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4to. 1½ pp. on bifolium with address on verso. To the 1st Earl of Shelburne, regarding the health of his son Thomas, at the time Smith's student and lodger: "My Lord / It gives me as much pleasure to write to your Lordship today as it gave me pain to write to you by last post. The Doctors Predictions have upon this occasion been literally and exactly fulfilled. Mr. Fitzmaurice had the night before last a very slight attack of his fever which he was relieved from by a gentle sweat; and last night he had a bleeding at the nose which Dr. Black regards as a perfect crisis. He has since been entirely free from all feverish ailments or symptoms [...]". Written in ink in a neat cursive hand, approximately 23 lines to the page, with a few corrections in the text, addressed on the verso of the second sheet, annotated: "Mr. Smith concerning my son Thomas’s health". Sometime folded for posting, some light soiling along the folds. - Adam Smith was appointed professor of logic, and then of moral philosophy at Glasgow in 1751 and 1752 respectively. As a professor, Smith took students into his house, offering both supervision in studies and board and lodging. Of these students, the names of only two have come down to us: Henry Herbert, later Lord Porchester, and Thomas Petty-Fitzmaurice. In 1758 Gilbert Elliot, later Lord Minto, recommended Glasgow University rather than Oxford for the education of the younger son of the 1st Earl of Shelburne (the maternal grandson of the economist William Petty). Petty-Fitzmaurice (1742-93) had earlier been educated at Eton. For two years from 1759, Thomas Petty-Fitzmaurice lived with Adam Smith. After Glasgow he went to St Mary's Hall, Oxford, in 1761, was called to the English Bar in 1768 and became a Member of Parliament in 1762. In 1779 he set up as a linen merchant and established a bleaching factory at Llewenny in Wales, as his Irish estates were unproductive. He was reported to have lived on “the most intimate terms with Johnson, Hawkesworth and Garrick”. The total number of recorded letters written by Adam Smith is surprisingly small - about 200, of which at least 24 are only known from published sources, which leaves about 176 letters surviving, virtually all in public collections. There are only 11 surviving letters of Adam Smith's predating his correspondence with Lord Shelburne. - Provenance: Bowood, home of the Earls of Shelburne. Mossner, Correspondence of Adam Smith, no. 46 (full transcription included; deletions by Smith are not recorded).
8vo. 1 page. In blue and red crayon. A humorous correspondence with his daughter Svetlana, giving her the desired permission to invite two classmates for the weekend: "For Secretary Number 1 Mr Stalin / Decree Number 2 / I order you to permit me to invite two boys and a girl from my class this weekend (12/3/37). / Insurgent - Svetlanka Stalina [stamp] / Signed / I submit myself / Secretary to Svetlanka - insurgent / Stalin". Very well preserved document of Stalin's private family life, pervaded by the formulae of party bureaucracy.
"There never was a time when Frank Thiess was not controversial", the celebration publication in honour of the writer's 60th birthday states (Frank Thiess. Werk und Dichter, p. 30). Before the National Socialists seized power in 1933, the writer had enjoyed great success with his historical novels, and his literary importance was largely undisputed. His novel "Tsushima" (1937), translated as "The Voyage of Forgotten Men", was printed in several hundred thousand copies; Hemingway even included Thiess in his 1942 anthology "Men at War". After the War, Thiess coined the term "Inner Emigration" to describe the situation of artists who, as he did, remained in Germany during the Nazi years without personally agreeing with German politics of the time. Thiess argued that this attitude was superior to that of emigrants proper such as Thomas Mann, who supposedly had watched the destruction of Germany from "balcony seats". Although most of Thiess's works were seized by the Nazis and some were even burned publicly, his decision to remain in Germany and his bitter feud with Mann proved great obstacles when he tried to regain his old position in German literature after the War. - The present partial Nachlass, from the estate of his second wife, Yvonne Thiess, sheds light on his role during the last years of Nazi Germany and the postwar years until 1965. In these roughly 500 letters and postcards to his wife, 22 years his junior, he reflects extensively upon his life and work. While he has apparently resigned himself during the War years to being unable to provide for his family, he is baffled by the problems he encounters after the War, complaining of unfair treatment, feuds with other writers, and the difficulties in joining the literary scene of postwar Germany. - Detailed list available upon request. Frank Thiess. Werk und Dichter. Ed. by R. Italiaander (Hamburg, 1950). Cf. E. Hemingway, Men at War: The Best War Stories of all Times (New York, 1942). Y. Wolf, Frank Thiess und der Nationalsozialismus. Ein konservativer Revolutionär als Dissident (Tübingen, 2003).
4to. ½ p. Framed and glazed. In Italian, to George Thomson in Edinburgh, a friend of Robert Burns and publisher of Haydn's song adaptations, inquiring about London performances of his "Creation" and announcing that he intends to write, before his death, another two or at least one dozen works specially for Thomson: "Stimatissimo Signor mio. Nell' ultima vostra lettera di Luglio m'avete fatto troppo Complimenti per la mia Creazione del Mondo. Mi stimo molto felice, che Iddio m'ha donato questo piccolo Talento per dar soddisfazione agli Amatori di Musica, tanto più, che per questa grazia Divina posso far del bene al prossimo mio, ed ai poveri: io vorrei dunque saper, se in Londra fu data la Creazione per i poveri, o per il Concerto professionale, e quanto denaro habbiano fatto; io ho fatto in Vienna con questi due pezzi di Musica, cioè colla Creazione, e con le quattro stagioni per le nostre povere Vedove di Musica, in tempo di tre anni quaranta mila fiorini: Se mi potete col tempo darmi una risposta sopra quel punto, mi fareste un gran piacere. - Vi mando dunque queste tredici Ariette con l'istessa speranza, che vi daranno piacere, io vorrei far ancora prima della mia morte venti cinque, o almeno dodici di queste Ariette, mà solamente per voi caro amico, perche cose più grandi non posso più sorprendere, la mia vecchiezza m'indebolisce sempre più [...]". With Thomson's autogr. note of contents on the reverse: "Dr. Haydn. With 13 more Airs to which he composed Symph.s and Accomp.ts and Enquiring whether the Creation had been perf.d in London for the benefit of the poor - and that he will yet do some more airs for me, and only for me!" - Traces of folds; slight tear at horizontal centerfold (touching text), otherwise immaculate. Provenance: in the collection of Emilie Schaup in 1931; later in a Vienna private collection. First published in German translation by Botstiber, Der Merker 1/19, 777; Italian text first printed by Leo Grünstein in: Das Alt-Wiener Antlitz (Vienna 1931) I, 138 (but recipient erroneously identified as Bridi). Dénes Bartha (ed.), Joseph Haydn. Gesammelte Briefe und Aufzeichnungen (Kassel 1965), p. 452, no. 357; H. C. Robbins Landon (ed.), The collected correspondence and London notebooks of Joseph Haydn (London 1959), p. 234f. Thomson's note was first published (with a departure) in: Eva Badura-Skoda, "Eine private Briefsammlung", in: Festschrift Otto Erich Deutsch (Kassel 1963), p. 280-290, at p. 283, with fig. 2.
