66 595 résultats
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 [...]".
¾ S. 8vo. Mit eh. Adresse (Faltbrief). An den Leipziger Buchhändler, Kunsthändler und Verleger Theodor Oswald Weigel über den Erwerb von Beethoven-Manuskripten: Mendelssohn sei durchaus bereit, "für die beiden Convolute von Manuscripten Beethovens welche ich neulich auf Ihrem Comptoir sah die geforderte Summe von 25 Louis d'or zu zahlen. Einen höheren Preis zu geben würden mir allerdings meine Mittel nicht erlauben und würde ich vom Kaufe abstehen müssen, wenn die Besitzer über diese Bedingungen andern Sinnes würden. Doch hoffe ich dies um so weniger, als Sie mir dieselben ja in ihrem Namen mitgetheilt haben und als ich demnach wohl bestimmt annehmen kann, daß es dabei bleibt […]". - Mendelssohn besaß eine ganze Reihe von Autographen Beethovens und anderer, die er zum Teil von Giacomo Meyerbeers Bruder Heinrich, dem Enfant terrible der Familie, bekommen haben dürfte. "Obwohl die Familien Beer und Mendelssohn sich nicht mochten", liefert eine Bemerkung Heinrich Heines in seinen "Geständnissen" (in den 1854 erschienenen "Vermischten Schriften") einen Hinweis darauf, "daß Heinrich Beer und Mendelssohn sich gekannt haben. So ist es dem Sonderling Beer durchaus zuzutrauen, daß er die Partitur der 7. Symphonie Felix Mendelssohn schenkte; ob auch alle andern genannten Stücke kann vorerst nicht ermittelt werden. Jedenfalls befindet sich Heinrich Beers Autographen-Sammlung, zu der auch Mozarts 'Entführung aus dem Serail' gehörte, später bei [Felix' Bruder] Paul Mendelssohn, vermehrt um Stücke von Bach, die nachweislich wiederum Felix gehört hatten. Sowohl in den zahlreich hinterlassenen Papieren von Felix als auch in denen von Paul gibt es keinen Hinweis auf diese Sammlung. Es ist zu vermuten, daß Felix seine Autographe an Paul schenkte, denn Paul galt als der 'Wächter' der Familie, nicht nur in Geldangelegenheiten" (Elvers, s. u.). Mendelssohns Beethoven-Autographen gelangten schließlich 1908 durch eine Stiftung von Ernst von Mendelssohn Bartholdy, dem Sohn von Paul, in den Besitz der Königlichen Bibliothek in Berlin. - Leichte Gebrauchsspuren. Elvers, Rudolf: Felix Mendelssohns Beethoven-Autographe. In: Carl Dahlhaus u. a. (Hrsg.): Bericht über den Internationalen Musikwissenschaftlichen Kongreß Bonn 1970. Kassel, Bärenreiter, [1973], S. 380-382, hier S. 380f.
