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1 page. "Dr ABruckner | 27. Mai 1892". - In pencil, somewhat dusty and with a crease. Traces of a paperclip and imprinted: "Prof. Anton Bruckner | Ehren-Doctor der Philosophie | der k. k. Universität in Wien | Ritter des Franz Josef-Ordens | k. k. Hoforganist".
Small 4to. 25, 20, 14, 19, (5) ff. Loosely inserted within a cover of contemporary marbled boards with giltstamped calf label to spine. In marbled slipcase. Appealing collection of drafts for Carco's popular "Heures d'Égypte" (Avignon, 1940), dedicated to his impressions of Egypt and his travel memoirs. They comprise three chapters of the "Heures", beginning with "L'Égypte est une présence", including a brief description of the multi-storey palace of the French Egyptologist Auguste Mariette-Pacha, omitted from the published version, praising its bridges, boats, and sails, which are said to be of a blinding whiteness in sharp contrast with the ocean's blue: "Son chateau de plusieurs étages, ses ponts, ses embarcations, ses prélarts d'une blancheur éblouissante contrastaient avec l'azur fonci des flots bleus [...]". - Accompanying these are two drafts entitled "Sortilèges", renamed "Une histoire de Momie" in the print edition, as well as one of the chapter "Promenade au Mouski", the latter discussing the French writer Gérard de Nerval and his stay in Egypt: "Nerval must have wandered under these signs [...] until 1906, control registers were not required by the Egyptian police and the only information about Gérard's travels is contained in Gautier's [i. e. the French poet and Nerval's travel companion Théophile Gautier] lovely book - full of love, money and light - which the poet left behind during his sojourn in the country. Nerval had been planning to leave for years since the dark winter night of 1841 when, responding to a friend he thought strange, he exclaimed that he was not going home, but was heading East" (transl.). - With numerous erasures and corrections in ink as well as in blue and red crayon. Extremities lightly bumped. A very well preserved set.
4to and oblong 8vo. Altogether 23 pp. on 13 ff. Many addenda (see below). To her brother William, Prince of Wied (1845-1907) and his wife Marie, née von Nassau, Princess of the Netherlands (1841-1910). Comprehensive letters that provide an insight into the feelings and thoughts of the Queen consort of Romania and also provide a wealth of information from the European aristocracy and the political events of that time. - Accompanied by 8 original portrait photographs (calling card format) of Queen Elizabeth and her little daughter, who died at the age of 4 years, and 33 mostly autograph letters, postcards, etc. (altogether 102¾ pp. on 64 ff.) from the estate of Elizabeth's sister in law, Marie, Princess of Wied, born Princess of the Netherlands (1841-1910), including letters of her husband William and other relatives of Marie, more noble and diplomatic correspondence files, a "compilation of expenditure for her Royal Highness, Princess of Wied, Princess of the Netherlands, for the fourth quarter of 1892 ", a letter-fragment with a view of Pelesch Castle, and an engraved portrait of the royal couple (inscribed by Elizabeth on the reverse). - Overall, a wealth of valuable material on the history of Romania, Queen Elizabeth and her family from the houses Wied and Nassau.
4to. German manuscript in brown ink on paper. 7 lines. An early version of Celan's poem "Auf hoher See" that was first published in the 1952 poetry collection "Mohn und Gedächtnis": "Paris, das Schifflein, liegt im Glas vor Anker: | So halt ich mit dir Tafel, trink dir zu. | Ich trink solang, bis dir mein Herz erdunkelt, | Solange, bis Paris auf seiner Träne schwimmt, | Solange, bis es Kurs nimmt auf den Schleier Klarheit, | Der uns die Welt verhüllt, wo jedes Du ein Ast ist, | An dem ich hänge als ein Blatt, nie als ein Mensch". - Apart from the new title, Celan changed the fifth and seventh lines of the poem ahead of its publication. Instead of "Solange, bis es Kurs nimmt auf den Schleier Klarheit", the published version reads "So lange, bis es Kurs nimmt auf den fernen Schleier", and instead of "An dem ich hänge als ein Blatt, nie als ein Mensch", it reads "An dem ich hänge als ein Blatt, das schweigt und schwebt". - Celan presented this manuscript as a gift to Diet Kloos-Barendregt on 7 October 1949. Kloos-Barendregt (1924-2015) was a Dutch singer and resistance fighter whose husband had been executed by the Nazis in 1945. During a brief stay in Paris she met Paul Celan by chance at the Café Dupont in August 1949. They immediately formed a connection over their traumatic experiences and losses and started a romantic relationship. - Traces of folds. Minimally creased and minor browning. With punch holes. Provenance: from the estate of Diet Kloos-Barendregt, Bubb Kuyper auctions, November 2021. P. Celan, Mohn und Gedächtnis (Stuttgart, DVA, 1952). Cf. Paul Celan, Du mußt versuchen, auch den Schweigenden zu hören. Briefe an Diet Kloos-Barendregt. Handschrift - Edition - Kommentar (ed. by P. Sars, Frankfurt a. M., 2002).