4to. 2 pp. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), about an experience during his journey to Moscow, his daily work, a proposed business trip abroad, his daughter Una, etc.: "[...] Today, on the 14th, I started working at the Tretyakova gallery. I was promised to sell a drawing soon [...] I called upon the Main Administration for Literary and Arts Affairs, but, as usual, they promised to make arrangements for a separate meeting and to talk to Shutko. Khvojnik sent me a note regarding my business trip abroad. It is all about not being willing to give one single Dollar in foreign currency [...] Khvojnik, who is head of the artistic department, is publishing character sketches of Russian artists and asks me to sit for him. In general, they all are quite kind well to me. My beloved Natalja, don't let yourself get bored, don't get upset, don't lose weight. During this journey I must do everything to lay in provisions for the winter [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 10.
185259104Paris D. Giraud et J. Dagneau 1852 1 vol. Relié in-12, demi-maroquin tête de nègre à coins, dos à nerfs, caissons ornés d'un double encadrement de filets à froid, tête dorée (Lortic), XVI + 356 pp., gravure allégorique en frontispice et fac-similé hors-texte.Edition originale avec un envoi autographe signé de Nerval aux frères Goncourt, dans une fine reliure de l'époque par Lortic, leur relieur préféré.Ce précieux exemplaire est resté inconnu des biographes. On ne connaît pas d'autre livre de Nerval dédicacé aux Goncourt ; dans le catalogue de leur bibliothèque ne figurent que les deux volumes des Scènes de la vie orientale parus en 1850, sans envoi donc. Le Journal des Goncourt évoque surtout Nerval au moment de son suicide, Jules ayant été dessiner la rue où le poète se donna la mort. Cependant, à l'époque de leur collaboration à L'Éclair, les Goncourt ont signé deux articles sur Nerval, le premier le 10 juillet 1852 sur Les illuminés ou les Précurseurs du socialisme (n°27, p.8-9), le second sur Lorely, souvenirs d'Allemagne le 18 septembre 1852 (n° 37, p. 126-127). C'est sans aucun doute à cette occasion que Nerval leur dédicaça ce volume. La Bibliothèque historique de la Ville de Paris a par ailleurs présenté à l'exposition Nerval de 1996 (n°436 du catalogue) un exemplaire du Salon de 1852 avec envoi des Goncourt au poète (coll. part., ancienne coll. J.E. Blanche).Quelques rousseurs marginales, sinon superbe exemplaire.
185259104Paris D. Giraud et J. Dagneau 1852 1 vol. Relié in-12, demi-maroquin tête de nègre à coins, dos à nerfs, caissons ornés d'un double encadrement de filets à froid, tête dorée (Lortic), XVI + 356 pp., gravure allégorique en frontispice et fac-similé hors-texte.Edition originale avec un envoi autographe signé de Nerval aux frères Goncourt, dans une fine reliure de l'époque par Lortic, leur relieur préféré.Ce précieux exemplaire est resté inconnu des biographes. On ne connaît pas d'autre livre de Nerval dédicacé aux Goncourt ; dans le catalogue de leur bibliothèque ne figurent que les deux volumes des Scènes de la vie orientale parus en 1850, sans envoi donc. Le Journal des Goncourt évoque surtout Nerval au moment de son suicide, Jules ayant été dessiner la rue où le poète se donna la mort. Cependant, à l'époque de leur collaboration à L'Éclair, les Goncourt ont signé deux articles sur Nerval, le premier le 10 juillet 1852 sur Les illuminés ou les Précurseurs du socialisme (n°27, p.8-9), le second sur Lorely, souvenirs d'Allemagne le 18 septembre 1852 (n° 37, p. 126-127). C'est sans aucun doute à cette occasion que Nerval leur dédicaça ce volume. La Bibliothèque historique de la Ville de Paris a par ailleurs présenté à l'exposition Nerval de 1996 (n°436 du catalogue) un exemplaire du Salon de 1852 avec envoi des Goncourt au poète (coll. part., ancienne coll. J.E. Blanche).Quelques rousseurs marginales, sinon superbe exemplaire.
Folio (270 x 345 mm). Title and 24½ pp. (paginated 1-25), final blank leaf. Written in brown ink on 32-stave paper, with 2 systems of 15 staves per page (except for the last page, which only has one system). 431 bars. Bound in contemporary red half morocco with gilt red morocco title label to the upper cover. Marbled endpapers (somewhat chipped). Exceptionally rare, unpublished musical manuscript: Bizet's autograph orchestration of the overture to Hippolyte Rodrigues's opera "David Rizzio", about the historical courtier who was the private secretary and rumoured lover of Mary, Queen of Scots. In 1566 he was assassinated by her husband, the jealous Lord Darnley, and a conspiracy of Protestant nobles. - A wealthy stockbroker and lawyer, Rodrigues (1812-98) was also a writer and composer. He retired early to devote himself to literature and music, notably composing melodies and piano pieces, but also more ambitious works such as this opera. Rodrigues was secretary of the "Société scientifique-littéraire israélite"; his sister Léonie was married to Fromental Halévy, Bizet's former teacher. Thus, Hippolyte Rodrigues was Geneviève Halévy's uncle and served as witness to her marriage to Bizet on 3 June 1869; he would lend the young couple his house in Saint-Gratien for their honeymoon. - In 1866 Hippolyte Rodrigues first published the textbook for "David Rizzio"; the piano and vocal score of the opera in four acts (first designated as a lyrical drama "en 3 actes, 4 tableaux", "paroles et musique de Hippolyte Rodrigues", would appear in 1873, privately printed by Eugène Heutte in Saint-Germain. Bizet listed this score in the catalogue of his music library. "Whether Bizet orchestrated any more of the opera than the overture is not known [...] The opera was not performed, except possibly as a play, and the music has not otherwise survived" (MacDonald). - The title-page of the manuscript first states, cryptically: "Ouverture / Jean-Jacques", followed by the correct title in Bizet's hand: "Overture de / David Rizzio / composée par / Hippolyte Rodrigues / orchestrée par / George Bizet". The orchestra includes 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 horns in C, 2 pistons in A, 3 trombones, timpani, bass drum and cymbals, violins I and II, violas, cellos, basses. The Overture begins with an Allegretto moderato in B minor in 2/4 time (25 bars); then, after a rallentendo and a brief Andante (10 bars, the last two, skipped, are noted on p. 4), comes an Allegretto (16 bars), followed by a reprise of the Andante; an Allegro 2/2 (36 measures); an Andantino in D minor in 2/4 (72 bars), then a brief passage "Un peu animé" (14 bars), leading to an Allegretto in E major (79 bars), then briefly in C (11 bars); the work ends with an Allegro in C minor in 2/2 time (110 bars), then in D, changing after 4 bars into 2/4 time until the end (46 bars). - Binding rubbed and bumped; stitching loosened. Of great rarity. Provenance: Hotel Drouot, Paris, sale at an unknown date. Delorme & Collin du Bocage, 14 Nov. 2008, lot 10. MacDonald, Bizet Catalogue, T56.