4to. 4 pp. on bifolium. Via Carl Klingemann to the German Orientalist Friedrich Rosen (1805-1837) in London, sharing his observations on the cold and malicious nature of the Berliners. The composer laments about the way the denizens seem to make it a point to treat the artists poorly during performances: "On the Festival you already know the details from Klingemann; it has become one of our dearest recollections, and I think it is my best composition. A few weeks later the surgeon declared my knee to be completely cured, and I thought I would be leaving shortly, but then the bitter cold came and I postponed the journey and began a large work (a symphony for orchestra, on which I worked a lot every day; it isn't quite finished, but I hope I can finish it before my departure, as I have already begun the last movement. My illness surprised me a few days before my departure, I had already taken my leave and had started to pack; now I'll have to postpone that at least a fortnight longer, but then I think I can leave; my plan is to go from here via Weimar to Munich, then through the Tyrol to Vienna; from Vienna I intend to go to Venice and Upper Italy in the middle or toward the end of summer, and then I think I'll spend next winter in Rome and Naples, then in the spring, if it is permitted to spend so much time on a plan, go to Paris and then to London from time to time, where there may be much smoke and fog and great crowds and poverty, but where pretty nice people live, too, and where I wasn't so bad off for a year. But will I find the same people there then? On this, as on your whole Let (that is Sanscrit for the future) I ask you to let [me] know a lot, also about everything which is dear and precious to me in London, and about our friends at some length. For you have a sharp eye, professor, and when you are sitting on the blue sofa, or silently making tea, or modestly gliding to and fro in the halls of the university with a light red [folder] and a long black robe, you will still make your accurate remarks and comments, and I expect more from you than from many a Berlin lady. What I have to tell you about Berlin, at last, is little and not pleasant, the people are cold, malicious, and make it a point of honor never to be content; even when [Henriette] Sonntag performed recently she was received quite coldly and was palpably slighted in favor of the others in the cast; her sister, who performed the next evening, was almost completely hissed from the stage, for which the other faction took revenge, and in their first scene (in Othello), all the participants were hissed at and Mme. Sonntag had a curtain call, and at that they speak, think, and do nothing differently than Mme. Sonntag and the factions for and against her. But is such formation of factions something a reasonable and interested public should do and doesn't it spoil any enjoyment of the work of art and all joy of the artist? But that's how they are in big and little things, and the Flower Market that opened yesterday in the University Gardens, for which a single gardener has obtained a monopoly, is just as good a proof of it as the dearth of operas other than by Spontini and Auber for which the Royal Theater has in turn obtained a monopoly, and like the monotony of the parties and conversations here; God will improve this when He has nothing to do but that, but I'm afraid He'll get other things and so much to reform that the Berliners' turn won't come for a long time, so for now they are good enough. Let me know what the Johnstons are doing, whether Ritter is still the same as back then, and whether Mühlenfels has been successfully introduced to society and speaks French with Federita. Let me know, too, about the stone monkeys, the wooden chairs from King Edmund the Cannibal's time, and the scraped-off portraits. My chests from England arrived a few days ago and filled me with longing again. Have you been back to Atwood's again since then, and did you entertain the fellow with some Ikojan Atchi? You see how I have learned from you. In short, write me about each and every thing, but especially, write me [...]" (transl.). - Friedrich Rosen became Professor of Sanscrit at the University of London (later University College) in 1827, at the age of twenty-two. Carl Klingemann was Mendelssohn's close friend and collaborator who wrote the words for many of the composer's songs. Karl Wilhelm Ludwig Heyse had been Mendelssohn's tutor until 1827. The Festival is possibly the Grosse Festmusik zum Dareifest (Grand Festive Music for the Durer Celebration) of 1828. The Symphony may be the Fingal's Cave Overture written in 1830. One of the Liechtenstein songs is doubtless Frühlingslied (Song of Spring), op. 19, no. 1.
¾ S. auf Doppelblatt. Folio. Mit Adresse verso. Wasserzeichen: Anker in Kreis mit Stern. Etwa zwei Monate nach Abschluss des Passauer Vertrags mit König Ferdinand I. verfasster Brief an seinen Bruder August von Sachsen (1526-86) mit der Bitte, entweder zwei seiner Kämmerer für zwei Edelleute zu schicken oder jenen ansonsten vertraulich zu schreiben, um zu erfahren, wie ihre Angelegenheiten gegenüber Herzog Johann Friedrich I. von Sachsen (1503-54) stünden: "Wir bitten E. L. vieler Ursachn halber freuntlich und bruderlich Sie wolle etwa Iren Cammerern [...] oder sonst Irer vortrauten diener [...] schicken, Oder Inen sonst vortraulich schreiben, und von Ihnen erfaren lassen, wie doch Ire Sachen gegenn unserm Vettern Hertzog Hansfridrichen stehen [...]". - Dank des Passauer Vertrags im September des Jahres aus seiner fünfjährigen Gefangenschaft befreit, nutzte Herzog Johann Friedrich während seiner letzten Lebensjahre weiterhin den kurfürstlichen Titel und das entsprechende Wappen, was abermals zu Auseinandersetzungen mit Moritz führte. - Etwas stock- und braunfleckig. Mit zwei kleinen Randeinrissen und Siegelspur. Etwas gebräunt und mit kleinen Papierdurchbrüchen; geringer Textverlust durch Abdeckung im Adressfeld.