4to. 1½ pp. on bifolium. As Minister of Munitions, a stern wartime letter to his recalcitrant colleague Joseph Paton Maclay, 1st Baron Maclay (1857-1951), on gaining essential military raw material from Spain and Narvik (Norway): "Your letter of the 22nd inst. does nothing to relieve my anxiety. Whether importations of Ore from Northern Spain or from Narvick are considered, it is perfectly clear that shipments are now proceeding at a rate which must lead to a complete breakdown in the Iron and Steel production and so affect every industry concerned in the prosecution of the war. The Nitrate position is even more serious than the iron and steel, because in this case the whole supply is seaborne, and the entire process of ammunition filling will come to an abrupt arrest. It is, further, very difficult for me to proceed without any idea of what the future has in store. I failed entirely to obtain any answer on this point from your Department. I have to make an enormous series of arrangements for the supply of the Army which depend absolutely upon Raw Material, and we cannot be told even generally within what limits we may expect to be supplied. I have been pressing for information on this vital point for more than three months without receiving anything in return except your invariable courtesy. I really do not know what to do [...] As it is we weem to be moving forward to a complete administrative breakdown [...]". - On stationery with printed letterhead of the Ministry of Munitions; punched holes at top left corner.
8vo. (4½+3½+1+2+1 =) 12 pp. and 4to. 66 pp. (the title to wrappers included), sewn exercise book. To (the unnamed) Maurice Lachâtre. Interesting correspondence concerning the Bulletins of the Commune, published in exile (2 Aug. 1872): "Notre ami commun F. Pyat vous ayant envoyé ma lettre au sujet de la brochure ou petit volume que je désire faire imprimer (sur les événements de Lyon et Marseille surtout Marseille en 70) je n'ai plus à en parler, pas plus que du travail sur le mouvement religieux en Suisse. […] Si vous pouvez faciliter la publication du premier de ces deux opuscules, je crois que vous rendrez service à la cause [...]" ("Our mutual friend F. Pyat having sent you my letter concerning the brochure or small volume that I would like to have printed (about the events of Lyon and Marseille above all Marseille in 70). I don't have more to say about, just about the work on the religious movement in Switzerland. [...] If you could make the publication of the first and of these two opuscules easier, this would, I think, do a service to the reason [...]"). Cluseret requests an organ for their party in Paris, quoting the models in America and England, evaluating the prices for editing and printing in Switzerland, and the sales, in Geneva, "la liberté de la presse est absolue, puisqu'on y imprime actuellement La Lanterne de Rochefort [...]" (In Geneva "the freedom of the press is absolute, even Rochfort's 'La Lanterne' is printed there [...]"). - He asks for certain explanations about the stereotype, the commercial and financial direction, and the price to put up with to have a circular of 10.000 copies (2nd letter, n. p. o. d.): "Je vous ai demandé le concours de votre expérience professionnelle pour l'œuvre commune, pas autre chose. De même que je considère comme un devoir de donner mon expérience professionnelle quand on se bat [...]" ("I have asked your support of your professional experience for the collaborative work, nothing else. In the same way as I consider it to be my duty to give my professional experience, if man fights [...]"). - He urges Lachâtre to come to see him on Sunday, they could spend the day in the country side and Cluseret would invite two or three Communards (3rd letter, n. p. o. d.): "Si vous pourriez venir une Dimanche, nous pourrions passer ensemble la journée à la campagne. J'inviterai deux ou trois bons communards [...]". - Cluseret notes the fifth number to be as everything else of him neither of a master's nor a pupil's hand, but his own. There was never a price fixed for it, because they do not want to sell it. As poor as they are, Gambon, Fesneau and himself, they are doing everything on their own expenses, taking it from their necessity