Folio (200 x 306 mm). 2 pp. on a bifolium (written cross- and lengthways, over 700 words in total) with frequent autograph corrections. Laid down on card for reinforcement in the 18th century. To Richard Norton, a leading parliamentarian who had served as a colonel of cavalry in the first civil war and had returned as member of parliament for Hampshire in 1645, seeking to expedite the marriage of his son Richard Cromwell to Dorothy Maijor (1627-76), as the country descended into the Second Civil War. - Dorothy was the daughter of Richard Maijor, an obscure member of the Hampshire gentry. It was probably Norton who had introduced Cromwell to Maijor, and he subsequently served as intermediary in the negotiations, which began in February 1648 and were not concluded until May the following year. Although Cromwell is known to have expressed doubts about the "godliness" of an alternative, more lucrative match, monetary concerns were evidently central to his consideration of Dorothy's own suitability. Cromwell's detailed discussion of such matters offers a fascinating insight into both his financial and domestic arrangements: - "Mr Maior desired 400£ p anum of inheritance lyinge in Cambridge shire and Norfolke to bee presently settled and to be for maintenance, wherein I desired to be advised by my wife [...] Having beene enformed by Mr Robinson that Mr Maior did upon a former match offer to settle the mannor wherein hee lived, and to give 2000£ in monie, I did insist upon that, and doe desire itt may not be with difficulty, the monie I shall neede for my two little wenches, and thereby I shall free my sonn from beinge charge with them. Mr Maior parts with nothing in present but that monie, saving thir board, wch I should not bee unwilling to give them to enyoy the comfort of their society [...] Truly the land to bee settled both what the Parliament gives mee, and my owne, is very little lesse than 3000£ per anum all thinges considered. If I bee rightly enformed. And a lawyer of Lincolns Inn having searched all the Marquess of Worcesters writings wch were taken att Ragland and sent for by the Parliament and this gentleman appointed by the committee to search the sayd writings, assures mee, there is noe scruple concerning the title, and itt soe fell out that this gentleman whoe searched was my owne lawyer, a very godly able man, and my deere friend, wch I reckon noe smale mercy, hee is alsoe possest of the the writings for mee". - His son's marriage to Dorothy produced four children who survived into adulthood, but ended unhappily, as Richard went into semi-voluntary exile on the continent in 1660 following the Restoration, after which the couple did not see each other again. The "two little wenches" are Cromwell's daughters Mary and Frances, who by their own respective marriages later became Countess Fauconberg and Lady Russell. Cromwell was close to Norton and dubbed him "Idle Dick", deploying the nickname towards the end of the letter in a moment of friendly humour ("I know thou art an idle fellow, but prithee neglect mee not now"). - Primary source material for Cromwell's activities during the chaotic spring of 1648 is rare: parliamentary diaries for the period are fragmentary, and Cromwell's whereabouts "are not generally known" (ODNB). Charles made his first attempt at escape from Carisbrooke Castle on 20 March, and the rapid spread of royalist uprisings will have required Cromwell to travel swiftly and widely across the country. In May he fought his first battle in full command, at Preston, during which the invading Scottish force was decisively defeated. By January 1649, having outmanoeuvred Fairfax to see through the trial and execution of the king, he was the single most powerful figure in England. - Old folds; 18th century manuscript docket. Published in: Thomas Carlyle (ed.), Oliver Cromwell's Letters and Speeches I (1845), p. 302.
Tall 4to (156 x 246 mm). French ms. on paper. 47 pp. (including autograph title-page). Near-contemporary giltstamped full calf with giltstamped title in English to upper cover and author's last name to spine. Leading edges gilt. An exceptional report and a fine example of the observational and analytical skills that marked Humboldt's work on his celebrated expedition to Spanish America, authorized by the Spanish monarchy in 1799. Accompanied by Aimé Bonpland he arrived in Colombia, after having spent three months in Cuba, in July 1801. In September he visited the vast salt mines of Zipaquirá in the Cundinamarca Department, thirty miles north of Bogotá, resulting in the report at hand. These salt deposits were formed 250 million years ago and had been exploited by the pre-Columbian Muisca people since the 5th century B.C. Humboldt's description, written in French in his diminutive hand, covers 46 tightly-packed pages. After three pages of introductory remarks, he divides his work into sections titled "Vues géologique. Exploitation de la mine", "Sources salées et leur Concentration", and "Cuite de Sel et Transport du Produit". - In his account Humboldt notes that the mine was bigger than those found in Spain, Switzerland, Poland, and the Tyrol, with a calculated resource estimation of one million cubic meters. He also describes the traditional halite mining at the site and recommends a switch to drift mining, following the principle used at Berchtesgaden, Hallein and Aussee, where the conditions are similar: "Voici la methode de laquelle on s'y prendrait, d'après l'analogie de Berchtesgaden, Hallein, Aussee dont le local est absolument semblable à celui de Zipaquira". He proposes driving corridors through the mountain towards the South and Southwest, thus reaching deeper levels where the purest salt is located. Once this fertile level is reached, large areas of 90,000-150,000 square feet need to be excavated, as far as the rock's solidity permits, creating 15-20 chambers on different levels, their number depending on the amount of salt produced and the richness of the mine. In these chambers, or "Wöhre", the miner will encounter fresh water running down the walls nibbling at the salt they contain, enriching itself up to a salinity of 25%. The water then merely needs to be channeled away and heated: "On percera la montagne de Sel par des galleries (Socabones) que l'on poussera en avant au Sud et Sudouest vers les points ou le Sel gemme est le plus riche. On fait, par ce qui a été dit antérieurement que le sel le plus pure est a une profondeur a laquelle la fouille actuelle n'att[e]int pas [...] Arrivé dans une partie de la mine bien abondontée on fera de grandes excavations de plus de 90,000 à 150,000 piés quarrés de superficie selon que la solidité de la Roche, (de Sel gemme) le permet. Ces excavations qu'en langue de mineur en nomme Wöhre ou Sinkwerke, sont de grandes Sal[l]es souterraines de 2-3 toises de haut [...] On a, selon la quantité de Sel que l'on produit et la richesse de la mine 15-20 de ces Chambres dans une Montagne de Sel, a differentes hauteurs [...] C'est dans ces Wöhre que par des puits ou des galleries superieurs selon que l'on rencontre les eaux douces [...] Elles y dissolvent, en rongeant, le Sel gemme contenu dans les parois [...] Lorsque l'Arcometre annonce au mineur que les eaux douces se sont enrichis à 24-25 p. C. [...] on fait découler ces pour ces artificielles qui ne necessite, plus que d'être cuites [...]". - Title-page and final page lightly duststained, minor ink stains in places. Spine and hinges professionally repaired.
