66 616 résultats
1 S. auf Doppelblatt. 8vo. Mit eh. adr. Kuvert. An den Ophthalmologen, Okkultisten und Schriftsteller Rudolf Tischner (1879-1961): "Es ist überaus gütig, daß Sie mich auch an den neuen Versuchen wieder wollen theilnehmen lassen. Eine (allerdings geringe) Möglichkeit besteht, daß ich morgen aufs Land fahren sollte, dann müßte ich den Abend leider versäumen. Bin ich aber, wie ich nun hoffe, in der Stadt, so werde ich mich pünktlich um acht (diese Stunde ist doch wieder gemeint?) bei Ihnen einstellen […]". - Etwas fleckig.
8vo. ½ p. With autogr. address and return address. Informing his teacher Robert Philippi that his chair "for 12 K" (Austro-Hungarian crowns) is ready and can be picked up. - Address page severely browned in lower margin.
56337o.J. "S[ine] L[oco] & A[nno]" [Frankfurt],, 9. IV. (Poststempel) 1844 (erschlossen), 4°. 1 Seite. Doppelblatt mit Adresse und Poststempel.
8vo. Altogether (2+1=) 3 pp. on 3 ff. To the English journalist and author John Arlott (1914-1991), the first on two poems for a possible broadcast on the BBC, expressing concern about reading both ("[...] they're very much alike in feeling and would give a monotonous effect - even if a reader read one of them and I the other [...] I suggest that only Poem In October is selected [...]", undated), the second inviting Arlott to lunch and admitting he had already told the host, his patron Margaret Taylor, that Arlott would attend, also mentioning that "I hope you get this note before you go Test-wards" (July 22, 1946). - Edges slightly frayed.
8vo. ¾ p. "Dear Leslie Collier, Apologies. I was in America when you came to Carmarthen, that couldn't be helped. But I've been back a month now, and I haven't written to say how sorry I was to have missed you and how I hope, whenever you're next in this part, you'll come along and have drinks. No letters were forwarded when I was away, so unfortunately, I couldn't let you know; but I could have written much sooner than this. My only excuse is that I have been busy about the country ever since I returned; and that's a poor excuse, I know. My wife also wants to apologise for not having seen you when you were down. Anyway, I shall look forward. Sincerely yours, Dylan Thomas". - A few light stains, and some mounting remnants on the verso, otherwise very fine. From the collection of Diana Herzog.
½ S. Folio. Wasserzeichen: Hund mit geöffnetem Maul und Zunge. Seltenes Schreiben des Sohnes von Heinrich IV. an seinen Freund, Oheim und Schwager zur Gesandtschaft seines Sohnes Christoph und seines Landhofmeisters Balthasar von Gültlingen: "Wir haben neben dem hochgebornen Fürsten Herrn Christopheln Hertzogen zu Wirtemberg etc., unseren freundlichen liebenn Sohne, unnsern [...] getreuen Balthassarn vonn Giltlingen abgevertigt, mit bevelch, etwas ann E. L. zu verbringen, wie Sie vonn Ime vernemen werdenn, ist unser freunlich bitt, E. L. wölle Ihn inn solchem seinem anbringenn, gütlich hörenn, Dissen als gleich uns selpst glauben gebenn, und sich inn solchem freuntlich und schwägerlich ertzeygen [...]". - Mit kleinen parallelen Einschnitten durch Briefverschluss und zwei kleinen Randeinrissen; leicht braunfleckig.
Zusammen 6 SS. auf 13 Bll. Gr.-8vo. Freundschaftliche Korrespondenz mit Rebecka Dirichlet (1811-58), der Enkelin Moses Mendelssohns, Tochter von Abraham und Lea Mendelssohn (Bartholdy) und jüngeren Schwester von Felix Mendelssohn Bartholdy und Fanny Hensel. I: "Ich nehme Sie beim Worte, gnädige Frau! Wollen Sie es gütigst versuchen, ob die beifolgenden Blätter der Jahrbücher an Mstrs Sarah Austin billig zu befördern sind? [...] Sie sehen vielleicht einen Augenblick die beiden Bände der Mstrs Sarah an, die ich noch zu Hause habe. Im Thl. 2 S. 320 ist die schöne mündliche Mittheilung von Felix beigebracht. Für Frau Professorin Hensel lege ich andre gedruckte Bogen bei, worin meine Anzeige von Preuß Lebensgeschichte Friedrichs des Großen steht. Im Ganzen hoffe ich auf Beistimmung [...]" (9. IX. 1833). Die englische Schriftstellerin Sarah Austin (1793-1867) hat Pücklers "Briefe eines Verstorbenen" übersetzt (ersch. London 1832) und stand seit 1833 mit Varnhagen in Briefkontakt. Von ihrer dreibändigen Anthologie "Characteristics of Goethe" hatte Varnhagen vermutlich den ersten Band ausgeliehen. Seine Besprechung von Joh. D. E. Preuß' "Lebensgeschichte Friedrich des Großen" erschien in den "Jahrbüchern für wissenschaftliche Kritik" und als Wiederabdruck in seinem 1833 erschienenen Werk "Zur Geschichtsschreibung und Literatur". - II: "Ich freue mich, gnädige Frau, daß Ihr Absagebrief doch zugleich wieder ein Zusagebrief ist! Der Freitag ist mir sehr recht. Ich werde mich einfinden, und Ihrer Befehle gewärtig sein [...] Die Tutti frutti [von Pückler-Muskau] sind unvergessen: ich schäme mich der Verspätung, die ich doch nicht Macht habe ohne dringende Gewalt zu lösen! [...]" (11. III. 1834). - III: "Empfangen Sie den innigsten Dank für das willkommene Geschenk [wohl ein Autograph], für Ihr gütiges Gedächtniß! - Wenn es darauf ankommt, den Karakter aus der Handschrift zu erkennen, so giebt es nicht leicht eine die mehr Stoff anbietet, als die der unglücklichen Herzogin! [d. i. die von ihrem Ehemann ermordete Fanny de Choiseul-Praslin, 1780-1847] Ich bin zwar kein allzu sichrer Leser, allein eine gewisse vornehme Lässigkeit und Verwirrung glaub' ich doch herauszudeuten [...] Bei der Juli-Revolution [von 1830] waren wir täglich bei Ihnen, und tauschten Neuigkeiten und Betrachtungen. Ich fühlte das stärkste Verlangen, diese schöne Erinnerung jetzt, bei der Februar-Revolution [in Frankreich], zu erneuern! Es will mir nicht gelingen, seit vier Wochen leid' ich an Rheuma [...]" (11. III. 1848). - IV: Bezieht sich auf die gewaltsame Befreiung Gottfried Kinkels aus dem Spandauer Gefängnis am 6. November 1850 und dessen Flucht nach England, an der Rebecka Dirichlet und Varnhagen ideell beteiligt waren: "Hier überreiche ich Ihnen, Hochverehrteste, den verabredeten Brief - - wie thut es mir wohl, wieder mit deutschen Lettern zu schreiben! - - der hoffentlich seinen Zweck nicht verfehlen wird [...] Sie thäten doch vielleicht gut, der Frau Professorin [Johanna] Kinkel vertraulich zu sagen, daß Mrs. Grote [d. i. Harriet Grote, die Gattin des Historikers George Grote] eine Frau besonderer Art und nicht immer leicht zu behandeln ist. An Hrn. Chorley sollten Sie doch wohl einige Zeilen wenden, ich denke mir ihn wie unsre [Ludwig] Rellstab, [Theodor] Rötscher, [Friedrich Wilhelm] Gubitz, und daher für ein freundliches Wort sehr empfänglich. Die Adresse von Hrn. Richard Monckton Milnes, Dichter und Parlamentsmitglied, ist 26 Pall Mall, London, es wird nicht schwer sein, jemanden zu finden, der dort einführen kann [...]" (22. II. 1851). Das Haus von Milnes war ein Treffpunkt deutscher Schriftsteller und Emigranten in London. - V: "Hiebei erfolgt das gewünschte Blatt für Ihren Herrn Neffen, das er zur guten Stunde dem Dichter [d. i. Ludwig Uhland] abgeben möge, der unter äußerer Kälte die frischeste Wärme hegt, wie seine Poesien es herrlichst darthun. - Weniger als Dichter, aber desto mehr als wunderlicher Kauz wäre vielleicht auch Justinus Kerner in Weinsberg Ihrem Neffen merkwürdig; auch er ist mein Jugendfreund, aber ich schreib' ihm nicht mehr, seitdem er in den letzten Jahren sich der rohen Unterdrückung schmeichelnd zu Füßen gelegt hat. Wenn aber Herr Hensel ihn sehen möchte, kann er nur geradezu in eignem Namen zu ihm gehen, er wird auf's beste von ihm aufgenommen werden. Trifft er den Sohn, Dr. Theobald Kerner, in Weinsberg, so möge er diesen herzlich von mir grüßen [...]" (4. X. 1851). Sebstian Hensel (1839-1898) war das einzige Kind von Fanny und Wilhelm Hensel. 1851 bezog er die Landwirtschaftsschule in Hohenheim bei Stuttgart. - VI: "[...] Meine Nichte [d. i. Ludmilla Assing] bedauert mit mir ungemein, daß wir gestern Ihrer gütigen erfreuenden Einladung nicht folgen konnten, wir hoffen uns baldigst schadlos halten zu dürfen, und unser größter Gewinn ist mit Ihnen zu sein, der durch Nebengewinne nicht erhöht wird! [...]" (4. II. 1853). - VII: "Auf Ihre liebenswürdigen Zeilen [...] würde ich gleich gestern geantwortet haben, hätte ich nicht vorher mit Frln. Solmar Rücksprache nehmen müssen. Dies ist erst am Abend möglich gewesen. Wir kommen also morgen (Montag) [...]" (26. II. 1854). Mit Henriette (Jettchen) Solmar (1794 bis etwa 1890) verband das Ehepaar Varnhagen sowie seine Nichte eine lange Freundschaft. - Tls. mit kleinen Randläsuren, insgesamt jedoch sehr gut erhalten. Varnhagens Briefe wurden 1869 in Marburg versteigert und zehn Jahre später erstmals von Konrad Feilchenfeldt im dritten Band der "Mendelssohn Studien" veröffentlicht sowie erschöpfend kommentiert (SS. 51-79).
Altogether 9 ff. and envelope. All addressed to Count Andrea Zorzi, an eccentric Venetian nobleman from an ancient family and a supporter of Verdi; he is said to have owned a silver cane upon which the titles of each Verdi opera were engraved as he heard them. Most items with a short sentence or two: "ringrazio e contraccambio auguri di gran cuore". - Condition varies: some are browned; the telegram is chipped with some loss and toning.
8vo. 1½ pp. Bifolium with integral address panel. In Italian, to Léon Escudier, the French publisher of Giuseppe Verdi's works: "I have received almost contemporaneously your very much valued letters. Lucca has assured me that you would have the preference of the Opera of London, and that this affair shall be definitively concluded when I and Lucca in April shall pass through Paris to go to London. As to the Opera, it suffices that you sustain me. I want to advise you that in the Carnival of 1847 I must write an Opera for L. which shall be performed in Rome, thus I could not make in that period another Opera. For the present we must suspend this business, and the case wh shall speak of it when I shall be in Paris. Give me news of Ernania [...]" (transl.). - Traces of folds; small tear on f. 2. Formerly the property of a private Chicago-area collector.