to do propaganda (4th letter, n. p. o. d.): "Le n° 5 comme toutes les autres sort de ma plume qui n'est celle ni d'un maître ni d'un élève, mais mienne. Quand au prix, il n'y en a jamais eu de fixé, parce que nous ne le vendons pas. Tout pauvres que nous sommes Gambon, Fesneau et moi nous faisons tout à nos frais; prélevant sur notre nécessaire pour propagander [...]". - Cluseret tells that his papers are nearly complete (5th letter, n. p. o. d.): "Mes papiers sont à peu près complets [...]". - "Mémoire" from exile, to his avocat Émile Durier, to motivate the pursuite of a diffamation of Jules Simon ("Histoire de la Commune") and Gustave Vapereau ("Dictionnaire"). He passes through their calumnies (bad moral conduct, treason, malpractice), contests their fictions (his nationality in doubt), and submits proofs and documents on his moral conduct, quoting politicians, officers or French and American writers, who witness respectfully his services: marshal Randon, the generals Colson, Renault, Cosenz, McClellan, Schenck, von Steinwehr, Bohler, Sigel, as well as Alphonse Esquiros, Léon Gambetta, Henri Martin, Carl Schurtz, Edwin Stanton, Thaddeus Stevens, Charles Sumner, etc. Cluseret finds moral cowardice among men who have a seat in the Assembly of Versailles and at the senate: "ils ont voté des remerciements à l'armée qui massacrait leurs électeurs [...]" ("They have proposed acknowledgements for the army who slaughtered their voters [...]".) Cluseret compares them derogatorily to their foreign counterparts. "En France, un seul homme me tendit la main ce fut Victor Hugo. Il m'écrivait de Bruxelles à Genève une lettre se terminant ainsi: 'Je n'aurai pas pris part à votre triomphe, mais je m'enveloppe dans votre linceul!' La solidarité humaine en dehors et au-dessus des partis, le respect de la liberté d'autrui et du caractère privé de l'adversaire politique voilà ce qui constitue ou plutôt témoigne de la force des sociétés [...]" ("In France, one single man held my hand, it was Victor Hugo. He wrote me a letter from Brussels to Geneva ending in the following way: 'I will not have taken part in your triumph, but I wrap myself in your shroud!' The human solidarity apart from and above the parties, the respect for freedom of the others and of the political opponent's private character this is what constitutes or rather testifies the power of the societies [...]"). Cluseret does neither ask for damages, nor for punishment, but for "la reconnaissance de la vérité [...]" ("the acknowledgement of the truth").
Visiting card size. Framed, matted and glazed (410 x 310 mm) together with a portrait (130 x 90 mm). Inscribed "A Mr. Paul Appell Recteur de l'Academie a Paris hommage de respectueuse affection / M. Curie".
8vo. 2½ pp. on bifolium. To the lawyer and collector Paul-Arthur Chéramy (1840-1912) about the completion of three paintings promised to the baritone and collector Jean-Baptiste Faure, who had sued him, requiring another three months to finish the work, not daring to remind Faure of the sum of 500 francs per painting that he promised him earlier: "Vous m'avez demandé [...] quel temps il me faudrait, en allant au plus court et en faisant de l'ouvrage soigné, pour terminer les trois tableaux de Mr Faure. Les Grosses blanchisseuses, que Mr Faure a prises telles quelles et supportées chez lui pendant deux ans au moins, sont à peu près terminées. Le plus long à finir serait le Champ de Courses. La blanchisseuse en silhouette est en bon état, non compliqué, et peut être menée vite. Je demande trois mois pour satisfaire mon poursuivant [...] Il me semble que je vous avais parlé d'une somme de 500 F par tableau achevé que Mr Faure m'avait un peu promise, autrefois. Je ne tiens pas à lui rappeler cette offre. Mr Faure a été trop longtemps mon créancier. Je l'ai fait trop attendre pour ne pas en rester là. N'en disons donc rien [...]". - In 1874, Degas had asked Faure to buy back for him from Durand-Ruel six paintings with which he was dissatisfied, undertaking to paint four large compositions in exchange. Twelve years later, when Degas had not finished some of these paintings, Faure successfully sued him for delivery. Chéramy was Degas' lawyer in the proceedings. - With a few tiny piercings.