Large 8vo. 1½ pp. Written in red ink. In Russian: a long letter to his third wife, Natalya Andreevna (née Manchenka, 1902-90), mentioning the making of a suprematistic movie, organising a shipment of his paintings and his trip to Poland: "[...] I'm totally upset now, more nervous than ever before, you realize that in everything I do. I ordered a box, for example, to put some paintings in, and it was quite useless; afterwards I ordered another, and again got the measurements all wrong. Finally, I managed, though just barely, wrapped the paintings and will ship them to the censorship office on Friday, and if I manage to do so I will buy a ticket, which costs 35 rubles to the border and another 35 rubles from there to Warsaw [...] My golden one, my beloved one, you're asleep and can't hear the tender words I whisper to you, but I repeat them every single night when I go to bed [...] I have to hurry to the studios. We are about to produce a suprematist movie. We have to work under pressure, as we will be joined by various animators [...]". Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Bd. 1, Moskau 2004, Nr. 3.
8vo. 3 pp. on bifolium. Emotional farewell letter to his grandmother Wilhelmine Oehler in Halle, on the eve of his moving to Basel, where Nietzsche assumed his professorship on 28 May 1869. He attached his doctoral diploma to thank his grandmother for a congratulatory letter, apologizing for being unable to present it in person due to a "flood of urgent affairs". The letter reveals an anxious Nietzsche in the face of "setting forth into a new world, into a difficult and exhausting profession, among strange and unfamiliar people and conditions". Proud of his career move, he thanks Mrs. Oehler for her emotional support and expresses his hope to "receive only good news of her health in his new domicile", underscoring that she had earned all his respect and love due to her "tireless efforts" for the well-being of the family. - Traces of folds. With some minor tears to the upper border and two restored fold tears.
A total of 19 pp. Folio and (large) 4to. In German and English. Highly political letters written during Trotsky's exile to his confidant Albert Glotzer, who, together with James P. Cannon and Max Shachtman, had founded the Trotskyist movement in the USA. Beginning shortly after Glotzer's extensive visit with Trotsky in Prinkipo, they mainly discuss the problems of concentrating the forces of the International Left Opposition against Stalin in Europe and America, the tactics in dealing with moderate parties and groups (the so-called "Centrists"), and the fragmentation tendencies among the American comrades; the final letter concerns the question of a Jewish state to be founded in Palestine.
Oblong 8vo. 1 p. Wove paper, backed with Japanese paper. One of the most prominent pieces from the famous autograph collection of Carl Künzel, written on Goethe's 80th birthday: "Chaque jour est un bien que du ciel je reçoi, / Profitons aujourdhui de celui qu'il nous donne; / Il n'appartient pas plus aux jeunes gens q'uà moi, / Et celui de demain n'appartient à Personne" (a verse written in 1699 by the eighty-year-old poet François de Maucroix: "Every day is a gift I receive from Heaven / Let us enjoy today that which it bestows on me. / It belongs no more to the young than to me, / And tomorrow belongs to no one"). - If one is to believe an anonymous report published in the London Athenaeum, then Künzel, barely 21 years old in 1829, "came to Weimar, entered Goethe's house, and, with all his personal and national naiveté, asked the great man's valet to hide him somewhere in the hall, that he ('a Suabian' as he called himself when the domestic questioned him about his name, &c.) might only 'have a peep' at the celebrated poet, who, he was told, would soon pass for his usual promenade. The attendant complied with Herr Kunzel's wish, and then answered his master's bell; but returned almost instantly with the message that 'his Excellency' wanted to see the traveller. Herr Kunzel, not dreaming of such an honour, felt rather bewildered; but, following the servant, who gently pushed him into 'his Excellency's' presence, he a minute later, saw the Author of Faust standing before him, tall and majestic, but stretching out a friendly hand and benignly addressing him with the words - 'The Suabian is not only to see me; I, too, will see the Suabian.' A conversation about Suabia and Schiller’s sister (a patronizing friend of Herr Kunzel’s) followed, at the end of which the tribute of one or more autographs was granted. These autographs of Goethe became the nucleus of Herr Kunzel’s present collection" (no. 1452, 25 August 1855, p. 979). Ultimately, Künzel's collection was to comprise not only this Goethean French quotation, but also a quatrain in German, Goethe's garden hat, his breakfast cup, and a quill. - Carl Künzel (1808-77), then a travelling salesman for the Heilbronn-based Rauch paper factory, kept an autograph album on his many journeys; other signatories includedBrentano, Eichendorff, Goethe, Grillparzer, Hölderlin, Mörike, and Uhland. "In 1936 it was dispersed at auction, according to its owner's wish; no buyer had stepped forward who wished to acquire the book as a whole" (cf. Mecklenburg, p. 54). Like his uncle, Carl Künzel's nephew Wilhelm (1819-96) was a passionate collector of autographs who increased the collection to "the ultimate scope of 15,233 items [...], which were auctioned after his death by List und Francke in Leipzig between 1896 and 1898 versteigert wurden" (cf. Scheible, p. 518). "These two collectors, uncle and nephew, are of especial importance for the history of the autograph business, for today's collectors and antiquarians still encounter at every step the traces of their worldly doings" (cf. Mecklenburg, ibid.). Heinz Scheible, Melanchthon und die Reformation. Forschungsbeiträge. Hg. v. Gerhard May und Rolf Decot (Mainz, 1996). Günther Mecklenburg, Vom Autographensammeln. Versuch einer Darstellung seines Wesens und seiner Geschichte im deutschen Sprachgebiet (Marburg, 1963).
A total of 57½ pp. on 54 ff. 4to und (oblong) (large) 8vo. Includes 5 additional letters by Adele Hesse, Bruno Hesse and Ninon Hesse to the Gundert family. Extensive, substantial collection of letters (mostly autobiographical) to his closest relations, hitherto entirely unpublished. Hesse gives lengthy accounts of his life and work, also remarking on his personal feelings and states of mind. Less than two weeks after the death of Thomas Mann, he writes: "It is a great loss. There are newer and younger friends, but no more old comrades and companions like him" (to Gertrud, letter dated 25 Aug. 1955). Furthermore, he recounts an amusing episode with a reader (no. 7, to Adele, February 1940), discussses other writers ("the poet Poe is one of the few great American poets of ther 19th century" (no. 27, to Gertrude, 1952) and even his own creative work (cf. his letters to Marulla, 1932, or no. 41, to Gertrud, postmarked 24 Feb. 1957). - A detailed list ist available upon request.