24 SS. auf 12 Bll. 4to. Die wiederholt in der Literatur erwähnten Tagebuchaufzeichnungen, vornehmlich seine "wöchentlichen Bemerkungen über meinen Schüler Emil von Metzradt", zum größten Teil (mit Abweichungen) abgedruckt bei Joß S. 140 ff., wobei unser Text auf S. 141 beginnt ("oder wohl gar falsch seyn sollten") und die profunden Leitlinien bis zum Schluß (Joß S. 148) beinhaltet. Im Manuskript folgen dann noch 25 wöchentliche Aufzeichnungen, endend mit dem 21. Oktober. - Die insgesamt zwölf voll beschriebenen Blätter sind Teil des Tagebuches, das Wieck in den Jahren 1810-15 geführt hat. Die vorliegenden Aufzeichnungen betreffen zwar primär den Unterricht eines einzelnen Schülers, doch sind dies hier mehr grundlegende Äußerungen zum Musikunterricht schlechthin, als Bekenntnis niedergeschrieben. "[...] Dieser kleine Aufsatz, sage ich, mag zum Beweiß der Liebe für mein ehrenvolles Geschäft [...] und für die Wahrheit seÿn; der ich nie etwas, aufzuopfern gewohnt bin; - und so wünsche ich nur noch, daß dieß alles eben so unbefangen aufgenommen werden möge, als es Schmeichelei u. Heuchelei liebt und selbst andere verkennt; dieß wird mich hinlänglich belohnen. Ich schließe mit den Worten Pauli an alle diejenigen, welche in dem jetzigen schwindeligen und überspannten Zeitalter den schönen u festen Vorsatz haben, ihre Kinder gut zu erziehen - mit den Worten schließe ich: 'prüfet und behaltet das Beste'. - W." ([S. 17]). - Leicht angestaubt und gebräunt und mit kleinen Randläsuren.
2 pp. on bifolium. 8vo. Mounted on flyleaf of: The same. Reise nach Brasilien in den Jahren 1815 bis 1817. Frankfurt/M., Heinrich Ludwig Brönner, 1820-1821. 2 pts. in 1 vol. Large 4to. XXXIV, (2), 380, (6) pp. XVIII, 345, (1) pp. With 19 engr. plates. Contemp. marbled half calf with giltstamped red label to attractively gilt spine. Marbled endpapers. Interesting letter (in German) to an unidentified professor, accompanying the first edition of his work on Brazil. Very likely to his former academic teacher in Göttingen, Johann Friedrich Blumenbach (1752-1840), under whom the author had read natural history in 1811-12: "Dearest professor, please accept this small token of my deep gratitude and veneration, and exercise forbearance when looking upon this product borne forth not by a scholar, but by a mere dilettante of descriptive zoology [...] The printer has retained a large number of obvious errors which unfortunately were in the manuscript, by fault of the copyist [...]". - Following the example set by the Humboldts, the Rhenish Prince Max zu Wied made significant contributions to botany, zoology, and ethnology through two long and well-documented expeditions, lasting several years. He led an expedition to Brazil in 1815-17, studying flora, fauna, and the native population. The prince was awarded an honorary doctorate by the University of Jena in 1858. - Letter shows slight edge damage to centerfold (no loss to text); some browning and traces of original folds. Book variously browned due to paper; the beautiful binding is very well preserved. Without the separately published plate volume. Sabin 47018. Borba de Moraes II, 43. Bosch I, 321. Baldus 1762. Conrad 755.
4to. 2 pp. on bifolium. Headed paper. An unpublished official document (to Frederick Sleigh Roberts, 1st Earl of Kabul and Kandahar, 1832-1914) which sheds new light on the assault on Gandhi in Johannesburg on 10 February 1908, the first attempt on Gandhi's life. Earlier that year, Gandhi had been summoned from prison in Pretoria to meet with the Colonial Secretary, General Smuts, to discuss the British treatment of Indian labourers in South Africa. Gandhi eventually convinced Smuts to allow the voluntary registration of all Indians rather than the punitive system of the "Black Act". However, this settlement did not prove popular with all Indians in the colony; as Gandhi was making his way to the Registration Office in Johannesburg, he was brutally beaten by one Mir Alam, a disillusioned Pathan: "I had scarcely finished the last sentence when a heavy cudgel blow descended on my head from behind. I at once fainted with the words 'He Rama' (O God!) on my lips, lay prostrate on the ground and had no notion of what followed. But Mir Alam and his companions gave me more blows and kicks, some of which were warded off by Yusuf Mian and Thambi Naidoo with the result that they too became a target for attack in their turn" (Gandhi, Satygraha in South Africa, p. 140). According to his own account, Gandhi immediately requested that Mir Alam and his companions not be charged or imprisoned for the assault; for, "according to their lights they could not behave otherwise than they did". Gandhi himself was philosophical about his near-fatal encounter, commenting, "As for me, nothing better can happen to a satyagrahi than his meeting death all unsought in the very act of satyagraha, i.e., pursuing Truth" (ibid, p. 157). - The present document, however, sheds new light on the assault. The letter discusses complaints received by one Mahomed Shah, "Pathan Priest", regarding the treatment of Indian prisoners. High Commissioner Selborne is dismissive of Shah, calling him an "illiterate Punjabi" and "of violent character". Most intriguingly, Selborne reveals that Shah himself "instigated the serious assault on Mr. M. K. Gandhi in February, 1908, and although Mr. Gandhi declined to prosecute he requested the government to remove Mahomed Shah from the Transvaal, where he was a source of danger to other Indians, and deport him to India." Gandhi's account of the incident holds that Mir Alam was responsible for the attack, and that although he insisted on not pressing charges, Alam was convicted by the Government of a public offence and sentenced to three months' imprisonment. The present official document suggests that the affair was more complicated than this and indeed was "instigated" by an entirely different person, and that while Gandhi did not press charges officially, he nevertheless took action against his aggressor. - Original materials relating to Gandhi's South African years - before his rise to international fame - are decidedly uncommon. It is often forgotten that Gandhi spent no fewer than 22 years of his life (1893-1915) in South Africa, promoting his practice of satyagraha to improve conditions for the large Indian population in that colony. "It is only recently that historians have come to recognise the centrality of his time abroad in Gandhi's life, and in particular, the significance of his southern African years [...] it was in southern Africa that he developed the entire spiritual, philosophical, and political programme that he would implement in India...Gandhi's political and intellectual projects, as they evolved in these years, operated across political boundaries, linking India, South Africa, and Britain itself, as well as points beyond" (Cambridge Companion to Gandhi, p. 30). - Traces of horizontal folds; slight brownstains in the left margin of the first leaf.
(Large) 8vo. Altogether 2 pp. on 2 ff. To one Ms. Lind, telling that he will arrive in Stockholm on Friday, and that she should keep ready to pose for portrait for a couple of weeks. - One letter somewhat wrinkled.
1861000615Chicago Illinois IL. Good. 1861. A wonderful archive of historically significant with detailed civil war content: 1 Two detailed Civil War diaries; 2 Ransom's first war letter home; 3 superb signed Ransom Civil War cartes des vistecdv; 4 Other photos: a tintype cdv gem photo and another hand colored cdv of his wife Louie Lucy Perham; 5 A book titled "Sacred Poems"; 6 Ransom's business card and property tag and lastly but of huge importance to genealogists; 7 Early name and address book of Dick Ransom mentioning many family members and Battery mates. Dick Ransom was from Chicago Illinois; enlisted on 8/7/1862 as a private. On 8/29/1862 he mustered into Chicago Mercantile Light Artillery. He was discharged for disability on 3/24/1863. Specifics: Diary #1 1861 2.5 x 3.5 inches full year January 1st through December 31st 1861 120 pages of which approx. 250 days with entries recorded dark brown period ink very legible. Great war content and a number of remarks made in great excitement; Lincoln as President; death of Col. Ellsworth and Steven Douglas. Battle excitement and the rout of the federal army at the first battle of Bull Run at Manassas. Diary #2 1862 : 3 x 5 inches entries from Aug. 7th 1862 through Mar. 6th 1863. 29 pages brown period ink very legible. Cover reads " Dick Ransom mercantile Battery Chicago Artillary 100 Washington Street Chicago". Signed in ink in Dick Ransom's hand on first page; "Dick Ransom 100 Washington Street Chicago Ill." Also included: 3 wonderful cdv/tintype of Lucy Ransom. Dick speaks of his proposal for marriage to Lucy in his 1861 diary. First is a tintype/cdv format of Lucy backmark Chicago dated Aug 19th 1866 and signed on reverse in Dick's handin brown ink "Louie Perham 1866 Dick Ransom". Secondly mounted Gem Albuman photo of Lucy on cdv mount ca. 1865. Cdv is handcolored image of Lucy dated Jan 23rd 1868. The address book includes all of Dick's friends and family and many of Mercantile Battery mates including Sinclair Willard Gunlock and Medal of Honor winner James Dunne. 3 x 5 inches many pages of entries mouse chew on cover edges. The date of 1883 can be found on the fep. Brown ink inscriptions this book is an important genealogy record and helps to identify all the people referred to in the diaries. Here are some snippets: " January 9th "my Birthday 19 years old born at South Woodstock Vermont""march 4th Abe Lincoln President of the United States"" Mar 19th " wrote a long letter to Lucy . with a proposal for marrige which I am sure will be accepted.I am in great anxiety for an answer". tintype of Lucy included "rec'd an answer alright = O.K."" April 25th -Intense excitement about . voluteers companies forming and drilling constantly all over the North"." May 2nd - douglas was received here by republicans and Democrates unanimously " May 3 - great war excitement for some time - volunteerism all over the country - great excitement". " May 5th - volunteers drilling in the streets "" May 8th - Lucy went for me to get a flag for the volunteers ."" May 9th - great war excitement companies guarding and driling". " May 24th - war message regarding the good and efficient commanders." " may 25th - Scott and President Lincoln col. Ellsworth the Zouave huro of Chicago killed in Alexandrea yesterday for tearing down a secsession flag. " June 3rd - Stephen A Douglas died at the tremont house this A.m. at 48. The city draped very very heavily mourning. col. Ellesworth funeral yeaterday at Bryan hall". " May 4th - Douglas laid in state at Bryan Hall all day." " May 5th - Douglas still in Bryan Hall ". " May 5th - Douglas still lies in state at Bryan hall is to be burried at Cottage Grove tomorrow ". "May 7th- Douglas funeral stores all shut up largest funeral ever in Chicago ". " June 10th - War excitement continues usual small battles and skirmishes but no large ones some expected soon". " June 20th - war and rumors of war some great battles expected soon in vicinity of Washington Sucession." " June 25th - Great riot in Milwakee yesterday - Dutch Mob attacks." " June 25 - all state banks in iowa Indiana and Eastern Missiouri counterfeits so plenty now". " June 30th - went out to Cottage Grove to