8vo. 11 pp. Sewn. "Mad. Moscheles zum freundlichen Andenken [for Madame Moscheles in fond memory] / On the birth and Christening of Felix Moscheles the words by Barry Cornwall (B. W. Procter) the music by the Cher Sig. Neukomm […]".
8vo. 3 pp. on bifolium. To the painter Claude Monet, thanking him for lending him 15,000 francs to pay a mortgage and announcing to write to his wife so she can let them know when the sum should be disbursed; also agreeing to lend Monet his painting "La cueillette des pois" in exchange, a work he planned to lend either to his friend or the Musée de Luxembourg, but the museum having taken too long to reply: "Je vous remercie de l'empressement que vous mettez à me rendre service. Moi non plus, je n'ai aucune idée sur les prêts sur Hypothèques et je crois en effet que ce serait plus simple de nous arranger ensemble. Cela me va parfaitement, je vais écrire à ma femme que vous tenez à Ma disposition 15 mille francs de vouloir bien nous dire pour quelle époque le versement, nous pourrons parfaire la somme facilement. Quant aux femmes qui ramassent des pois, c'est trop flatteur pour que je n'y sois pas sensible. J'étais du reste ennuyé de vous l'avoir refusé, je l'ai donné à ma femme avec la condition de le céder à un moment donné au Luxembourg si on me le demandait ou à vous. Certainement ma femme y consentira. Tant pis le Luxembourg a trop tardé, je serai enchanté que ce soit chez un ami. Voilà mon vieux camarade nous serons tous contents [...]". - In conclusion Pissarro considers his wife's idea to buy the house a curious one, but knows he would regret it to have refused her: "Enfin!! Drôle d'idée qu'a ma femme de vouloir acheter la maison, mais j'aurais des remords de la lui refuser [...]".
Small 4to. 1 p. On a self-contained addressed mailing sheet. To his physician, Dr. Parenteau, asking him to come and see him before his departure because of a congestion: "Cher Docteur. Je suis encore congestioné! Juste au moment où je me dispose à faire mes malles, vous seriez bien aimable de venir me voir, j'ai pu éviter l'accident tous ces jours-ci car cela menacait plus ou moins enfin! Cette fois ça y est!! Je vous serre les mains". - Under his signature, Pissarro adds a brief postscript, giving the reason for the urgency of the matter: "Il faut cependant que je parte! Les fleurs vont disparaître!!!". - In very good condition; with central horizontal and vertical fold, a bit of mild toning, rusty paperclip mark along top edge, adhesive residue along left edge, and show-through from postmarks and printing on reverse.
4to. 1½ pp. In French. Highly interesting letter that is part of an affair surrounding the admission of a member of the House of Hénin and courtier of the Marquise de Pompadour to the Order of Malta. Apparently, the bailiff of Saint-Simon, a cousin of the Duc de Saint-Simon and unquestionably a political enemy of the Marquise, tried to prevent the desired admission of Hénin. The Marquise immediately put pen to paper and intervened on behalf of her courtier, casting doubt on the credibility of the detractor. The letter contains "two reflections" on the matter; it accompanied a further letter to a high-ranking Knight Hospitaller, most likely Louis Gabriel de Froulay, ambassador of the Order of Malta to Louis XV: "The 1st, his having been my gentleman, cannot disadvantage Mr. d'Hennin to enter the Order of Malta, since there is more than one example of dear ones who are admitted, whose fathers had belonged to ladies of the court, and even to titled names. The 2nd, that to serve the King at the table is a very great honour, and that it is usually the governors of the royal houses who are in possession of it, Monsieur the Bailiff of St Simon cannot say what he saw at my table, since he has never been there" (transl.). In closing, she asks the recipient to inform the Grand Master before he makes any decision and announces that M. Rouillé, probably the Secretary of State Antoine Louis Rouillé, will give him "an exact account of the affair". - The intervention appears to have been successful: the Marquise's protégé was probably François-Joseph de Hénin-Liétard (b. 1729), who was received into the Order of Malta on 16 March 1755. - Well preserved.