Large 8vo (223:145 mm). 1 p. (20 lines in pencil on paper lined in blue). To his friend Robert Klopstock, an Hungarian-born medical student with literary ambitions whom Kafka had met three years earlier at a different sanitarium, a fellow sufferer from tuberculosis: "Lieber Robert, was sind Sie doch für ein Mensch! Fräulein Irene ist aufgenommen. Ein Mädchen, das in 26 Jahren (offenbar entsprechend ihren Anlagen) keine andere Kunstarbeit gemacht hat, als die schlechte Kopie einer schlechten Ansichtskarte, keine andere Ausstellung gesehn hat als die von Hauptmann Holub, keinen Vortrag gehört hat, ausser den von Saphir, keine Zeitung gelesen hat ausser die Karpathenpost - dieses Mädchen ist aufgenommen, schreibt halbglückliche Briefe nicht ohne Feinheit, ist die Freundin eines offenbar bedeutenden Mädchens. Wunder über Wunder und von Ihnen heraufgezaubert. Ich wärme mich daran in diesem traurigen Winter". H. Wetscherek (ed.), Kafkas letzter Freund. Der Nachlaß Robert Klopstock (Vienna, Inlibris, 2003), no. 9. M. Brod (ed.), Kafkas Briefe 1902-1924 (Frankfurt/M., S. Fischer, 1958), p. 364.
22 pages. Oblong 4to (c.17 x 27 cm). 8-stave paper, contemporary brown polished calf, stamped in gilt and blind ("Clara Mangin"), presentation inscription. Album of 12 autograph manuscripts signed by Paganini, Rossini and others, containing mainly complete songs and piano pieces. 1) Paganini, Niccolò. Album-leaf comprising two chromatic scale-passages in contrary motion, each spanning two octaves, twenty-six bars music in all, notated for treble & bass in brown ink on three two-stave systems, signed and inscribed ("All' Egregia Madamigella Clara Mangin ... Boulogne, li 15. Agosto 1834 Nicolò Paganini"). - 2) Rossini, Gioachino. Autograph manuscript of "Mi lagnerò tacendo", signed ("G. Rossini"), comprising a sixteen-bar setting of Metastasio's text, notated in dark brown ink on two three-stave systems per page, [c.1836], 2 pages. Together with: Théodore Labarre (the song "Mathilde", 2 pages) - Georges Mathius ("Andantino" in E minor for piano, 3 pages, 1836) -Jules Godefroy ("Pensée du moment", for piano, 2 pages, 1835) - Henri Bertini ("Téma" for piano, signed and inscribed 14 Mai 1836. HBertini") - Theodore Döhler (Allegro in c minor for piano, signed) - Sigismond Thalberg (musical quotation of an 'Andantino' in G) - George Onslow ('Allegretto con moto' in E-flat, for piano, signed "...23 Janvier 1846 George Onslow", 3 pages) - Eugene Ortolan ('Souvenirs d'auvergne' in F, 3 pages, 2 September 1847), and others in the album of Clara Mangin, 22 pages, oblong 8vo (c.17 x 27cm), the manuscripts all written directly into the album, 8-stave paper, contemporary brown polished calf, stamped in gilt and blind ("Clara Mangin"), presentation inscription, 26 June 1834, Boulogne, Paris, Calais, Clermont and elsewhere, 1836-1847, somewhat worn, with front cover detached. - Autograph music by Paganini is rarely offered for sale. This is a fine album of the 1830s-1840s, containing mainly complete works rather than short quotations. Rossini's song is one of many such settings that the composer made of his favourite Metastasian poem. The volume was given to Clara Stéphanie Mangin of Boulogne in 1834, in recognition of winning a music prize. We learn from the three-page piano work by George Onslow in 1846 that Clara had become Comtesse d'Espinay Theix Royat; the Château de Theix was near Clermont-Ferrand.
2 p. in-8 (175 x 115 mm) sur papier de deuil, waterford, lettre non datée [1905-1906], trace de double feuillet (sur la page en vis à vis manquante devait figurer un dessin qui semble avoir été découpé). "KKKKKWA? - HHHHOE. - NNNNNAN Bonjours Fasché? NNNNNAN [...] au sujet "d'un dessin synthétique (purement imaginé de tous les dessins de mythologiques Turner. Et le commentaire que Ruskin eut écrit sur ce dessin. Ce commentaire est d'une justesse telle (Reynaldo) d'une facilité si convaincante (Reynaldo) d'une science si profuse (Reynaldo) d'une ressemblance si réussie (Reynaldo) d'une élocution si charmeresse (Reynaldo) et d'une si transcendante philosophie, que je vous prie de me le renvhoyier ou de le garsder, mais en me corrigeant les fautes d'anglais [...]" Et termine sa lettre avec une portée de musique sur laquelle figure le nom de Paul Gold Schmidt. Le 19 avril 1913, Proust va entendre la Sonate pour piano et violon de César Franck jouée par Paul Goldschmidt (1877-1957) et Georges Enesco. Il s'en inspirera pour un passage sur la sonate de Vinteuil. Céleste l'évoquait comme "richissime", "collet monté", "du côté de Sodome", ami d'un jeune Anglais du nom de Charlie [Humphries]. - "Mon petit Genstil. Mon petit genstil. Mon Buncht. Dites genstil si calmants ont réussi, s'ils ont produit un bon effet moral et consultation [ ?] de même. Je caresse votre petite tête mon petit genstil" (S.l.n.d., un feuillet in-8 écrit au recto à l'encre noire, 174 x 111 mm). - Lettre de Reynaldo à un destinataire inconnu, signée Hahn, pour lui rendre compte de sa soirée : "Je rentre du concert [...] et je t'envoie quelques lignes de renseignements. Symphonie de Beethoven fort bien jouée, l'orchestre a fait de grand progrès. Mélodie de Lefèbre très emmerdante et [ ...] toutes deux chantées par Mlle Montabant". Il continue sa lettre sur la page en vis-à-vis: "je devais coucher chez toi ce soir mais je suis si fatigué que je reste chez moi, à travailler un peu. Mille embrassades. Hahn. Je vais te faire voir bien des choses et je t'enverrai ces jours ci […]". La lettre se termine sur le dernier feuillet par trois cœurs fléchés. (S.l.n.d., 4 p. in-8 sur un feuillet double, encre noire).