see the camp" " July 8 - Telegraphs forbidden by the War department to transmit any war news of the intentions of the united states "." July 16 - the federal forces are beginning to move toward Richmond knowing where they will stop Gen. Scott don't tell everydody". " July 22 - At noon good news from the war high hopes night news the entire rout of the Federal army . and retreat back to Washington". referring to the first battle of Bull Run at Manassas " July 23 - News from war not encouraging - 600 killed ". " July 25- breacking accounts the battle and rout of the Union army though better than at first suspected ". " Sept. 25- think of joining T.E.G. Ransoms 11th regiment at Cairo had a letter from him wants me". referring to Gen. Ransom. " Oct 6th - another letter from T.E. G. Ransom still urges me. " " Aug 7th 1862 I enlisted in the Mercantile Battery of the Artillary of the U.S. for three years unless sooner discharges"" Aug 9th I was sworn in by capt. christopher U.S. mustering officer of Chicago". " Mr Sutter pastor presented each of the young men who had enlisted with a teatament". " Aug 11th - picked up duds to go to camp tomorrow- at 9 o'clock". "Aug 12th- at 9 o'clock at our headquarters at corner of Lake and State streets at the .Mercantile Association - marched to court house and examined by surgeon and then recieved our $ 60 ". " Aug 13th - arranged our camp as best we could not being organized . was on guard . skirmishing ." " Aug 14th -rec'd news that we were accepted by the government and were to have a full battery . powder smooth Bores . the Coffeemill . orders to fill up the company to 156 men. some photographs taken ". " Aug 25 - we elected our officers and then were visited by Adjutant General Fuller.Cooley Wilson Swan Bickford ". " Aug 29 - The Battery was mustered into service by lt. Knox ". "Sept. 1st- went to town to get more photographs". " Sept 23 - lient Wilson had a sword to be presented him ". " Oct. 3- went to camp and found that the Guns and all accoutrements and ammunition had come". . guns 2 .from riffle james cannon 2 to 8 ditto rebel guns -one made in Memphis and one in orleans which had been captured". " Oct 4th Seargents knights and Whitney Thomas and Throop drew cuts for the 4 bronze guns -knight & Thomas got the U.S. & Throop 7 Whit the rebels.". " Oct 5- had a great deal of company to look at the guns ." the Mercantile Association presented Crego with a sword . the accoutrements are being distributed and guns. today there was a sword Pistols presented to Capt. Cooley by the Mercantile Association." "Oct 15th " last evening the Asociation presented the Battery a splendid set of Colors. . to ft. Wayne.after the horses for the Battery ". " Oct 26th - we drill about 4 hours daily with our horses and guns on the prarie and five blank cartriges to break in the horses - we are almost ready mow for the field and fight". We are now likely to get our Captain Cooley to resign and have Morgan in his place. we have no guard around the camp now only on the horses guns ammunitionstores & officers tents and the boys go down town when they choose". " Dec. 25th - Vicksburg measels" "jan 2nd 1863. left Yazoo country- & Walnut Hills & c bluffs - Sherman's big retreat" . " Feb 14 - Arkansas Post- Sherman deserted - then back to Youngs Point". " Mar 6th Left Youngs Point for Hospital in Memphis on steame "City of Memphis". " April 1st 1863 - Mrs. Livermore brought me my discharge from the service- to Washington Hosptal Memphis.". " April 2 - left Memphis on Bostona -- homeward bound a free man". Remarkable archive.; Manuscript; 48mo - over 3" - 4" tall; KEYWORDS: HISTORY OF DICK RANSOM ALS CDV AMERICANA HANDWRITTEN MANUSCRIPT DOCUMENT LETTER AUTOGRAPH WRITER HAND WRITTEN DOCUMENTS SIGNED LETTERS MANUSCRIPTS HISTORICAL HOLOGRAPH WRITERS AUTOGRAPHS PERSONAL PERSONAL HISTORY MEMOIR MEMORIAL DIARY JOURNAL DIARIES JOURNALS LOG LOGS KEEPSAKE AMERICANA Civil War War Between the States VICKSBURG MANASSASS BULL RUN LINCOLN ILLINOIS MERCHANTILE ILLINOIS INFANTRY Zouave . unknown
190268100New York and Paris 1902-1950. original elegant full inlaid and onlaid gilt morocco; a.e.g.; green moire silk doublures. Fine. 4to. Among the drawings are a small cartoon by Tony Sarg of a dog chasing a rat; a full page drawing by Edmond Anam-Jean of a lady; a watercolor of a small dog by Maud Earl; and a drawing of penguins by Leland Curtis of the U.S. Antacttic Expedition 1939-40. Many of the musical artists have added brief scores to their autograph sentiments. Contributors include: Marcella Sembrich 1858-1935; coloratura soprano; Edouard de Reszke 1853-1917; Polish bass; Edmond Anam-Jean 1858-1936; French symbolist painter; Clyde Fitch 1865-1909; playwright; Walter Damrosch 1862-1950; German-American conductor and composer; Lillian Nordica 1857-1914; dramatic soprano; T. J. Cobden-Sanderson fine printer; actress Sarah Cowell Lemoyne; William John Locke 1864-1930 British novelist; Olive Fremstad 1871-1951 Swedish-American opera diva; novelist Ian Hay; Kte Douglas Wiggin; Maud Alice Earl; Tony Sarg; Julia Arthur Cheney; Theodore Roosevely; Don Blanding and others. unknown
1893BB003<p>First Authors Club volume #10/251 with literary pieces by 109 contributors each signed by its author. Includes signed pieces by Mark Twain "The Californian's Tale" Theodore Roosevelt "A Shot at a Bull Elk" Andrew Carnegie "Genius Illustrated from Burns" &c. A lavish anthology printed on fine paper watermarked "Authors Club" with contributions by Samuel Clemens W. D. Howells Theodore Roosevelt Charles Dudley Warner Frank R. Stockton F. Hopkinson Smith E. C. Stedman Henry Van Dyke and many others. Each piece including Clemens's "The California Tale" is signed by its respective author 109 in all. </p><p>Second Authors Club volume #237/251 with literary pieces by 129 contributors of which 117 are hand-autographed. Among the signed contributions are pieces by George Washington Cable George Barr McCutcheon and Albert Payson Terhune.</p><p>The Authors Club of New York was organized in 1882 as a club for noted persons and authors. The First Book of the Authors Club Liber Scriptorum was published in 1891 to raise money for a permanent home for the social club. The second volume was conceived to celebrate the 25th anniversary of the first volume but publication was delayed due to World War I. When finally published in 1921 it contained 129 stories poems and essays in a limited edition signedby each author at his contribution. Contributors include: Irving Bacheller George Washington Cable George Wharton Edwards John Erskine Franklin Henry Giddings George Bird Grinnell Rossiter Johnson John Uri Lloyd Brander Matthews George Barr McCutcheon Albert Payson Terhune Carl Van Doren and Henry van Dyke &c but as noted in the table of contents and errata slip not all of the authors were able to sign: eight died before the presses had finished so facsimiles were used for Joseph Alexander Altsheler Julius Chambers William Henry McElroy Charles Augustus Stoddard Stephen Henry Thayer Calvin Thomas James Terry White and William Young; two had gone blind James Thompson Bixby and Richard Rodgers Bowker and could no longer sign their name consistently; one contributor was off traveling Frank Crane while the last was ill William Ordway Partridge. </p><p>BAL 3438. In his bibliography of Mark Twain Merle Johnson notes that though "there are presumed to be 251 copies of the book; actually over 30 of these were not bound but were sold as separate articles." Many copies have also been broken up over the years so the autographs could be sold separately. The majority of intact copies now reside in institutions. <br /></p><p><br /></p> The Authors Club hardcover books
182511367London 1825. Used; Like New/Used; Like New. 3 volumes. 12mo crushed brown morocco with gilt-lettered spine by Rivière & Son edges rubbed some bowing to boards; bookplates of Frances Amelia Adams front hinge of first volume cracked with front free endpaper detached moderate foxing and offsetting scattered throughout. An extraordinary set extra-illustrated with 5 autographs and over 150 18th and 19th-century engravings bound in with many inlaid to size. Most illustrations are cut down to 12mo some with slight losses to the images; some are flush mounted to an inset window; some are larger formats folded down. Engravings are generally in very good to fine condition many with toning to the edges some with light foxing and some with light plate marks.<br style="">A remarkable collection and veritable encyclopedia of portraiture of the period assembled with great care whereby at nearly every mention of a name within the printed Busby text whether in passing or as the object of more extended focus the collector Frances Amelia Adams has found and inserted a relevant portrait or in a few cases an original document of that person.  <br style="">Thomas Busby himself a composer published several notable works on music including A Grammar of Music and A General History of Music. The present work is charmingly gossipy informative and highly entertaining and yields all manner of insights into musical life through history. Approximately a thousand anecdotes are assembled across the three volumes as a delightful potpourri. Among much else Volume 1 includes discussion of Sir John Hawkins and Beethoven's eccentricity Volume 2 with entries on Italian castrato Farinelli and English lutist Thomas Mace and Volume 3 includes pieces on the music of ancient Greece and Rome along with the work's index.<br style="">A detailed catalogue of the complete illustrations and insertions is found below:<br style="">The autographs bound in include:<br style="">George III; King of England. Clipped Signature "George R" on a scrap of vellum probably removed from a document. 1 1/4x3 1/2 inches; mounted to paper trimmed to size and inlaid faint scattered foxing and soiling. Np nd. First volume<br class="Apple-interchange-newline" style="">John Frederick William Herschel. Autograph Letter Signed "JFWHerschel" to "Dear Sir" inviting him and his sister to tea and adding that it "is very improbable that the Moon will shew herself in such a Sky as has prevailed During the greater part of the day but we can but take our chances." 1 page 12mo; some loss to few letters at points along left edge folds inlaid. Slough "Thursdy Evg" no year. First volume<br style=""><br style="">William Edward Parry. Clipped portion of an Autograph Letter Signed "WParry" in full: "return from the Hecla to town to-morrow when we get underway." 3 1/4x4 1/2 inches; mounted to a page. Np nd. Second volume<br style="">Thomas Moore. Autograph Letter Signed to "My dear Sir" wittily declining to break off an engagement with someone else. 1 page 12mo; toning to edges folds. Np "Saturday Morning" no year. Third volume<br style="">John Braham. Brief Autograph Letter Signed "Dear Sir I think I can come on Monday next. Will that be convenient to you." 1 page oblong 12mo; folds. Brompton 14 July no year. Third volume---First volume:<br style="">Engraving captioned "View of the magnificent Box erected for their Majesties in Westminster Abbey under the Direction of Mr. James Wyatt at the Commemoration of Handel."  First published in the European Magazine and London Review by J. Sewell June 30 1784.  Engraved by W & J Walker.  18.5 x 27.5 cm; folds creased and rough edges.<br style="">Johann Nepomuk Hummel.  