4to. 3½ pp. on bifolium. Charming document of the painter's formative years at the Lycée Impérial in Paris, with drafts of his French and Latin homework and Greek vocabulary. Delacroix wrote a text on the breeding behaviour of eagles: "L'heure où l'aigle se met en recherche et s'envole est depuis son repos jusques au soir. [...] La partie supérieure de leur bec lorsqu'ils vieillissent devient extrêmement grand de sorte qu'ils meurent de faim parce qu'il demeure toujours recourbé. Ils donnent à leurs petits une nourriture abondante; mais comme souvent il n'est pas aisé de la leur procurer chaque jour, lorsqu'ils n'en ont point ils les portent dehors. S'ils voient quelqu'un qui tente de s'emparer de leurs petits ils le frappent de leurs ailes et le déchirent de leurs ongles". For his Latin homework, Delacroix wrote or copied a text on a painter, which he then put into verse: "Pictor quondam celeberrimus statuerat omnes populos una tabellâ pingere [...]". - With some ink spots and minor tears.
8vo. 2½ pp. on bifolium. To Mr. Breach, the proprietor of the Folkestone Inn, where Dickens stayed for three days while travelling to Boulogne-sur-Mer on Sunday, June 12th. Dickens mis-dated this letter as, according to another letter in the VanderPoel Dickens collection (A85) written from Folkestone dated Saturday the 11th, this letter, written on Thursday, would have been the 9th of June. In his letter Dickens asks the proprietor to have a "quiet and cheerful" room prepared for him and his family who plan on coming for the summer. Dickens was particularly fond of Boulogne as, the previous summer, he had completed two chapters of "Bleak House" while vacationing there. - Minor overall toning; brown spot to upper middle crease. - Provenance: from a Chicago-area private collection. Edgar Johnson, 756-759; The VanderPoel Dickens Collection, A85.
8vo. 2¾ pp. on bifolium. To Dr. Frederick Salmon complaining of some aches and pains. Dickens and his wife went to stay at the White Hart Hotel in Windsor on November 6th, the day after Dickens completed his novel "Barnaby Rudge". The trip was meant to provide some rest and relaxation for Dickens who had completed "The Old Curiosity Shop" and "Barnaby Rudge" back to back, and had recently undergone major surgery. Dr. Frederick Salmon had performed surgery on Dickens in October of 1841 for a fistula of the rectum, a procedure for which Salmon was renowned. In this letter, Dickens' describes his pain and references the operation with his typical wit, noting "all manner of queer pains were floating about my illustrious person [...] now (but not often) shooting through that region which you have made as tender as my heart [...]". Dickens tells his doctor that he is feeling "immeasurably better" and asks whether Salmon would like to make his follow up visit tomorrow rather than Tuesday. - Light soiling to creases; evidence of removal of wax seal. Property from a Private Chicago-area Collection. Provenance: The Comte Alain de Suzannet Dickens Collection Sold: Sotheby's, London, November 22-23, 1971.
8vo. 1½ pp. on bifolium. To the English journalist and writer Mark Lemon (1809-70) with congratulations on his play, praising particularly the performance of the English actor James William Wallack (ca. 1794-1864), who dines at his place the following Sunday, a dinner he invites Lemon to join: "Many thanks for the Box, and best congratulations on the Play. It went admirably - rose as it went on - mounted immensely in the third act - and closed in triumph. Howe was not good, but the rest were. Wallack beyond all praise. I have never seen such a fine, picturesque, splendid piece of melodrama. He really bore the whole play on his shoulders, and did gallant service. I believe he dines here next Sunday at ½ past 5. If so, will you come? No party. I begin to think you live in Australia [...]". - Mounted on backing paper.