8vo. 2 pp. on bifolium. With autograph envelope. To the composer Casimir von Pászthory (1886-1966) in Vienna, who in 1914 set to music his 1906 poem "Die Weise von Liebe und Tod des Cornets Christoph Rilke", a copy of which composition he received some time ago, apologizing for not having thanked him earlier, mentioning that his desk is piled high with unanswered correspondence; also, acknowledging the receipt of 100 Marks and asking von Pászthory to send the balance to the "Insel" publishing house, who administer all his business affairs: "Schon als mir, vor einiger Zeit, Ihr Verleger ein Exemplar Ihrer Musik zur 'Weise von Liebe und Tod' zu übersenden die Aufmerksamkeit hatte, wäre ein Wort des Dankes an Sie am Platze gewesen, verzeihen Sie, dass ich mich, im Gedräng einer arg rückständigen Correspondenz, die meinen Schreibtisch buchstäblich überhäuft, erst heute dazu aufraffe, und nehmen Sie dieses kurze Wort wenigstens als ein herzliches. Inzwischen habe ich Ihnen auch noch hundert Mark zu bestätigen, die mir, auf Ihre Postanweisung hin, gestern ausgezahlt worden sind. Was den Rest des Betrages angeht, den Sie mit meinem Verlage seinerzeit vereinbart haben, so bäte ich Sie, ihn nach Leipzig an den Insel-Verlag senden zu wollen, der alles Geschäftliche für mich verwaltet [...]". - With 2 small marginal tears.
4 SS. auf Doppelblatt. 8vo. An den Ophthalmologen, Okkultisten und Schriftsteller Rudolf Tischner (1879-1961), dessen zwei letzte Nachrichten ihm "vom Miether meiner Münchner Wohnung (es werden nächstens zwei Jahre, daß ich in der Schweiz bin)" nachgesandt worden seien, so dass er sie erst jetzt beantworten könne: "Ich weiß es sehr zu schätzen, daß Sie sich meiner erinnert haben, bitte, bleiben Sie dabei, mich nicht aufzugeben [...]". Weiters über seine parapsychologische Beschäftigung mit den Arbeiten von William Jackson Crawford, Albert von Schrenck-Notzing, Theodore Flournoy und Waldemar von Wasielewski: "Außerordentlich wichtig sind die Entdeckungen Crawford's, gegen die ich - ich kann es nicht leugnen - zunächst den gleichen Widerwillen empfand, wie seinerzeit gegen Schrenck-Notzing's Materialisations-Phänomene, - aber nun ist diese Sache längst keine Geschmackssache mehr und man wird sich - tant bien que mal - dem Ergebnis dieser übereinstimmenden Forschungen unterwerfen müssen [...] Ich habe mir gestern Flournoy's Bücher bestellt und freue mich, nächstens die Schriften des Herrn von Wasielewski zu lesen; Sie sehen also, es fehlt uns nicht an contact (wenn es nicht unbescheiden ist, soviel zu sagen [...]".
8vo. 1½ pp. on bifolium. In Russian, thanking for the collection of poems "Scheherazade" by Tristan Klingsor, which he appreciated very much, himself having composed a symphonic suite under this title (which premiered in 1888). He apologizes for writing in Russian, adding that he cannot do so in French, but is confident that someone in his correspondent's circle will be able to translate. - In 1903 Maurice Ravel set three poems from Klingsor's collection to music. - With several small marginal tears, most prominent on the blank second half of the bifolium.