Engraved portrait by an unknown artist possibly not listed in the Harvard Theatre Collection Catalogue of Dramatic Portraits published by the Verlag vom Bibliographischen Institut zu Hildburghausen.  10.5 x 17.5 cm.<br style="">Ludwig van Beethoven. Engraved portraits of the composer in full-length walking and in bust "after an original drawing" "nach einer Original Handzeichnung" with two facsimile signatures. Not listed in the Harvard Theatre Collection Catalogue of Dramatic Portraits.  10.5 x 17.5 cm.<br style="">Luigi Cherubini. Engraved portrait of the composer as a young man half-length right profile Harvard Theatre Collection Catalogue no. 3.  Cut down to 10.5 x 17.5 cm.<br style="">Richard Corbet Bishop of Norwich and noted poet.  Engraved by J. Romney after J. Thurston "from a picture by Cornelius Jansen in the hall of Christ Church College Oxford." 10.5 x 17.5 cm.<br style="">Joseph Haydn. Engraved portrait bust to right looking to front.  From the painting by T. E. Mansfeld engraved by J. Newton not listed in the Harvard Theatre Collection Catalogue of Dramatic Portraits.  Published September 1 1784 by J. Sewell.  10.5 x 17.5 cm.<br style="">Thomas Arne.  Engraved portrait bust to left oval.  From the painting by R. Dunkarton engraved by Rhodes Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2.  Published by Harrison & co. March 1 1794.  6.8 x 8 cm.<br style="">Georg Friedrich Handel.  Engraved portrait half length to left in a long wig and fancy coat.  From the painting by Thomas Hudson Royal Collection 405649 engraved by J. Thomson Harvard Theatre Collection Catalogue of Dramatic Portraits no. 6.  10.5 x 17.5 cm.<br style="">Wolfgang Amadeus Mozart.  Engraved portrait bust right profile oval in rectangular frame.  After the print by C. Kohl 1793 engraved by J. Thomson Harvard Theatre Collection Catalogue of Dramatic Portraits no. 11.  10.5 x 17.5 cm.<br style="">Angelica Catalani.  Engraved portrait with the caption "Madame Catalina" sic half length to right with a flower in her hair.  From the painting by S. DeWilde engraved by Cheesman Harvard Theatre Collection Catalogue of Dramatic Portraits no. 10.  10.5 x 17 cm.<br style="">William Shakespeare.  Engraved portrait half length to right stipple and line engraving mid- to late-eighteenth century.  Unknown artist and engraver National Portrait Gallery D5944.  10.5 x 17.5 cm.<br style="">Robert Ker Porter.  Engraved portrait bust looking to left stipple engraving and etching.  From the painting by John Wright engraved by Samuel Freeman Yale Center for British Art B1977.14.12524.  Published by Verner Hood & Sharpe 1809.  10.5 x 17.5 cm.<br style="">Hugo Grotius.  Engraved portrait bust to left stipple engraving and etching.  Oval with a small rectangular vignette below showing actors on stage.  Engraved by J. Chapman Stanford Special Collections Leon Kolb Collection 0567.  Published by J. Wilkes 1805.  10.5 x 17.5 cm.<br style="">Louis XIV of France.  Engraved portrait bust to left with long wig and armor.  After a print by Robert Nanteuil engraved by Parker British Museum 18690612.72.  Published by John White and John Scott 1808.  10.5 x 17.5 cm.<br style="">Queen Anne of England.  Engraved portrait three quarter length looking to left with right hand to bust and left hand to side.  Crown visible at left window visible at right.  Possibly after the portrait by Godfrey Kneller in mirror image by an unidentified engraver. 10 x 12.7 cm.<br style="">Christoph Willibald Gluck.  Engraved portrait half length profile to left in oval.  By an unidentified engraver possibly after a mirror image of the engraving by Edmé Quenedey Bibliothèque nationale de France département Musique Est. Gluck013 which was based on the bust by Houdon.  Not in the Harvard Theatre Collection Catalogue of Dramatic Portraits.  10.5 x 17.5 cm.<br style="">Mary Ann Paton. Engraved portrait as Mandane in Artaxerxes full length standing and looking up to left in costume. After the painting by T. Wageman engraved by T. Woolnoth Harvard Theatre Collection Catalogue of Dramatic Portraits no. 28. Published by John Cumberland 1828. 10.5 x 17.5 cm.<br style="">Queen Elizabeth I of England.  Engraved portrait full length in ornate dress and holding orb and scepter. By an unidentified engraver probably after the engraving by Crispijn de Passe the Elder National Portrait Gallery D25180.  Cut to 10.5 x 17.5 cm.<br style="">Joseph Vernon. Engraved portrait as Macheath in The Beggar's Opera full length looking to left and holding a glass in his right hand.  After the drawing by J. Roberts engraved by Thornthwaite Harvard Theatre Collection Catalogue of Dramatic Portraits no. 4.  Published for Bell's British Theatre 1777.  10.5 x 17.5 cm.<br style="">Étienne-Nicolas Méhul. Engraved portrait bust left profile in octagon.  After Quenedey engraved by Wachsmann Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2.  Mounted below a short biography of Méhul in German. 10.5 x 17.5 cm.<br style="">King Edward VI of England. Engraved portrait three quarter length facing front.  After a portrait formerly attributed to Holbein now attributed to Scrots engraved by T. A. Dean see Royal Collection RCIN 600932 with a different caption.  10.5 x 17.5 cm.<br style="">Wolfgang Amadeus Mozart. Engraved portrait bust right profile in clouds. Engraved by Carl Mayer after his own drawing Beethoven-Haus Bonn B1291.  Not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 10.5 x 17.5 cm.<br style="">King George III of England.  Engraved portrait bust looking to left with Garter star on left breast.  After Hopwood engraved by Thomas Woolnoth Royal Collection RCIN 604459. Published by Dean & Munday 1820. 10.5 x 17.5 cm.<br style="">John Wilkins D.D. Bishop of Chester.  Engraved portrait bust looking to right in oval with ribbons above. By an unknown engraver probably after Mary Beale for The Gospel Magazine February 1780.  Published by Vallance and Hogg 1780.  10.5 x 17.5 cm.<br style="">Samuel Johnson. Engraved portrait half length seated with a book on the table in front of him looking to right.  In an ornate engraved frame.  Engraved by R. Page.  Published by Bumpus 1822. 10.5 x 17.5 cm.<br style="">Joseph II Holy Roman Emperor. Engraved portrait bust to left looking to front. In oval above a pedestal with "Ioseph II."  Engraved by H. Lips. 10.5 x 17.5 cm.<br style="">Maria Poole Dickons. Engraved portrait half length to left almost full face holding music. Engraved by Marie Anne Bourlier Harvard Theatre Collection Catalogue of Dramatic Portraits no. 4. 10.5 x 17.5 cm.<br style="">Engraving captioned "View of the Orchestra Organ &c erected in Westminster Abbey under the Direction of Mr. James Wyatt for the Commemoration of Handel."  First published in the European Magazine and London Review by J. Sewell May 25 1784.  Engraved by W & J Walker. 1 page 28 x 18.5 cm; folds slightly creased edges.<br style="">Ann Maria Tree. Engraved portrait as Viola full length standing with feathered hat in left hand. By an anonymous engraver Harvard Theatre Collection Catalogue of Dramatic Portraits no. 20. Published by W. C. Wright. 10.5 x 17.5 cm.<br style="">King Henri IV of France. Engraved portrait half length full face. After Mme. de Léomenil engraved by Pannier. 10.5 x 17.5 cm.<br style="">André Grétry. Engraved portrait full length seated at a spinet with books and quills. After J. B. Isabey engraved by Geille Harvard Theatre Collection Catalogue of Dramatic Portraits no. 3. Cut down to 10.5 x 17.5 cm.<br style="">Jean Jacques Rousseau. Engraved portrait half length to right looking to front. Engraved by Robert Hart published in Arthur Thomas Malkin The Gallery of Portraits: With Memoirs vol. 5 1835. Cut down to 10.5 x 17.5 cm with a caption partially visible at the foot.<br style="">King Charles II of England. Engraved portrait half length seated looking to right with armor holding helmet and baton. From Charles Gavard's 'Galeries historiques de Versailles' published in the 1830's and 1840's Royal Collection RCIN 602463. Cut down significantly to 10.5 x 17.5 cm.<br style="">Clara Fisher. Engraved portrait as Madame Josephine in Actress of All Work three-quarter length holding castanets; in an ornate rectangular frame. After T. Wageman engraved by J. Rogers Harvard Theatre Collection Catalogue of Dramatic Portraits no. 12. Published by T. & I. Elvey 1822. 10.5 x 17.5 cm. <br style="">Ludwig van Beethoven. Engraved portrait bust looking to left in oval. After Joseph Stieler engraved by Rudolf Rahn Beethoven-Haus Bonn B589; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 8.5 x 12 cm mounted to 12mo.<br style="">Gertrude Elizabeth Schmeling Mara. Engraved portrait half length left profile with a scarf around her head in oval. After J. L. David engraved by W. Ridley Harvard Theatre Collection Catalogue of Dramatic Portraits no. 1. 9 x 13 cm.<br style="">Gioachino Rossini. Engraved portrait bust looking to right wearing a high collar and cravat. With the caption above: "La Romance." By an unidentified engraver possibly not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 10.5 x 17.5 cm.<br style="">Elizabeth Weichsel Billington. Engraved portrait half length to front looking to left wearing a hat with feathers. After R. Cosway engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 13. Dated 1790. 10.5 x 17.5 cm.<br style="">James Hook. Engraved portrait bust looking to right wearing spectacles. After S. Drummond engraved by T. Blood Harvard Theatre Collection Catalogue of Dramatic Portraits no. 1. Published by Asperne 1813. 10.5 x 17.5 cm; fine. With 4 pp. numbered 91-94 from the European Magazine and London Review of August 1813 titled "Memoir of James Hook Esq." 21 x 12 cm.<br style="">John Frederick William Herschel. Autograph Letter Signed "JFWHerschel" to "Dear Sir" inviting him and his sister to tea and adding that it "is very improbable that the Moon will shew herself in such a Sky as has prevailed During the greater part of the day but we can but take our chances." 1 page 15.3 x 10.5 cm; some loss to few letters at points along left edge folds inlaid. Slough "Thursdy Evg" no year. With an engraved portrait of Herschel half-length to left holding an astronomical document. Engraved by E. Scriven after John Russell National Portrait Gallery D35725. 10.5 x 17.5 cm.<br style="">George III; King of England. Clipped Signature "George R" on a scrap of vellum probably removed from a document. 9.3 x 4.5 cm; faint scattered foxing and soiling. Np nd.<br style="">Étienne Méhul. Engraved portrait bust looking to left with bold pencil marks. By an unknown engraver Bibliothèque nationale de France IFN-8422484; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. Cut down significantly to 10.5 x 17.5 cm with caption cut separately and mounted below.<br style="">Thomas Warton the younger. Engraved portrait half length to left in oval frame. Engraved by R. Stanier after Sir Joshua Reynolds National Portrait Gallery D14136. Published in the European Magazine. 10.5 x 17.5 cm.<br style="">Jean-Philippe Rameau. Engraved portrait bust right profile oval in rectangle with ornaments and birth and death dates. Harvard Theatre Collection Catalogue of Dramatic Portraits no.1. Cut down to 10.5 x 17.5 cm; wear to edges.