1 S. Gr.-4to. Die andere Seite mit einem ganzseitigen eh. Schreiben von Döblins Gattin Erna. An Elvira und Arthur Rosin in New York mit der Bitte um die genaue Adresse von Elviras Schwester, Fr. Dr. Rosenthal, die gleichfalls in Paris lebt: "[...] Hier herrscht die alte politische Spannung und Unsicherheit, man weiß nicht, was wirklich gespielt wird; nicht einmal der anglo-russe pacte ist unter Dach. Eben erhalte ich den Kirkegaard Band von Herrn Rosin, schönsten Dank! Ich las drüben auf Ihrer Chaiselounge mittendrin ein paar wunderbare Passagen über Plato. Apropos Plato: Herr Olschki senior ist nun schon en route, - ihn kennen gelernt zu haben, gehört ja zu den Gewinnen meiner Amerikareise. Es ist doch eine schöne Stadt, ein gutes reiches kräftiges Land, in dem Sie jetzt sind, Frau Rosin, - schrecklich wie man hier zerkrampft wird und die Lügen einen umringen, man kann nur die Türe zumachen [...]".
6 ff., notated in black ink on 12-stave Cameo Music Papers No. 5-3124, rectos only. Folio. Signed at the foot of each page and dated "Cairo 1960" on first and last pages. With copyright notices to foot of page 1: "2016 by Halim El-Dabh Music LLC", signed, and "1960 by C.F. Peters Corp 373 Park Ave. South New York, N.Y. 10016". A fair copy, including autograph note to page 3: "In whichever order, try to include as many notes within the time limits, including some in chords if so desired. Start and end with one of the heavy shaded notes". - "Conceived in 1954, 'Thulathia' was composed in 1960 and first performed at the Brookline Public Library in Brookline, Massachusetts. 'Thulathia' means 'a cello unification of three into one', i. e., 'a trio in one'. Grape clusters of the vine connect the energy. The concept is extended to include a cluster of grapes in a united grape vine. Instructions for playing the grapes is explained at the bottom of page 3" (notes provided by the composer). - The Egyptian-born American composer, performer, ethnomusicologist, and educator El-Dabh came to the U.S. in 1950, becoming a part of the New York music scene that included Cage, Varèse, and Hovhaness. He went on to study composition with Krenek, Copland, Dallapiccola, and others. An early pioneer of electronic music, El-Dabh composed one of the earliest known works of tape music, or "musique concrète", in 1944, 'The Expression of Zaar'. He also scored four ballets for Martha Graham: 'Clytemnestra' (1958), 'One More Gaudy Night' (1961), 'A Look at Lightning' (1962), and 'Lucifer' (1975). "El-Dabh is probably the best known composer of Arabic descent and his works are highly regarded in Egypt, where he is considered the foremost living composer among that nation's 'second generation' of contemporary composers" (Wikipedia). - Slightly worn and creased; light red stain to upper left margin of pages 1 and 5.
Folio. ½ p. A receipt for the Imperial Court's Disbursements Bureau: confirms having received her monthly apanage of 8333 guilders and 20 kreuzers (her allowance for November 1855 out of a guaranteed yearly "Spenadelgeld" of 100,000 guilders). These funds, essentially the Empress's allowance for all her private expenditures, had formed an explicit part of the marriage contract. This is a particularly early example, signed but one and a half years after her wedding with Emperor Franz Joseph. - Folded; archival notes. Very rare: the records of the Court's Disbursements Bureau were discarded in 1923.
4to. 1 p. on bifolium. To Duchess Dorothea Sophie de Parma, daughter of the Elector Palatine Philipp Wilhelm: "Ma Cousine. Mons r Le Comte de Rivasso qui est un fort honnest homme et de mes amis estant prest a partir pour Parme je n'ay pust Le laisser retourner sans vous prier de le prendre sous vostre protection il Le meritte par le zelle qu'il a pour son maistre, je vous prie donc de luy estre favorable [...]". - Bartolomeo Odoardo Pighetti, Conte di Rivasso, was Parma's envoy to France until 1717.