8vo. 2 pp. on bifolium. In German. Mounted on the flyleaf of: The same. Don Karlos Infant von Spanien. Leipzig, Georg Joachim Göschen, 1802. 8vo. 432 pp. With engraved frontispiece and 5 engraved plates. Contemporary marbled full calf, gilt. Marbled endpapers. A fine and early letter to his publisher Georg Joachim Göschen, discussing matters of censorship: "I have fulfilled the wish of your and my Censor, dear friend, and send you the note you asked for. This, I hope, will silence the intolerant part of the public. Have the goodness to assure the Herr Censor (whose name pray give me in your next letter) that I consider myself fortunate in knowing my Thalia is in such discriminating hands. He has quickly grasped the point from which my two poems must be viewed; and how few will do that! I have received what I asked you for, and I see in your ready response a fresh confirmation of your friendship and brotherly sympathy. Farewell, dear friend, and continue to love me […]". - Schiller had anticipated that two poems intended for his journal "Thalia", namely "Freigeisterei der Leidenschaft" ("Passion's Free Thought") and "Resignation", might encounter difficulties with the censor. Saxon censorship was notoriously strict, and a performance of "Die Räuber" had been banned in Leipzig. In this case however, the censor in question, the Leipzig historian Friedrich August Wilhelm Wenck (1741-1810), "proved amenable and reasonable. It was contended that the tendency of the poems might be represented to be an apology for immorality if read by the ignorant and intolerant, and the Censor asked Goschen to procure an explanation from the author showing the baselessness of such a charge. Schiller at once complied with the request" (V. Goschen, pp. 122f.). - From the collection of the Copenhagen critic and theatre director Einar Christiansen (1861-1939) with his bookplate to the front pastedown. Schillers Briefe, ed. Fritz Jonas. Vol. 1 (Stuttgart 1892), p. 276, no. 148. Viscount Goschen, The Life and Times of Georg Joachim Goschen (London, 1903) I, p. 123. Trömel 169.
Small 4to. 2 pp. In Russian, to his third wife, Natalya Andreevna (née Manchenka, 1902-90), on meetings with commissioners for foreign trade, an official trip, etc. "[...] I'm dreadfully tired, wandering through the storeys like a travelling salesman, visiting all companies there, hurrying from one manager to the other; I just finished my work at the Tretyakova yesterday, on the 20th. Then I went to Nemchinovka, but only for a while, but at least Klyun was there, and so we went to Barvikha. Unochka scolded me for being away from home so often, but it took me a whole week only to get the porcelain thing settled. My meetings and appointments with various officials from the People's Commissariat for Foreign Trade as well as myself make a huge impression. I even imagined myself the lying stone under which no water flows, and when this stone rose the water began to swirl and to bubble. But by now, everything is set up. And everything seems to be quite well now, but let us see. The People's Commissariat for Foreign Trade promptly sent a note to the Leningrad porcelain factory telling them to enter negotiations with me at once, also to the Silicate Trest and the Wallpaper Trest etc. What with all this bustle, Suyetin and I will have so much to do that I can't tell how we shall stand it. It has already come so far that Exports is going to send me on a business trip abroad. Today (Wednesday) I'm giving my lecture to the assistants, all of Thursday I will spend with Unochka, and on Friday I'm going to buy the ticket, though I do not know for which day they'll give me one. I long for you and fear that this longing will prevent me from bringing the whole thing to an end. I expect to leave on Sunday [...]" (transl.). Malewitsch über sich. Zeitgenossen über Malewitsch. Briefe. Dokumente. Erinnerungen. Kritik. Vol. 1, Moscow 2004, no. 13.
Zusammen 26½ SS. auf 16 Bll. 4to und 8vo. Mit 1 eh. adr. Kuvert. Vertraute Briefe an die junge Sängerin Diet Kloos-Barendregt (1924-2015), die Celan im August 1949 auf der Terrasse des Cafés Dupont kennengelernt hatte, wo ihr die "Memoires d'une âne" von Sophie de Ségur vom Schoß gefallen waren. Der 29-jährige Dichter und die 25-jährige Musikstudentin aus Dordrecht waren ins Gespräch gekommen: über ihren Widerstand gegen die deutschen Besatzer, ihre Gefangenschaft und den Mord an ihrem Ehemann Jan Kloos, der im Jänner 1945 in Amsterdam standrechtlich erschossen worden war; über die Ermordung von Celans Eltern, über die Zwangsarbeit und seine Flucht aus Rumänien. Nach ihrer Rückkehr entspann sich ein knapp einjähriger Briefwechsel, von dem zwar nicht ihre eigenen Briefe, dafür aber die hier vorliegenden Celans erhalten geblieben sind. - "Ich weiß nicht, wie spät es jetzt ist, jedenfalls ist es noch Nacht, das heißt es ist noch dunkel, wenn es auch schon Morgen ist - wieviel Uhr also? Umsonst, ich kann es nicht sagen, denn meine Uhr steht still, mein valet de chambre ließ sie gestern beim Aufräumen des Zimmers fallen, ich habe also, wenn ich so sagen darf, keine Zeit - endlich! und die Glocken der Kirchen geben nur schlechten Bescheid, sie sind zu zahlreich [...] sie stimmen nicht überein, ihre Glockenschläge folgen rasch aufeinander, es ist, wenn Du willst, dreißig oder zweiunddreißig Uhr, eine Stunde aus verschiedenstem Silber, ein aufmerksames, hellhöriges Ohr könnte unterscheiden, helles und deutliches von dunklem, undeutlichem Silber trennen und so die Zeit erfahren, aber mein Ohr ist träge, absichtlich, damit meine Hand umso reger wird, wenn mir endlich die Zeit abhanden gekommen ist. All das ist ein Glück für mich, der ich doch mit meiner Zeit nichts Rechtes anzufangen weiß - was tat ich bislang, wenn ich Zeit hatte? Ich wartete auf die Zeit [...] Alles ist zu schwer, weil alles zu leicht ist" (23. VIII. 1949). - "Was ich brauche, was ich so dringend brauche, eben deshalb, weil ich so oft von mir weg muß, auf Reisen gehen muß - und wie unbequem ist dieses Reisen: ich selber bin dabei reglos, wechsle nicht den Ort, die Welt aber saust unter meinen Füßen vorbei! - was ich also brauche, ist das Gefühl, daß es bei all diesem Hin und Her einen Ausgangspunkt gibt, der, wenn er auch nie wieder erreicht werden kann, dennoch bestehen bleibt - ein solcher Ausgangspunkt wären meine Gedichte, wenn ich sie in Sicherheit wüßte, sauber abgedruckt und gebunden" (6. IX. 1949). - "Ich bin im Begriffe, mein Leben anders, hoffentlich besser einzurichten als bisher und meinen, in den letzten Wochen etwas deutlicher werdenden Jahren Rechnung zu tragen. Ich glaube, Du hast mal die Linien meiner Hand angesehen, Diet; so wirst Du Dich vielleicht erinnern, daß meine Lebenslinie zweimal abreißt, um sich in zwei voneinander getrennten kleineren Linien fortzusetzen. Nun, mir will scheinen, daß ich gerade da stehe, wo dies zum zweitenmal geschieht, wo ich mich von mir selber abspalte, Gott weiß zu welchem Zweck. Immer weniger gleiche ich dem verspielten Knaben, der ich so gern war, und - verzeih - ich verschmerze das Unwiederbringliche schwerer als es einem erlaubt sein mag, der zu wissen glaubt, wie ein Auge im Dunkel strahlt" (21. IX. 1949). - "Und über allem, schwebend und dabei doch so lastend, der Alltag, die Rundfahrt durch die Welt des täglichen Brotes. Und unter allem, verborgen, kaum hörbar, aber quälend auf unterirdische Art, der Traum von der Unendlichkeit, nie verwirklicht, kaum geahnt, unerreicht. Und dazwischen: Ich, Paul Celan, ein Mann, der vielleicht doch noch ein Baum wird, wenn der Abend es will [...]" ("Dienstag abend", wohl 29. XI. 1949). - Im linken Rand gelocht und teils mit kleineren Randläsuren, sonst gut erhalten. Paul Celan: Du mußt versuchen, auch den Schweigenden zu hören. Briefe an Diet Kloos-Barendregt. Handschrift - Edition - Kommentar, hg. von P. Sars u. L. Sprooten (Frankfurt a. M., 2002). P. Sars (Hg.), "Alles is te zwaar, omdat alles te licht is". De brieven van Paul Celan aan Diet Kloos-Barendregt. Übs. von C. O. Jellema (Amsterdam, 1999).