<br style="">Lekain Henri Louis Cain. Engraved portrait full length seated with right elbow on a table looking up to the left. Engraved by Mauduison after Chasselat Harvard Theatre Collection Catalogue of Dramatic Portraits no. 4. Cut down to 10.5 x 17.5 cm with caption mounted at the foot.<br style="">King Louis XVIII of France. Engraved portrait bust wearing sash and badge of S. Esprit in an oval frame with crown and sword above. By an unknown engraver for La Belle Assemblée No.57; Royal Collection RCIN 617508. Cut down to 10.5 x 17.5 cm.<br style="">Carl Maria von Weber. Engraved portrait half length looking to left. Engraved by H. Adlard not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 10.5 x 17.5 cm.<br style="">Friedrich Gottfried Klopstock. Engraved portrait half length left profile. With rectangular frame below with a harp and a banner labeled "Messiah." Engraved by J. Chapman Stanford Special Collections Leon Kolb Collection 0756 and published by Adlard & Jones 1812.<br style="">Catherine the Great of Russia. Engraved portrait half length looking to right in large and very ornate frame. By an unidentified engraver. Cut down to 10 x 17.5 cm.<br style="">Jean-François Le Sueur. Engraved portrait half length looking to left. By an unidentified engraver perhaps from a set with the above engraving of Étienne Méhul. Cut down to 10.5 x 17.5 cm with caption mounted at foot.<br style="">Frederick II "the Great" of Prussia. Engraved portrait half length to left in an oval frame with stonework captioned in French. Engraved in 1788 by Marais after Graf. 10.5 x 17.5 cm.<br style="">Emma Lady Hamilton. Engraved portrait half length with flower crown. Engraved by Jean Condé after George Romney National Portrait Gallery D46093. 9 x 14.3 cm.<br style="">André Ernest Modeste Grétry. Engraved portrait bust to right oval in rectangle. Engraved by Gottschick after Lebrun not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 10.5 x 17.5 cm.<br style="">Engraving captioned "Commemoration of Handel in Westminster Abbey 1784." Engraved by W. Read. 20 x 17 cm; folded down the center.<br style="">Alexander Pope. Engraved portrait half length with right elbow on table and hand supporting head. Oval in rectangle with ornate frame. Engraved by Joseph Collyer the Younger after Sir Godfrey Kneller Harvard Theatre Collection Catalogue of Dramatic Portraits no. 6; National Portrait Gallery D27572. 10.5 x 17.5 cm.<br style="">Wolfgang Amadeus Mozart. Engraved portrait half length to left seated. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 6. 10.5 x 17.5 cm.<br style="">Charles Borde. Engraved portrait half length to left in oval frame with cherub instruments and telescope. Engraved by C. Boily Bibliothèque municipale de Lyon Coste 13347. 10.5 x 17.5 cm.<br style="">Jean-Baptiste Lully. Engraved portrait full length seated with score of "Armide." Engraved by Geille after Johannot Bibliothèque nationale de France département Musique Est.LullyJ.B.020; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. Cut down significantly to 10.5 x 17.5 cm with caption mounted at foot.<br style="">King Louis XV of France. Engraved portrait half length with sash and badge. Engraved by Basan after Le Moine. Published in Paris by Odieuvre. Royal Collection RCIN 617226. 10.5 x 17.5 cm.<br style="">Johann Adolf Hasse. Engraved portrait half length to right in oval frame with fabric and sheet music below. Engraved by Kauxe after Rotari Bibliothèque nationale de France département Musique Est.Hasse001; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 7.5 x 14.3 cm.<br style="">Faustina Hasse Bordoni "Signora Faustina." Engraved portrait bust to right looking to left in oval. Engraved by Grignion after Rosalba Carriera New York Public Library Muller Collection Bordoni Faustina #2; possibly Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2. 8 x 10 cm.<br style="">Stéphanie Félicité Comtesse de Genlis "Madame de Genlis." Engraved portrait half length to right with headscarf. Engraved by Henry Meyer from an original drawing Bibliothèque nationale de France département Musique Est.Genlis002.10.5 x 16.5 cm.<br style="">Pietro Metastasio. Engraved portrait half length in oval with ribbons and trumpet above. Engraved by Gaucher after Steiner Staatsbibliothek zu Berlin - Preußischer Kulturbesitz Handschriftenabteilung Inventar-Nr. Portr. Slg / Lit. m / Metastasio Pietro Nr. 2 b043753. 10.5 x 17.5 cm.<br style="">Joseph Haydn. Engraved portrait half length to right. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 9. 9.5 x 16.3 cm.<br style="">Abraham Gottlob Werner. Engraved portrait bust left profile in octagon. Engraved by Rosmäsler after Derniani and published by Schumann Zwickau. 10.5 x 17.5 cm.<br style="">Chart entitled "Sound. Compass of voices and instruments shewing the extent of each." The ranges of various voices and string wind and brass instruments are displayed on a large table. Published by Neele & Son. 18 x 25 cm; folds and creased edges.<br style="">Second volume:<br style="">Engraving titled "Flight and Robson's Apollonicon." 10 x 17 cm.<br style="">Torquato Tasso. Engraved portrait bust right profile in oval frame with cherubs and harp. Engraved by Lapi 1777 and published in an early edition of La Gerusalemme Liberata. 12.3 x 6.7 cm.<br style="">Martin Luther. Engraved portrait half length seated with book and quill. Engraved by C. E. Wagstaff and published in The Gallery of Portraits with Memoirs 1833. 10.5 x 17.5 cm.<br style="">King Louis XI of France. Engraved portrait bust profile to left. Engraved by Pinssio after Boizot. Published in Paris by Odieuvre. 10.5 x 17.5 cm.<br style="">Francois Marie Voltaire. Engraved portrait half length to left. Engraved by Bosselman and published by Furne Paris. The Miriam and Ira D. Wallach Division of Art Prints and Photographs: Print Collection The New York Public Library. "Voltaire." Not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 10.5 x 17.5 cm.<br style="">William Pitt the Younger. Engraved portrait half length seated to left. Engraved by S. Freeman after Gainsborough. 10.5 x 17.5 cm.<br style="">Leonardo da Vinci. Engraved portrait half length to right. Engraved by J. Posselwhite Wellcome Library ICV No 6273L. 10.5 x 17.5 cm.<br style="">King Francis I of France. Engraved portrait half length to left. Engraved by Francis Holl after Titian. 10.5 x 17.5 cm.<br style="">William Edward Parry. Engraved portrait to right with telescope and waves in the background. Engraved by James Thomson Thompson after Samuel Drummond National Portrait Gallery NPG D38801 and published in the European Magazine. Cut down to 10.5 x 17.5 cm.With an autograph from Parry taken from the closing of a letter: ".return from the Hecla to town to-morrow when we get underway. Believe me my dear Sir yours very truly obliged W. Parry." Undated. Light foxing. 11.5 x 8.5 cm.<br style="">Charles Burney. Engraved portrait half length to left holding scroll of music. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2. 10.5 x 17.5 cm.<br style="">Isaac Newton. Engraved portrait three-quarter-length seated to right. After John Vanderbank National Portrait Gallery NPG D27326 published by William Cole Feb. 1925. 10.5 x 17.5 cm.<br style="">I. H. Rolle. Engraved portrait bust in oval with book and branch below. Engraved by Geyser after Fischer Music Division The New York Public Library. "I. H. Rolle." 10.5 x 17.5 cm.<br style="">Niccolo Jomelli. Engraved portrait bust to front facing and looking to right. By an unidentified engraver possibly Harvard Theatre Collection Catalogue of Dramatic Portraits no. 3; see upper half of Halberstadt Gleimhaus Inventar-Nr. P3 Jomelli 2. Cut down to 10.5 x 15.6 cm.<br style="">Thomas Britton. Engraved portrait half length to right. Engraved by T. Maddocks after John Wollaston National Portrait Gallery NPG D27353; not in Harvard Theatre Collection Catalogue of Dramatic Portraits. 10.5 x 17.5 cm.<br style="">Horace Walpole. Engraved portrait half-length standing to left with head turned to look to front supporting a book with his left hand upright on a table. Engraved by G. E. Madeley after Eccardt British Museum 19131101.54. Cut down to 10.5 x 17.5 cm.<br style="">William Congreve. Engraved portrait half-length seated to right with left hand on book. Engraved by J. Fittler after J. Thurston Harvard Theatre Collection Catalogue of Dramatic Portraits no. 17 and published by W. Walker London 1820. 10.5 x 17.5 cm.<br style="">Peter Pindar John Wolcot. Engraved portrait half length to right. Engraved by Corner after Opie British Museum 18650520.133 and published in the European Magazine. 10.5 x 17.5 cm.<br style="">Benjamin Incledon. Engraved portrait as Captain Macheath in Gay's "The Beggar's Opera" half-length to right with drinking glass. Engraved by H. R. Cook after Clater Harvard Theatre Collection Catalogue of Dramatic Portraits no. 12 and published by Simkin & Marshall 1818. 10.5 x 17.5 cm.<br style="">King Henry VIII of England. Engraved portrait half length to right wearing chain and feathered hat. By an unidentified engraver late 18th-early 19th century. 10.5 x 17.5 cm.<br style="">Anna Selina Storace Miss Storace. Engraved portrait as Euphrosyne in Miton's "Comus" full length to right standing with cup. Engraved by Thornthwaite after DeWilde Harvard Theatre Collection Catalogue of Dramatic Portraits no. 8 and published by J. Bell 1791. 10.5 x 17.5 cm.<br style="">Thomas Lowe. Engraved portrait "at Sadler's Wells" full-length in character holding a whip. By an unknown engraver Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2 and published by J. Bow 1778. 10.5 x 17.5 cm.<br style="">Henrietta Maria Queen of Charles I. Engraved portrait three quarter length standing with right hand resting on a table beside a vase filled with flowers and a crown. Engraved by H. T. Ryall after Van Dyke Royal Collection RCIN 602001. 9.5 x 13.5 cm with caption mounted below.<br style="">King Charles II of England. Engraved portrait three-quarter-length to right in armor with crown in the background. By an unidentified engraver after Lely; similar content but not the same engraver as Royal Collection RCIN 602450. 9.5 x 12.5 cm.<br style="">Henry Purcell. Engraved portrait half-length to right. Engraved by H. Adlard after John Closterman British Museum 19441014.277; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 10 x 17.5 cm.<br style="">Cardinal Richelieu. Engraved portrait full-length to left in long robes. By an unidentified engraver. Cut down significantly to 10.5 x 17.5 cm.<br style="">King Henry IV of France. Hand-colored engraved portrait half-length to left in ruff & armour badge of St Esprit on blue ribbon blue cloak over shoulder. Engraved by Ridé after Sergent Royal Collection RCIN 616649. Cut down to 10.5 x 15 cm.<br style="">Jean de la Fontaine. Engraved portrait bust-length to right. Engraved by James Hopwood the Younger after Hyacinthe Rigaud British Museum 19261230.13. 10.5 x 17.5 cm.<br style="">Pépin le Bref King of the Franks. Engraved portrait half-length to right wearing crown and holding sceptre. Engraved by Pannier after Amiel. 10.5 x 17.5 cm.<br style="">Giovanni Boccaccio. Engraved portrait half length to left wearing laurel crown and holding book. Engraved by W. H. Worthington after Raphael and published by Pickering London 1825 as frontispiece to his edition of The Decameron. 10.5 x 17.5 cm.<br style="">Petrarch Francesco Petrarca. Engraved portrait half-length with wreath of laurel and holding book. Engraved by Robert Hart after Stefano Tofanelli British Museum 18680822.1479. 