Large 8vo. 3 pp. on bifolium. To an unidentified recipient, about his recently completed book on magnetism, which he hopes the recipient would like and announce in a newspaper, but also asking him to point out any flaws or material for further work: "Mein verehrtester Freund und Collega! Nachdem meine neue Schrift über Magnetismus endlich fertig geworden ist, so hab ich die Cottasche Buchhandlung ersucht, Ihnen ein Exemplar einzuhändigen, um darüber etwa in der allgemeinen Zeitung über den Innhalt [!] und die Form dieses Gegenstandes ein Paar Worte öffentlich bekannt zu machen, wenn Sie nach genommener Einsicht es für der Mühe Werth halten würden. Ich hoffe, daß Sie das Buch schon empfangen haben, oder es doch bald empfangen und wünsche, daß es Ihnen nicht ganz mißfallen möge; bitte aber auch zugleich, daß Sie jedenfalls das Buch durchlesen und mich sowohl über die Mängel u. Irrungen aufmerksam machen, als zugleich neuen Stoff u. Mittel zu weiteren Arbeiten mir gefälligst anzeigen mögen. Da wir beide mit Liebe und Eifer auf dem sublimen Felde des höheren Lebens uns bewegen und darauf auch schon so manches Blümchen haben aufgehen gesehen, wovon der große Troß der Welt und der gelehrte Pöbel nicht einmal einen entfernten Geruch gewahr wird, so wollen wir einander helfen u. leuchten, so gut wir kennen [sic] und ich zweifle nicht, daß Ihr edles Herz auch eine willige Hand reicht. - Ich bin mit meiner Familie nun schon seit 3 Monaten hier u. gedenke auch nicht mehr nach Tirol zurück zu kehren, weil ich zu jeder litterarischen Thätigkeit nur Fesseln zu erwarten hätte. Ob ich für die Länge werde hier bleiben können, oder was ich eigentlich anfangen oder wohin ich mich wenden soll, darüber bin ich noch ganz im Dunkeln; ich weiß nicht recht, soll ich wieder nach Preußen oder nach Ost oder West? Fürs erste gedenke ich die hiesigen Bibliotheken etwas zu benutzen, um eine zweite Auflage meiner Geschichte des Magnetismus zu veranstalten, wenn vielleicht Cotta sich auch entschließt, dieselbe in seinen Verlag zu nehmen, dadurch würde dann auch wieder einstweilen, so wie für die Arbeit, für die Existenz gesorgt sein. Doch unmöglich kann ich glauben, daß für solche Opfer, wie ich für die Wissenschaft bringe, da ich so gar mein Vaterland dafür verlassen habe, nicht der richtige Ersatz folgen soll? Wie gerne möchte ich einmal mit Ihnen Allerlei über Allerlei reden; sollen wir nicht auch einmal dazu kommen? [...]"
Large 4to. 1 p. To the Belgian author, filmmaker and documentarist Henri Storck about the use of his music in one of Storck's films: "Cher ami, Vos lignes sympathiques me charment. Je tiens à vous dire que Mr Lyon m'écrit que vous êtes d'accord concernant l'introduction dans votre film sur Ostende de quelques pages de ma musique que Mr Jaubert s'empresserait d'orchestrer pour le micro. Mr Lyon n'attend plus que la commande officielle de la ville d'Ostende. Vous lui avez dit que c'était chose faite. A tout hasard j'ai envoyé à Mr Lyon, et suivant sa demande, un morceau de ma composition " La marche des rotariens ostendais ". J'ai édité moi-même ce morceau et j'ai autorisé Mr Lyon à le reproduire éventuellement pour le micro quand il sera fixé concernant la ville d'Ostende et je vous prie de me donner quelque nouvelle à ce sujet. Je vous présente, cher ami, mes souhaits les plus agréables […]". - Ensor had composed the mentioned piece in 1923. - Some damage to edges (not touching text); on headed paper.
443, (5) pp. 4to. Contemporary cloth. "À René Margritte. Prince san rire. / son ami / Max Ernst". With another inscription signed by the author Patrick Waldberg.