18701029131870] 1 vol. relié in-8, plein maroquin vert sombre, dos à nerfs, doubles filets à froid en encadrement des caissons et des plats, portrait émaillé en médaillon par Claudius Poleplin encastré dans le plat supérieur, dentelle intérieure à froid, tranches dorées (Lortic Frères). Emouvant reliquaire établi en hommage à Jules de Goncourt, avec cette note autographe signée d'Edmond en exergue : "Cette nécrologie de mon frère contient les lettres qui m’ont été adressées après sa mort : les lettres de Victor Hugo, de Michelet, de George Sand, de Flaubert, de Berthelot, de Renan, de Taine, de Banville, de Zola, etc, de Seymour Haden, le grand aquafortiste anglais qui appréciait et vantait les eaux-fortes de mon frère. Et ces lettres sont accompagnées de tous les articles de quelque importance qui ont été publiés dans les journaux français." A l'encre rouge, il précise que l'émail de Claudius Popelin qui décore la reliure porte au dos "à mon ami Ed. de Goncourt, j'ai fait l'image de son frère Jules, en témoignage de vive affection". En regard de la page de titre écrite à la plume, est contrecollé un portrait gravé de Jules par Rajon. Viennent ensuite, montées sur onglet, les 14 lettres autographes signées des auteurs cités au titre, chacune précédée d'un feuillet de légende sur lequel Edmond a écrit à l'encre rouge le nom de l'expéditeur et la date. Edmond a enrichi ses courriers de nombreux articles de journaux de Théophile Gautier, Yriarte, Théodore de Banville, Charles Monselet, Philippe Burty, Ernest d’Hervilly, Jules Claretie, Zola, Asselineau, etc., tous contrecollés sur feuillets à la suite des lettres.Cet exemplaire unique que mentionne le journal en date du 16 novembre 1874 et du 14 décembre 1894 est décrit dans la plupart des ouvrages consacrés aux Goncourt, et notamment par Christian Galantaris (Deux cents portraits des Goncourt, n°102) qui précise son cheminement, de libraires en amateurs, depuis la vente publique de 1897.Ces témoignages d'affection débordent d'empathie à l'égard du frère survivant : — "Une cordiale et douloureuse poignée de main, mon pauvre enfant ! Aurez-vous du courage ? Oui, si votre vie est la continuation des travaux entrepris avec lui, aimés et désirés par lui." (George Sand). — "Mon cher Edmond, envoyez-moi à Croisset de vos nouvelles. Je pense plus souvent à vous que vous ne le croyez peut-être, & je vous plains comme je vous aime, c’est-à-dire profondément." (Flaubert). — "Quelle affreuse chose que la mort et quelle triste chose que la vie ! Je ne vous propose rien ; mais sachez que vous pouvez regarder ma maison comme la vôtre." (princesse Mathilde). La lettre de Victor Hugo, qui s'adresse à son "cher confrère", est particulièrement émouvante. "Pourquoi vous écrire ? Pour vous dire qu’on souffre avec vous. Car au-delà de ce partage de la douleur, il n’y a rien de possible, et toute consolation échoue. Vous avez perdu votre compagnon dans la vie, votre soutien dans cette charge pesante à porter, la renommée, votre ami au milieu des ennemis, une moitié de votre âme ! (...) Plus d’une fois parmi les grandes et belles pensées qui vous viennent, vous reconnaîtrez un rayon de lui, et vous lui direz : merci". Quant à Zola, en pleine rédaction du premier roman du cycle des Rougon-Macquart qui le sacrera chantre du naturalisme, il rend un hommage d'admiration vibrant au frère disparu. "Je tiens encore à vous dire combien votre frère avait des amis inconnus, et je serais allé vous le dire de vive voix, si je n’avais la religion de la souffrance. Il est mort, n’est-ce pas ? beaucoup de l’indifférence du public, du silence qui accueillait ses oeuvres les plus vécues. L’art l’a tué. Quand je lus Madame Gervaisais, je sentis bien qu’il y avait comme un râle de mourant dans cette histoire ardente et mystique ; et quand je vis l’attitude étonnée et effrayée du public en face du livre, je me dis que l’artiste en mourrait. Il était de ceux-là que la sottise frappe au cœur. Et bien! s'il s'en est allé découragé, doutant de lui, je voudrais pouvoir lui crier maintenant que sa mort a désespéré toute une foule de jeunes intelligences"...Exceptionnelle reliure des frères Lortic rehaussée de l'émail de Claudius Popelin, ultime témoignage offert à Edmond. Le volume, conservé sous un étui de plexiglas, a figuré à la vente Goncourt de 1897 (n° 864) et porte leur ex-libris. Élève d’Alfred Meyer, Claudius Popelin (1825-1892) adapta l'art de l'émail à la reliure. Beraldi, dans La Reliure du XIXe siècle (II, pp. 170-172), signale une dizaine de reliures décorées d’émaux de cet artiste, ayant appartenu à Philippe Burty, la princesse Mathilde, etc.