10.5 x 17.5 cm.<br style="">Dante Alighieri. Engraved portrait bust to right wearing laurel crown. Engraved by Gerhard von Kügelgen and published by Felix Halm Wolfenbüttel Herzog August Bibliothek Inventar-Nr. A 4338. 10.5 x 17.5 cm.<br style="">Oliver Goldsmith. Engraved portrait bust to right nearly profile. Engraved by P. Audinet after J. Reynolds Harvard Theatre Collection Catalogue of Dramatic Portraits no. 23. 6.5 x 8.3 cm.<br style="">John Gay. Engraved portrait half-length to right wearing turban. By an unidentified engraver not in Harvard Theatre Collection Catalogue of Dramatic Portraits published by John Wood 1761. 7.6 x 14.1 cm.<br style="">William Hogarth. Engraved portrait after his self-portrait in the Tate; half-length to right in an oval; the artist is portrayed as if on an oval canvas resting on a pile of books; his dog stands in the right foreground. Engraved by J. Mollison after Hogarth British Museum 19271126.1.28.27. 10.5 x 17.5 cm.<br style="">William Shield Shields. Engraved portrait half-length to left oval. Engraved by Ridley after Opie Harvard Theatre Collection Catalogue of Dramatic Portraits no. 5 and published by Bellamy for the Monthly Mirror 1798. 10.5 x 17.5 cm.<br style="">Emma née Lyon Lady Hamilton. Engraved portrait half-length to left wearing feathered hat. Engraved by K. Mackenzie after William Mineard Bennett National Portrait Gallery D23540. 7 x 11.4 cm.<br style="">Rev. Rowland Hill. Engraved portrait half-length to right as an older man wearing preaching bands in rectangular frame. Engraved by Derby after Freeman. The Miriam and Ira D. Wallach Division of Art Prints and Photographs: Print Collection The New York Public Library. "Rev. Rowland Hill." 7.3 x 10.5 cm.<br style="">Rev. George Whitefield. Engraved portrait half-length in an oval slightly turned to the left dressed in an academic gown with bands at his neck and a powdered bobwig on his head the title in a cartouche below illustration to the Universal Magazine. By an unknown engraver published by John Hinton British Museum 18680822.4944. 10.5 x 17.5 cm.<br style="">Maurice de Saxe. Engraved full-length portrait. Unknown engraver origin.  10 x 17.2 cm. <br style="">Farinelli. Engraved portrait bust to right looking to front. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2. 10.5 x 17.5 cm.<br style="">Philip V of Spain. Engraved portrait three-quarter-length to left seated with wig sash badge and sword. By an unidentified engraver name cut off beginning with Le after Hyancinthe Rigaud. With plate number 2491 at the head. Cut down to 10.5 x 17.5 cm.<br style="">Georges-Louis Leclerc Comte de Buffon. Engraved portrait bust to right wearing white lace cravat and fur collar. By an unidentified engraver publisher's name cut off leaving the address: Rue des Petits Augustins 5. Cut down to 10.5 x 17.5 cm.<br style="">Hannah Pritchard. Engraved portrait as Harriet in Garrick's play 'The Guardian'; full-length standing in profile to left holding out a furled fan. Engraved by Garnett Terry after Thomas Stothard British Museum K62.239; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits published by Harrison1779.<br style="">George Frederick Handel. Engraved portrait to right nearly full face in wig and gown. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 13. 10.5 x 17.5 cm.<br style="">Torquato Tasso. Engraved portrait half-length to left wearing laurel crown and holding book. Engraved by Robert Hart after Raffaelle Morghen The Miriam and Ira D. Wallach Division of Art Prints and Photographs: Print Collection The New York Public Library. "Tasso. From a print by Raffaelle Morghen. Under the Superintendence of The Society for the Diffusion of Useful Knowledge." Cut down to 10.5 x 17.5 cm.<br style="">Richard Boyle 3rd Earl of Burlington. Engraved portrait; half length to the left looking to the front; left hand on hip wearing sash and star; illustration to Walpole's 'Anecdotes of Painting in England' 1762-1771. Engraved by Thomas Chambars after Godfrey Kneller British Museum G5.76. Cut down to 10.5 x 17.5 with caption 19.5 cm wide and folded in.<br style="">John Milton. Engraved portrait; bust to the right looking at viewer; with shoulder length waved hair wearing cloak and white collar; in oval; illustration to Knight's 'The Gallery of Portraits with Memoirs' London: 1833-1837. Engraved by Thomas Woolnoth after William Faithorne British Museum 19201211.944. Cut down to 10.5 x 17.5 cm.<br style="">Lewis Francis Roubiliac. Engraved portrait; three-quarter length standing in three-quarter profile to left working on the model for his marble figure of Shakespeare; illustration to Walpole's 'Anecdotes of Painting in England' London: 1762. Engraved by Thomas A. E. Chambars after Adrien Carpentiers British Museum 18621011.648. Cut down to 10.5 x 17.5 cm.<br style="">Jean-Antoine Watteau. Engraved portrait three-quarter length standing to left leaning on a book and holding a paintbrush. By an unidentified engraver name cut off beginning W. Hibbar. Cut down to 10.5 x 17.5 cm.<br style="">Mary Queen of Scots. Engraved portrait three-quarter-length with hair under a lace cap left arm at side and right raised holding jewelled pendant. Engraved by J. Thomson after "the original in the collection of the right hon.ble the Earl of Morton." Plate to Edmund Lodge's Portraits of Illustrious Personages of Great Britain. Royal Collection RCIN 618280. Cut down to 10.5 x 17.5 cm.<br style="">Henry Stuart Lord Darnley. Engraved portrait three-quarter-length to the left one glove held in his hand a feathered hat on his head and a sword and poniard hanging at his side. Engraved by H. Robinson after Hans Eworth and published in Edmund Lodge's Portraits of Illustrious Personages of Great Britain Royal Collection RCIN 618338. 9.5 x 12.7 cm with caption mounted separately directly below the image.<br style="">Mary Ann Wrighten. Engraved portrait as Peggy in "The Gentle Shepherd" full-length to front standing with flowers in right hand. Plate to Bell's British Theatre 1777 Harvard Theatre Collection Catalogue of Dramatic Portraits no. 5. 10.5 x 17.5 cm.<br style="">Arthur Wellesley Duke of Wellington. Engraved portrait bust forward with head very slightly to right wearing uniform and medals in an ornate rectangular frame. By an unidentified engraver printed by A. Adlard and published by Knight & Lacry London 1827. 10.5 x 17.5 cm.<br style="">André Ernest Modeste Grétry. Engraved portrait bust facing forward in oval with harp and quills below. Engraved by Jean-Pierre Simon after Jean-Baptiste Isabey Bibliothèque nationale de France département Musique Est.GrétryA.-E.-M.017; not in the Harvard Theatre Collection Catalogue of Dramatic Portraits. 9 x 15.5 cm.<br style="">Engraving entitled "Fac Similes of Celebrated Composers." 2 sheets folded in 30 and 32 x 16.5 cm.<br style="">Third volume:<br style="">Engraving entitled "Fac Similes of Celebrated Composers."  1 sheet folded in 31 x 17.5 cm.<br style="">St. Louis King Louis IX of France. Engraving of his statue full-length standing on plinth holding sceptre and book. Engraved by Pigeot. 10.5 x 17.5 cm.<br style="">William Collins. Engraved portrait at the age of 14 half-length to left looking forward in oval. Published by James Asperne and "engraved for the European Magazine from an Original Drawing in the possession of the late William Seward" National Portrait Gallery D13926. 10.5 x 17.5 cm.<br style="">Thomas Moore. Engraved portrait half-length to front looking to left; wearing black neckerchief with pin and high white collar. With facsimile signature below image. Engraved by G. Adcock after F. Sicurec and published by Fisher Son & Co London 1831. Illustration to Jerdan's 'National Portrait Gallery' 1829-32. British Museum 18650114.469. 10.5 x 17.5 cm.With an Autograph Letter Signed to "My dear Sir" wittily declining to break off an engagement with someone else. 1 page 10.5 x 17.5 cm. Toning to edges folds. Np "Saturday Morning" no year.<br style="">Jean Baptiste Lully. Engraved portrait bust to left in long wig. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 1. 10.5 x 17.5 cm.<br style="">Athanasius Kircher. Engraved portrait bust to right wearing cornered hat. Engraved by Johann Friedrich Schmidt after C. Bloemaert Wolfenbüttel Herzog August Bibliothek Inventar-Nr. A 11048. 10.5 x 17.5 cm.<br style="">Charlemagne. Engraved portrait full-length stepping to right looking to left wearing robes and crown carrying orb and sceptre. By an unknown engraver possibly British Museum 19001231.226. Cut down to 10.5 x 17.5 cm.<br style="">Jean Baptiste Lully. Engraved portrait bust to left looking forward wearing long wig in oval. By an unidentified engraver. Cut down to 10.5 x 17.5 cm with caption mounted separately below image.<br style="">Thomas Arne. Engraved portrait half-length profile to right in wig and making a grimace. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 7. 10.5 x 16.5 cm.<br style="">Susannah Maria Cibber. Engraved portrait as Monimia in Otway's "The Orphan" full-length standing left profile left arm extended in gesture. Engraved by Thornthwaite Harvard Theatre Collection Catalogue of Dramatic Portraits no. 11. 10.5 x 17.5 cm.<br style="">John Montagu 4th Earl of Sandwich. Engraved portrait bust-length in profile to left in oval frame surrounded by two laurel branches. Engraved by J. Corner and published by J. Sewell.  Illustration to the 'European Magazine' 1787. British Museum 18650520.145. 10.5 x 17.5 cm.<br style="">Charles Wesley. Engraved portrait half length seated to left holding bible. Facsimile signature below. Engraved by T. A. Dean after "an original painting in the possession of the Family." 10.5 x 16.5 cm. Slight wear and soiling.<br style="">Richard Suett. Engraved portrait as Bayes in Duke of Buckingham's "The Rehearsal" full-length to right bowing slightly in the street. Engraved by W. Skelton after J. Graham. Plate to Bell's British Library 1796 Harvard Theatre Collection Catalogue of Dramatic Portraits no. 4. 10.5 x 17.5 cm.<br style="">Frederick William III King of Prussia. Engraved portrait in uniform with medals; bust to right. Engraved by Thomas Blood after Johann Friedrich Bolt and published in the European Magazine 1814 British Museum 18750710.5748. 8.5 x 13.5 cm.<br style="">Louis Lazare Hoche. Engraved portrait bust to right in oval. By an unidentified engraver Coburg Kunstsammlungen der Veste Coburg Inventar-Nr. XIII12464. 6.3 x 10 cm.<br style="">George Gordon Byron Lord Byron. Engraved portrait half-length seated to front with head in three-quarter profile to left. Engraved by H. Robinson after R. Westall. Illustration to William Jerdan's 'National Portrait Gallery of Illustrious and Eminent Personages of the Nineteenth Century' London: 1831. British Museum 18661013.615. 10.5 x 17.5 cm.<br style="">Captain Cook. Engraved portrait bust-length slightly turned to the left and looking to the right seated. Engraved by Edward Scriven after Nathaniel Dance and published by William Mackenzie British Museum 19011022.1749. 10.5 x 17.5 cm.<br style="">John Wesley. Engraved portrait half-length to right wearing preaching bands and wig; oval in rectangle. Engraved by J. Posselwhite after J. Fittler and J. Barry Wien Österreichische Nationalbibliothek Bildarchiv und Grafiksammlung Porträtsammlung Inventar-Nr. PORT_00134179_01. 