Stück muss an diesem Tage gegeben werden. Macht sich die Herzogin für den 12. besser als 'Rheingold' so soll dieses heute zur Aufführung kommen [...]". - Leicht braunfleckig.
148:112 mm. A New Year's greeting, showing a tree and some leaves, executed in black and green.
Small 8vo. 3 pp. To French composer and critic Paul Dukas, thanking for an article on William Beckford: "Je vous remercie tard, j'ai voyagé, de la belle page par vous écrite au sujet de Beckford [William], comme elle m'eût servi, précieusement, avant de préfacer son livre ! Cela reste un honneur, pour ma réédition, d'avoir motivé cette étude perspicace et haute, je la conserve comme un des titres du Vathek à la faveur française. Permettez aussi que je me montre flatté des paroles bienveillantes qui s'adressent particulièrement au bibliophile [...]".