18701029131870] 1 vol. relié in-8, plein maroquin vert sombre, dos à nerfs, doubles filets à froid en encadrement des caissons et des plats, portrait émaillé en médaillon par Claudius Poleplin encastré dans le plat supérieur, dentelle intérieure à froid, tranches dorées (Lortic Frères). Emouvant reliquaire établi en hommage à Jules de Goncourt, avec cette note autographe signée d'Edmond en exergue : "Cette nécrologie de mon frère contient les lettres qui m’ont été adressées après sa mort : les lettres de Victor Hugo, de Michelet, de George Sand, de Flaubert, de Berthelot, de Renan, de Taine, de Banville, de Zola, etc, de Seymour Haden, le grand aquafortiste anglais qui appréciait et vantait les eaux-fortes de mon frère. Et ces lettres sont accompagnées de tous les articles de quelque importance qui ont été publiés dans les journaux français." A l'encre rouge, il précise que l'émail de Claudius Popelin qui décore la reliure porte au dos "à mon ami Ed. de Goncourt, j'ai fait l'image de son frère Jules, en témoignage de vive affection". En regard de la page de titre écrite à la plume, est contrecollé un portrait gravé de Jules par Rajon. Viennent ensuite, montées sur onglet, les 14 lettres autographes signées des auteurs cités au titre, chacune précédée d'un feuillet de légende sur lequel Edmond a écrit à l'encre rouge le nom de l'expéditeur et la date. Edmond a enrichi ses courriers de nombreux articles de journaux de Théophile Gautier, Yriarte, Théodore de Banville, Charles Monselet, Philippe Burty, Ernest d’Hervilly, Jules Claretie, Zola, Asselineau, etc., tous contrecollés sur feuillets à la suite des lettres.Cet exemplaire unique que mentionne le journal en date du 16 novembre 1874 et du 14 décembre 1894 est décrit dans la plupart des ouvrages consacrés aux Goncourt, et notamment par Christian Galantaris (Deux cents portraits des Goncourt, n°102) qui précise son cheminement, de libraires en amateurs, depuis la vente publique de 1897.Ces témoignages d'affection débordent d'empathie à l'égard du frère survivant : — "Une cordiale et douloureuse poignée de main, mon pauvre enfant ! Aurez-vous du courage ? Oui, si votre vie est la continuation des travaux entrepris avec lui, aimés et désirés par lui." (George Sand). — "Mon cher Edmond, envoyez-moi à Croisset de vos nouvelles. Je pense plus souvent à vous que vous ne le croyez peut-être, & je vous plains comme je vous aime, c’est-à-dire profondément." (Flaubert). — "Quelle affreuse chose que la mort et quelle triste chose que la vie ! Je ne vous propose rien ; mais sachez que vous pouvez regarder ma maison comme la vôtre." (princesse Mathilde). La lettre de Victor Hugo, qui s'adresse à son "cher confrère", est particulièrement émouvante. "Pourquoi vous écrire ? Pour vous dire qu’on souffre avec vous. Car au-delà de ce partage de la douleur, il n’y a rien de possible, et toute consolation échoue. Vous avez perdu votre compagnon dans la vie, votre soutien dans cette charge pesante à porter, la renommée, votre ami au milieu des ennemis, une moitié de votre âme ! (...) Plus d’une fois parmi les grandes et belles pensées qui vous viennent, vous reconnaîtrez un rayon de lui, et vous lui direz : merci". Quant à Zola, en pleine rédaction du premier roman du cycle des Rougon-Macquart qui le sacrera chantre du naturalisme, il rend un hommage d'admiration vibrant au frère disparu. "Je tiens encore à vous dire combien votre frère avait des amis inconnus, et je serais allé vous le dire de vive voix, si je n’avais la religion de la souffrance. Il est mort, n’est-ce pas ? beaucoup de l’indifférence du public, du silence qui accueillait ses oeuvres les plus vécues. L’art l’a tué. Quand je lus Madame Gervaisais, je sentis bien qu’il y avait comme un râle de mourant dans cette histoire ardente et mystique ; et quand je vis l’attitude étonnée et effrayée du public en face du livre, je me dis que l’artiste en mourrait. Il était de ceux-là que la sottise frappe au cœur. Et bien! s'il s'en est allé découragé, doutant de lui, je voudrais pouvoir lui crier maintenant que sa mort a désespéré toute une foule de jeunes intelligences"...Exceptionnelle reliure des frères Lortic rehaussée de l'émail de Claudius Popelin, ultime témoignage offert à Edmond. Le volume, conservé sous un étui de plexiglas, a figuré à la vente Goncourt de 1897 (n° 864) et porte leur ex-libris. Élève d’Alfred Meyer, Claudius Popelin (1825-1892) adapta l'art de l'émail à la reliure. Beraldi, dans La Reliure du XIXe siècle (II, pp. 170-172), signale une dizaine de reliures décorées d’émaux de cet artiste, ayant appartenu à Philippe Burty, la princesse Mathilde, etc.
8vo. 2¼ pp. on bifolium with integral address leaf. To the Jena bookseller Friedrich Frommann concerning his itinerary for his journey to Berlin, where he had been appointed professor. Departing from Heidelberg, Hegel desired to interrupt his journey at Jena so as again to meet his old friends: "Meinen Reiseplan nach Berlin habe ich von Anfang so genommen, daß ich Sie, lieber Freund, und die lieben Ihrigen wieder sehe; - Ihre freundliche Einladung bey Ihnen - mit Maus und Mann, wie noch Mde. Bohn schreibt, abzusteigen, ist uns durch diese mehreremahle wiederhohlt worden, daß ich es mir selbst übelnehmen müßte, wenn ich diese herzliche Einladung nicht annähme, und mir es so erschwerte, etliche trauliche Tage bey Ihnen zuzubringen. Aber Sie haben sich u. am meisten der Frau damit einen großen Brast auf den Hals geladen; ich komme mit Frau u. 2 Kindern (außer Ludwig, den Mde. Bohn übernehmen will) u. der Magd. Richten Sie aber alles ohne Gene ein, ein Theil kann im Wirthhaus bleiben. Donnerstags, wahrscheinlich aber Freytags, den 18ten, werde ich von hier abgehen, u. dächte Dienstag den 22ten bey Ihnen einzutreffen; es kann aber auch Mittwoch daraus werden; fest läßt sich unsere Abreise noch nicht bestimmen. Alle übrige mündlich - Göthe hoffe ich auch in Jena zu treffen; auf 2 Tage bey Ihnen zu liegen ist unsere Rechnung; indeß ein hertzliches Lebewohl, u. Grüße von uns an alle Ihrigen / Ihr / Hegel". - Goethe's diary mentions "Prof. Hegel and his wife, en route from Heidelberg to Berlin", for the 23rd of September 1818. The "Madame Bohn" here mentioned was Frommann's sister-in-law, at whose school for boys Hegel's illegitimate son Ludwig was educated until 1817. - Recipient's note on verso. In excellent state of preservation. Not published by Hoffmeister.
56 to 125 mm (height) and 82 to 135 mm (width). On laid paper. Complete set of templates for the illustrations of his book "Wanderung. Aufzeichnungen von Hermann Hesse. Mit farbigen Bildern vom Verfasser", published by S. Fischer in 1920. Most of the watercolors have inscribed titles such as "Farmhouse", "The Bridge", "Rectory", "Trees", "Rainy Weather", etc. - Includes the 1949 edition of "Wanderung" with autogr. inscription. - Slight foxing (more extensive in some specimens); marked for reproduction.