½ S. auf Doppelblatt. Folio. Mit Adresse und papiergedecktem Siegel (Faltbrief). Als römisch-deutscher König auf dem Augsburger Reichstag an seinen Sohn Maximilian II., den designierten König von Böhmen, mit dem Versprechen der Förderung eines geschäftlichen Unternehmens von Martín Alonso Fernández de Córdoba, conde de Alcaudete: "Ser.mo Rey n.ro muy caro y muy amado hijo, bien creemos terneys [!] alla Relacion y noticia de la persona y valor del conde de Alcaudete [...] que ha hecho al emperador my señor y por consiguiente ala corona Real de españa. Los quales solo allende de lo que el por si merece, nos obligan a tenerle por muy encomenando y procurar de favorecerle y gratificarle entodas sus ocurrencias y cosas y entendiendo agora [!] del que tiene algos negocios de importancia en españa y spalmente [especialmente] los de las galeras. y que van Remitidos a vos desseando que le sean bien despachados hemos acordado aynstacia [?] suya de os scrivir [!] esta en su Recomendacion. y Rogaros contoda afficion querays por contemplacion y amor n.ro. tener en singular en comienda a el y alos dichos sus negocios para le favorecer y ayudar enellos de arte que consiga y aya la buena expedicion que dessea que enello demas de ser muy bien empleado todo lo que por el dicho conde se hiziece y merecerlo lo mucho que ha fluido y lo que de aquy a delante puede y dessea fluir por las Razones a Riba dichas Recebiremos gran plazer y contentamiento de vos y en que el Conozca que nos soys en esto no menos obediente, que entodo lo demas. segun speramos de vra ser.ma persona que n.ro s.r guarde con la prosperidad y estado que yo desseo [...]". - Etwas angestaubt; unbedeutende Randeinrisse. Beiliegend ein alter Sammlungsumschlag mit irriger Zuschreibung an Karl V.
Vintage gelatin silver print. 200 x 160 mm. Matted (ca. 310 x 260 mm), framed (350 x 306 mm) and glazed with metal plaque caption for the 1945 Nobel Prize winner for Physiology or Medicine mounted beneath the photograph. An appealing signed half-length portrait vintage photograph, circa 1950, showing Fleming seated and smoking a cigarette while signing a book on his knee. Signed "Alexander Fleming" in dark fountain pen ink across a white area of the image between his hands.
Folio. ¾ pp. on bifolium. In pencil. Notes about the location of memorabilia from the age of Grumbach and Münzer. Written on a bifolium of slightly yellowed draft paper. Fontane's diaries and letters provide no other hint that Fontane took an interest in Wilhelm von Grumbach and his arguments with the Bishop of Würzburg, Emperor Ferdinand I, and the Elector of Saxony. Grumbach's legal battles, a history-based subject in the vein of Michael Kohlhaas, was likely to atttract a writer such as Fontane.
Large 8vo. 2 pp. on bifolium. To an unidentified recipient, about the correct pronunciation of "Archibald Douglas", the main character of his like-named ballad (he "most decidedly" favours 'Ar-khi-bald Doo-glass'), and of his own name (as in French, rather than the germanised forms "Fóntan, Fontáne, Fontané"). - Not recorded in the edition of Fontane's letters. - Foldings with small tears.
4to. 1 page. To a colleague who had been in charge of the education of a young girl who was uncertain whether to trade worldly life for convent life, writing that he hopes she will follow her vocation and not fully forsake her service to God should she at some point succumb to the temptations of the secular world: "Quant a la chere fille, je ne m'en metz pas fort en peine, quoy que je luy desire fort le bonheur auquel elle a esté appellee, car d'un costé j'espere que Dieu luy redonnera le courage necessaire a l'execution de son inspiration, n'estant pas grande merveille que son ame se soit un peu ralentie, parmi les tracas que les mondains luy ont donné, et qu'elle se soit ressentie de la commune condition de l'esprit humain, sujet a la tentation de varier et chanceler, lhors qu'il donne loysir a l'ennemi de l'attaquer. Et d'autre part, s'il arrivoit que la tentation l'emportast, j'espere qu'elle ne l'emporteroit jamais du tout hors de la resolution qu'elle a fait de servir son [...] Dieu […]". He is unsurprised that the girl has her doubts, but confident that she will soon overcome them: "Il ne faut pas s'estonner que cette chere fille ayt esté touchee de cette attaque, a laquelle j'ay neanmoins bonne esperance qu'elle ne cedera pas enfin [...]". - Very slightly foxed; with several tiny holes and marginal flaws.
Large 8vo. 1¼ pages. "Da kommt es wiederum heran | Das Heer von Schiffern und von Mohren | Das in der Nordsee Uferbann | Mein einsam brütend Hirn geboren. | Doch sind es kaum die alten mehr | In Ruderwams- und Reiterkleide; | Wie Herren schreiten sie einher | Im Gurt von Gold, im Rock von Seide [...]". - Slightly browned and with small tear in lower margin.