10.5 x 17.5 cm.<br style="">Catherine Essex Miss Stephens Countess. Engraved portrait half-length to front looking to right. Engraved by H. Meyer after G. H. Harlow and published in the European Magazine by J. Asperne 1818 Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2. 10.5 x 17.5 cm.<br style="">Charles V Holy Roman Emperor. Engraved portrait half-length to right in doublet chain and flat hat. Engraved by W. Holl after Holbein University of Edinburgh Corson P.7046. 10.5 x 17.5 cm.<br style="">Johann Wolfgang von Goethe. Engraved portrait at age 27 bust left profile in oval. Engraved by C. A. Schwerdgeburth after Chodowiecky and G. M. Kraus Stadtgeschichtliches Museum Leipzig G II/14. 10.5 x 17.5 cm.<br style="">Geoffrey Chaucer. Engraved portrait bust to left with cloth headpiece in oval. On a plinth with relief of men on horseback and Chaucer's name. By an unidentified engraver published by D. Bogue London in "Literary History of the Middle Ages" by Rev. Joseph Berington 1846. 10.5 x 17.5 cm.<br style="">Engraving entitled "Cannons in Middlesex the seat of Wm. Hallett Esqr." View of Cannons House in north London; looking down the approach to the manor house horses and cows on either side of path a wide gate with iron fence before formal grounds of house. Engraved by William Watts after John Alexander Gresse British Museum 19271126.1.17.54. 20 x 17.5 cm bound in as 2 pp.<br style="">Engraving entitled "View of the Orchestra in Vauxhall Garden." Showing ladies and gentlemen standing and walking in a garden listening to an orchestra and singer perform in an elevated pavilion. Published by J. Bew as frontispiece to the "Vocal Magazine" 1 May 1778. 10.5 x 17.5 cm.<br style="">John Edwin. Engraved portrait as Autolycus in "The Winter's Tale" full-length standing holding up a purse in left hand; oval in rectangle. Engraved by C. Grignion after H. Ramberg and published by J. Bell as a plate to "British Theatre" 1785 Harvard Theatre Collection Catalogue of Dramatic Portraits no. 5. 10.5 x 17.5 cm.<br style="">Pietro Aretino Pierre Aretin. Engraved portrait bust forward looking slightly to left wearing hat with peak to left. In oval frame with inscriptions in French. By an unidentified engraver after Titian published by Daumont Paris Münster LWL-Museum für Kunst und Kultur Porträtarchiv Diepenbroick Inventar-Nr. C-507647 PAD. 10.5 x 17.5 cm.<br style="">Eight small engraved portraits of Shakespearean actors: Hannah Pritchard Sarah Siddons George Frederick Cooke Charles Macklin John Henderson Charles Kemble Thomas Betterton and David Garrick. Each portrait is individually cut out in an oval and laid down separately over 2 pp. of four portraits. From one engraving of all eight in ornate frames by Robert Cooper published by Sherwood & co. 1825 British Museum 18680808.1336. Each portrait approx 2 x 4 cm.<br style="">George Gordon Noel Byron Lord Byron. Engraved portrait bust-length to front with head in three-quarter profile; wearing neckerchief and frill. Engraved by Thomas Blood after Richard Westall and published by James Asperne as illustration to the 'European Magazine' 1814 British Museum 18680808.1399. 10.5 x 17.5 cm.<br style="">Anna Maria Crouch. Engraved portrait as Princess Lodoiska Lodoisk half-length to left looking to front in hat right hand holding scarf on shoulder. Engraved by J. Rogers after Stevens and published by Simpkin & Marshall 1824 Harvard Theatre Collection Catalogue of Dramatic Portraits no. 15. 10.5 x 17.5 cm.<br style="">James II King of England. Engraved portrait while Duke of York; three-quarter-length with long hair lace collar armour and sash over right shoulder. With left hand on helmet and right holding gauntlet. With French inscription below. By an unknown engraver published in Charles Gavard's 'Galeries historiques de Versailles' published in the 1830s and 1840s Royal Collection RCIN 602793. 10.5 x 17.5 cm.<br style="">Jonathan Swift Dr. Swift. Engraved portrait bust-length in an architectural oval in profile to the right his head bare with an open collar and a mantle. By an unidentified engraver after Rupert Barber published by Robert Baldwin in the London Magazine 1754 British Museum 19011022.1732. 10.5 x 16.5 cm.<br style="">Ben Jonson. Engraved portrait half-length turned slightly to the right looking at viewer; wearing high lace-trimmed collar and embroidered gown; with short hair and beard. Engraved by Edward Scriven and published by Charles Knight in 'The Gallery of Portraits with Memoirs' London: 1833-1837 British Museum 18711209.916. 10.5 x 17.5 cm.<br style="">John Gay. Engraved portrait bust to left wearing turban in oval. Engraved by P. Rothwell after W. Aikman and published by Harrison & co. 1795 Harvard Theatre Collection Catalogue of Dramatic Portraits no. 2. 6.5 x 8 cm.<br style="">Julius Caesar. Engraved portrait on a coin half-length profile to left holding shield and orb. With Latin inscriptions on coin and "Julianus Imperator" at the foot. By an unidentified engraver. Cut down significantly to 10.5 x 17.5 cm.<br style="">William Herschel. Engraved portrait half-length in an oval frame in profile to the left in oval with a globe a celestial map and telescopes below the title on a cartouche below. By an unidentified engraver published by John Sewell in the European Magazine 1785 British Museum 18650520.79. 10.5 x 17.5 cm.<br style="">Thomas D'Urfey. Engraved portrait half-length in profile to the left holding two closed books under left arm and reading sheet of music held in right hand. Engraved by Charles Pye after J. Thurston and published by W. Walker 1821 British Museum 19201211.527. 10.5 x 17.5 cm.<br style="">Rev. Thomas Frognall Dibdin. Engraved portrait half-length in a frame slightly turned to the left seated and resting one arm on a pile of books dressed in a dark tailcoat over his waistcoat. Engraved by Henry Meyer after Henry Edridge published by Lackington & Co 1816 British Museum 18590709.1313. Cut down significantly to 10 x 13.8 cm.<br style="">Queen Mary II. Engraved portrait bust-length directed to right; wearing fur-trimmed jewelled dress pearl jewellery; in oval frame. Engraved by J. Taylor after Godfrey Kneller and published by James Buckland 1776 British Museum 18730510.940. 10.5 x 17.5 cm.<br style="">Joseph Addison. Engraved portrait half-length to the left eyes to viewer; wearing long white curled wig jacket and open-necked white shirt. Engraved by J. Thomson after Charles Jervas and published in Knight's 'The Gallery of Portraits with Memoirs' London: 1833-1837 British Museum 18750508.544. 10.5 x 17.5 cm.<br style="">Sir Hans Sloane Bt. Engraved portrait half-length to right looking forward wearing a long wig in oval. By an unidentified engraver National Portrait Gallery NPG D27596. 9 x 13 cm.<br style="">Thomas Topham. Engraving of the strong man performing a feat of lifting three barrels standing on a scaffold. One of several versions of this engraving by an unknown engraver after C. LeighWellcome Library London ICV No 7498L. Cut down significantly to 10.5 x 17.5 cm with caption mounted above.<br style="">John Braham. Engraved portrait half-length looking to right. Engraved by H. Adlard Harvard Theatre Collection Catalogue of Dramatic Portraits no. 7. 8.5 x 13 cm.With brief autograph letter signed "Dear Sir I think I can come on Monday next. Will that be convenient to you." Brompton 14 July no year. 10 x 17.5 cm with folding creases and light foxing.<br style="">John Palmer. Engraved portrait half-length to left facing and looking to right. Engraved by W. Ridley Harvard Theatre Collection Catalogue of Dramatic Portraits no. 20. 8 x 11 cm.<br style="">John Churchill 1st Duke of Marlborough. Engraved portrait half-length to right with head turned to look towards the viewer; wearing fur mantle sash over armour and neckerchief. Engraved by James Posselwhite after Godrey Kneller British Museum 19001231.41. 10.5 x 17.5 cm.<br style="">William Mason. Engraved portrait half-length in an oval with ribbons in profile to the right dressed in a dark frockcoat with his hair powdered and curled. Engraved by William Angus and published in the European Magazine by Fielding 1783 British Museum 18650520.108. 10.5 x 17.5 cm.<br style="">Aristotle. Engraved portrait bust profile to right wearing round cap with French caption below. Engraved by Anton Pailler Münster LWL-Museum für Kunst und Kultur Porträtarchiv Diepenbroick Inventar-Nr. C-500616 PAD. 10.5 x 17.5 cm.<br style="">Field Marshal Gebhard Leberecht von Blücher. Engraved portrait half-length to left in dress uniform with sash and medals. Engraved by T. Blood for the European Magazine and published by J. Asperne 1814. 10.5 x 17.5 cm.<br style=""><br style=""> hardcover books
1 S. Qu.-8vo. Mit eh. Adresse. Unveröffentlichtes Schreiben an den Dirigenten Raphael Maszkowski in Koblenz: "Möchten Sie etwa, mit Berufung auf mich, an Hrn. S. Kauffmann in Breslau schreiben? Nicht daß Sie sich zu nennen [?] oder zu bewerben hätten, aber man denkt dort sehr an Sie u. es ist vielleicht gut, wenn Sie Ihre Geneig[t]heit aussprächen - falls Sie solche haben. Vielleicht können Sie Ihre Sommerreise über Br[eslau] machen? (S. Kauffmann, Breslau, Tauenzienplatz [!] 3.a.) Verzeihen Sie die flüchtige Karte aber ich bin im Begriff ein wenig nach Italien zu rutschen [...]". - Stärker gebräunt und gering angestaubt bzw. fleckig; mit einer vertikalen Knickfalte und etwas abgegriffen.
193770612Londres 26 décembre 1937 | 17.90 x 22.90 cm | une feuille
193096719Paris Editions de la Montagne 1930 1 vol. broché in-8, broché, couverture rempliée, non coupé, sous chemise demi-maroquin bleu nuit à coins et étui bordé (C. de Séguier), 98 pp. Édition originale ornée de 4 lithographies originales de Joan Miró. C'est la première fois que l'artiste utilise ce procédé pour illustrer un livre, et ses lithographies, en noir, frappent déjà par leur fluidité et par leur épure, avec un tracé proche du dessin. Un des 10 exemplaires de tête numérotés sur Japon impérial signés par le poète et l'artiste (après 1 exemplaire unique sur vieux japon), le nôtre sans la page manuscrite de Tzara mais enrichi d'un envoi autographe signé avec dessin (une tête de mort d'où fleurit une rose) à l'éditeur d'art Louis Broder : "ces cristaux précolombiens / des printemps de Paris / et l'affectueux souvenir de / Tristan Tzara / 21 mai 1952". Décoloration en bordure de la couverture, sinon bel exemplaire.
193096719Paris Editions de la Montagne 1930 1 vol. broché in-8, broché, couverture rempliée, non coupé, sous chemise demi-maroquin bleu nuit à coins et étui bordé (C. de Séguier), 98 pp. Édition originale ornée de 4 lithographies originales de Joan Miró. C'est la première fois que l'artiste utilise ce procédé pour illustrer un livre, et ses lithographies, en noir, frappent déjà par leur fluidité et par leur épure, avec un tracé proche du dessin. Un des 10 exemplaires de tête numérotés sur Japon impérial signés par le poète et l'artiste (après 1 exemplaire unique sur vieux japon), le nôtre sans la page manuscrite de Tzara mais enrichi d'un envoi autographe signé avec dessin (une tête de mort d'où fleurit une rose) à l'éditeur d'art Louis Broder : "ces cristaux précolombiens / des printemps de Paris / et l'affectueux souvenir de / Tristan Tzara / 21 mai 1952". Décoloration en bordure de la couverture, sinon bel exemplaire.