A total of 16 autograph pp. in 8vo and 4to, 19 typed pp. in 4to. With drafts of 15 letters from Bischoff to Rouault (1943-1952) and some additional material. Comprehensive letters on various topics, including his physical and moral condition, prayers and thoughts, and comments on paintings ( " cet affreux métier [...] cette vie en enfer" ), painters (among others, Corot , Cézanne , Renoir, and Degas), the trial that made him the heirs of Ambroise Vollard (the " les démélés avec ces affreux bougres ... m'ont dégouté de la peinture", November 1945): " Je vois que vs ne vs rendez pas bien compte de ma situation présente isolé impossible de plus en plus tout à fait - impossible [...] Aussi je suis tirbouchonné de bonne manière"; " Alleluia priez plus pour cet art bien aimé et redoutable [...] la meilleure grâce qui me fut faite ce sera d'avoir parfois prié en peignant avec quelque bonheur [...] Mon Dieu ayez pitié du pauvre émigré [...] 1871 - 1914 - 1937 [...] cela gens de peu de foi suffit il pas [...] ne parlons pas peinture on en parle trop facilement". - In addition to a letter from March 16, 1950, Rouault attaches a four sided poem entitled "Poêmes d'Ariel Testament spirituel A Bischoff pour lui porter bonheur en ces temps de hargnes picturales". - Included are also some letters etc. by the Rouault family.
8vo. 3½ pp. on bifolium. Amicable letter to his estate administrator Gaspard-François-Xavier Gaufridy about his spending six weeks in bed with a high fever before having his "emissaire", his mistress Marie-Constance Quesnet, deliver a memoir to the minister and his "chef des bureaux" concerning the military draft of Gaufridy's son François. The minister indicated the possibility of a leave of absence, provided that Gaufridy deliver several documents, which de Sade encourages him to do as soon as possible: "Gardant ma chambre depuis 6 semaines pour une terrible ébulition de sang et un accès de goute, il m'a été impossible d'agir par moi-meme, mais l'eusse je pu je ne l'aurais pas fait connaisant la manière infiniment plus adroite et plus chaude dont les emissaires feminins, et surtout le mien se conduisent en pareil cas. J'ai donc fait le memoire ci joint, et mon amie l'a porté [...] chez le ministre [...] il a dit à mon amie de se transporter chez [...] le chef des bureaux [...] mais il a dit comme le ministre que la loi était contre le jeune homme [...] il vous exhorte à vous presser, et dès que vous m'auvez envoiyé les pièces et que je les lui aurai remises le congé sera expédié sur le champ [...] Hatez-vous donc mon cher Gauffridi, je brute de finir cette affaire [...]". - De Sade confirms the receipt of three parcels containing jam, candles, and oil, and gives a sketch of a curious phenomenon he observed within one oil barrel, in which the oil appears to have solidified and compressed itself into two thirds of the container's space. Further, he complains about the various kinds of jam, wishing to have kiwi, less sour flavours and fewer red jams, which his doctor forbids him to consume: "Je viens de recevoir trois ballots contenant [...] huit pots de confitures de differentes sortes [...] neuf livres de bougies, deux boites de confitures seches et deux barils d'huile [...] il est arrivé quelque chose d'assez singulier au baril d'huile à manger, la figure ci joint[e] va vous le demonstrer [...] Toute l'huile parfaitement figée s'est comprimée dans la partie b et toute cette partie b est absolument pleine [...] quant à la partie a elle est entièrement vuide [!] et c'est coupé à pan droit comme si on l'eut fait avec un couteau [...] Les confitures sont excellentes mais pourquoi point de chinois que j'aime a la folie, et pourquoi tant d'acide et de confitures rouges qui me sont positivement defendues par mon medecin [...]". - In conclusion he mentions financial affairs, including the selling of the Château de Mazan, the costs of the estate having incurred him debts of one million, and the Château de La Coste, looted during the Revolution, as well as his need of 6,000 livres to pay a loan: "Le troisième objet est la vente du château de Mazan. Vous ne voulez pas absolument entendre qu'imaginant que vous alliez vendre cet objet sur le champ j'ai toujours acheté et que me voilà maintenant chargé d'une dette d'un million [...] tirez moi donc de le mauvais par tout de suite [...]". - Small traces of red wax.