- Dieppe 1er septembre 1885, 22,4x17,7cm, 4 pages sur un double feuillet. - Unpublished autograph letter signed Dieppe | 1 September 1885 | 22.4 x 17.7 cm | one folded sheet under custom slipcase Unpublished signed autograph letter from Edgar Degas to an unknown correspondent. 4 pages in black ink on one folded sheet. Central fold inherent to the way the letter was folded.his letter is presented in a chemise and case with paper boards decorated with abstract motifs, the spine of the chemise in green morocco, pastedowns and endpapers of green suede, slipcase signed by Thomas Boichot. A handsome unpublished letter, testimony to Degas' other great passion after dance: song.he Parisian premiere of Ernest Rayer's Wagnerian opera Sigurd took place on 12 June 1885 at the Opera de Paris. Degas, overcome by the performance of the singer Rose Caron, saw the piece thirty-seven times: «I still love Sigurd and I like it more and more. I have never seen Reyer except once, in the street. And I made a point of telling him of the admiration it provoked in me far more immediately than in someone who, being neither maid nor washerwoman, was worthy of some consideration.» Degas paid homage to the beauty of Rose Caron in Sigurd by doing two drawings on fans, today in private hands in the US.Properly obsessed by this «admirable work that did [him] so much good, that [he] could not get over», the painter asked his famous neighbor to play him the score on the piano: «The young [Jacques-Emile] Blanche, our neighbor, plays it to me every day, in place of your wife.»he letter closes with a lyrical description of Mont-Saint-Michel, of which Degas had made several drawings: «Have you ever seen Mont-Saint-Michel? Could we go and spend a few days there together sometime? It's so pretty, so charming. In one month, I've been twice. The big tides at the end of September will take me back once more.» Degas' passion for opera is the subject of an exhibition for the 350th birthday of the Paris Opera, open from 24 September 2019 to 19 January 2020 at the Musée d'Orsay. [FRENCH VERSION FOLLOWS] Lettre autographe inédite signée d'Edgar Degas à Albert Bartholomé, peintre et plus tard sculpteur et grand ami de Degas. Sa femme est Prospérie de Fleury, décédée en 1887, déjà malade en 1885.. 4 pages à l'encre noire sur un feuillet remplié. Une pliure centrale inhérente à la mise sous pli du courrier. Belle lettre inédite témoignant de l'autre grande passion de Degas après la danse?: le chant. La première parisienne de l'opéra wagnérien Sigurd d'Ernest Reyer eut lieu le 12 juin 1885 à l'Opéra de Paris. Degas, subjugué par la prestation de la chanteuse Rose Caron vit la pièce à trente-sept reprises?: «?J'aime toujours Sigurd et je l'aime aussi de plus en plus. Je n'ai vu Reyer qu'une fois et dans la rue. Et je n'ai pas oublié de lui parler de l'admiration qu'il avait provoquée beaucoup plus immédiatement sur moi que sur une personne qui, pour être ni bonne, ni blanchisseuse, méritait quelque considération.?» Degas rendit hommage à la beauté de Rose Caron dans Sigurd en réalisant deux dessins sur éventails, aujourd'hui en mains privées aux États-Unis. Véritablement obsédé par cette «?uvre admirable qui [lui] fait tant de bien, qu['il] ne [peut] plus [s']en passer?», le peintre réclame à son célèbre voisin de lui en interpréter la partition au piano?: «?Le jeune [Jacques-Emile] Blanche notre voisin me la joue tous les jours, à défaut de votre femme.?» La lettre s'achève sur une description lyrique du Mont Saint Michel, dont Degas fit plusieurs dessins?: «?Avez-vous jamais vu le Mont Saint Michel?? Pourrions-nous un jour y aller passer quelques jours ensemble?? Que c'est beau, que c'est attachant. En un mois j'y suis allé deux fois. Les grandes marées de la fin de septembre vont m'y ramener une troisième.?» La passion de Degas pour l'opéra est retracée dans une exposition, en l'honneur du 350è anniversaire de l'Opéra de Paris, se déroulant du 24 septembre 2019 au 19 janv
188568398Dieppe 1885. Fine. Dieppe 1er septembre 1885 22.40 x 17.70 cm 4 pages sur un double feuillet Unpublished autograph letter signed Dieppe 1 September 1885 22.4 x 17.7 cm one folded sheet under custom slipcase Unpublished signed autograph letter from Edgar Degas to an unknown correspondent. 4 pages in black ink on one folded sheet. Central fold inherent to the way the letter was folded.his letter is presented in a chemise and case with paper boards decorated with abstract motifs the spine of the chemise in green morocco pastedowns and endpapers of green suede slipcase signed by Thomas Boichot. A handsome unpublished letter testimony to Degas' other great passion after dance: song.he Parisian premiere of Ernest Rayer's Wagnerian opera Sigurd took place on 12 June 1885 at the Opera de Paris. Degas overcome by the performance of the singer Rose Caron saw the piece thirty-seven times: «I still love Sigurd and I like it more and more. I have never seen Reyer except once in the street. And I made a point of telling him of the admiration it provoked in me far more immediately than in someone who being neither maid nor washerwoman was worthy of some consideration.» Degas paid homage to the beauty of Rose Caron in Sigurd by doing two drawings on fans today in private hands in the US.Properly obsessed by this «admirable work that did him so much good that he could not get over» the painter asked his famous neighbor to play him the score on the piano: «The young Jacques-Emile Blanche our neighbor plays it to me every day in place of your wife.»he letter closes with a lyrical description of Mont-Saint-Michel of which Degas had made several drawings: «Have you ever seen Mont-Saint-Michel Could we go and spend a few days there together sometime It's so pretty so charming. In one month I've been twice. The big tides at the end of September will take me back once more.» Degas' passion for opera is the subject of an exhibition for the 350th birthday of the Paris Opera open from 24 September 2019 to 19 January 2020 at the Musée d'Orsay. hardcover
1915822771915. Fine. 19 août 1915 22.20 x 28.60 cm 2 pages sur un feuillet 19 August 1915 222x286cm 2 pages on a leaf. Autograph letter in German signed by the painter Franz Marc to his mother Sophie Marc née Maurice; two pages in black ink. Trace of horizontal and vertical fold. Unpublished letter. Not in the latest edition of his wartime correspondence Briefe aus dem Feld Norderstedt 2019. Lengthy unpublished letter from Franz Marc to his mother during the First World War written a few months before his death in Verdun. In the horror of the conflict the future martyr of German expressionism recalls childhood images and tells horse stories from the front. Stationed on the Alsace front the famed animal painter recounts a hilarious wild boar hunt improvised during a horseback ride reminding him of an illustrated childhood tale: The Three Jovial Hunstmen by Randolph Caldecott 1880. Franz Marc reveals here an inspiration for his famous horses which gave their name to the Blaue Reiter movement created in 1911 with Wassily Kandinsky. The horses in Caldecott's Huntsmen resemble Franz Marc's paintings from 1905-1910. This anecdote is also related to hunting horses sketched on the front and a postcard sketch of the same Jagende Pferde sent to the poet Else Laske-Schüler in September 1915. The letter gives a glimpse of Franz Marc's daily life on the front. By a cruel irony of fate he fought in the native region of his mother Sophie Marc née Maurice born in 1847 in the Alsatian village of Guebwiller. When war broke out in August 1914 he joined the army hoping for a renewal of Europe like many fellow artists and intellectuals. Due to the circumstances of the war the painter wrote his letter in German and not in French as he was accustomed to do in his correspondence with his mother. His mother's influence was decisive in his aesthetic and spiritual approach: Marc's tireless quest for purity inherited from his Calvinist upbringing eventually led him to abstraction already present in his sketches as he wrote this letter. He gives news of a future promotion thanks his mother for sending him food and fills the page with the story of his miraculous hunt: I have one more amusing story to tell: as I was riding out at dawn before breakfast I suddenly noticed a young boar a wild boar beside me in a ditch. I immediately called my fellow riders; he was surrounded I already felt sorry for the poor animal but the pity came too late! Two of them jumped in one grabbed him by the ears the other poked him and the roast for the steward's table was retrieved. A most comical scene ensued: We ordered the youngest soldier to go home with the boar and got him on horseback; but no sooner did the horse feel the boar on his back horses are very afraid of boars than he reared up and threw the rider and the pig into a great arc. Fortunately nothing happened and the embarrassed rider had to walk the boar back then the horse really reared up as soon as he was approached. A real amateur rider! I was thinking of Dad's old English picture book: the jovial huntsman! With this light-hearted anecdote the painter reveals a source of inspiration still unknown to critics and historians. The Three Jovial Huntsmen certainly influenced the young Franz Marc whose own horses painted in the 1910s including the Weidende Pferde I Lenbachhaus Munich are unmistakably marked by Caldecott's British style. In the following years he added to this subject his kaleidoscopic touch and his emblematic blue red and yellow colors charged with spiritual symbolism. Franz Marc also painted blue wild boars in 1913 Museum Ludwig Cologne. The story of this hunt is also completely new since he asked his mother to tell it to his wife Maria to avoid writing a second letter it's long: to tell the same thing twice. This anecdote about hunting and rearing horses can be directly linked to a sketch on a postcard dated the following month entitled jagen unknown
190078743s. l. Londres London 1900. Fine. s. l. Londres London 24 mars 1900 10 x 15.70 cm 6 pages sur 2 doubles feuillets Handwritten signed letter addressed to Natalie Clifford Barney and enriched with a poem entitled « Le Miroir » London 24 March 1900 10 x 157 cm 6 pages on 2 double leaves Handwritten manuscript letter by Renée Vivien signed Pauline and written in black ink on a double leaf headed 24 Hyde Park Street. This letter contains a handwritten alexandrine poem entitled Le Miroir; never published on the initiative of the poet but it has been transcribed in Renée Vivien et ses masques in à l'encart April 1980: Je t'admire et ne suis que ton miroir fidèle Car je m'abîme en toi pour t'aimer un peu mieux; Je rêve ta beauté je me confonds en elle Et j'ai fait de mes yeux le miroir de tes yeux Je t'adore et mon cur est le profond miroir Où ton humeur d'avril se reflète sans cesse Tout entier il s'éclaire à tes moments d'espoir Et se meurt lentement à ta moindre tristesse Ô toujours la plus douce ô blonde entre les blondes Je t'adore et mon corps est l'amoureux miroir Où tu verras tes seins et tes hanches profondes Ces seins pâles qui sont si lumineux le soir! Penche-toi tu verras ton miroir tour à tour Pâlir ou te sourire avec tes mêmes lèvres Où trembleront encore les mêmes mots d'amour Tu le verras frémir des mêmes longues fièvres Contemple ton miroir de chair tendre et nacrée Car il s'est fait très pur afin de recevoir Le reflet immortel de la beauté sacrée Penche-toi longuement sur l'amoureux miroir! The rest of this long missive has however remained unpublished. A very beautiful letter sent from London by the Muse aux Violettes who misses her little one: Despite its slowness time passes you see and brings the hour that I await feverishly the time to meet again Natalie! Two more sad evenings and the third you will be there to rock me in your arms! . Today I was still disproportionately bored. I so need to see you again that I count the hours as they pass. I only think of you obsessed haunted taken possessed by you and by our memories. I am a poor unhappy thing far from you. Weary of society life We had the queen's dressing room how chic my darling! Lady Augustus Fitz Clarence invited us. She descends from a bastard of the King and is therefore an illegitimate relative of the sovereign! Renée lingers on the contemplation of a present from her darling: Your ring I love it so much it is a bond of our love that never leaves me. I so regretted your dagger that at the last moment I forgot to carry. Your ring you see is your memory on my finger I look at it and part of our tenderness is embodied in it. It is at the end of 1899 and through Violette Shillito that Renée Vivien then Pauline Tarn met Natalie Clifford Barney ""this American woman softer than a scarf whose sparkling face shines with golden hair sea blue eyes never-ending teeth"" Colette Claudine à Paris. Natalie who had just experienced a summer romance with the scandalous Liane de Pougy who introduced her to sapphism paid little attention to this new acquaintance. Renée on the other hand was totally captivated by the young American woman and describes this love at first sight in her autobiographical novel Une femme m'apparut: ""I lived again the hour already well past when I saw her for the first time felt the shiver that ran through me when my eyes met the mortal steel of her look those eyes blue and piercing as a blade. I had a dim premonition that this woman would determine the pattern of my fate and that her face was the predestined face of my Future. Near her I felt the luminous dizziness which comes at the edge of an abyss or the attraction of a very deep water. She radiated the charm of danger which drew me to her inexorably."" ""Winter 1899-1900. Beginnings of the idyll. One evening Vivien is invited by her new friend to Mme Barney's studio Natalie's mother 153 avenue Victor-Hugo on unknown
