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Mostly 8vo (but one 12mo). A total of ca. 8 pp.: 1 + 1¼ + 1¼ + 1 + 1 + 1 + ½ + ¾ pp. All written in French, some on bifolia. A substantive collection of unpublished letters from March 1872 to November 1874 to the publisher Maurice Lachâtre and his collaborators, all concerning the manuscripts for the ongoing publication of "Le Capital" and related matters. Throughout the revision proccess, Marx suffered from poor health and was finally forced to seek medical help in Karlsbad, from where he returned with fresh vigour, ready to finish his task. Marx thought highly of the result, stating in the postscript: "Whatever the literary defects of this French edition may be, it possesses a scientific value independent of the original and should be consulted even by readers familiar with German". - A fascinating ensemble that traces the immense labour on all sides that went into translating and publishing the French version of Marx's great work, a task that preoccupied him throughout the two-and-a-half years of this correspondence. - I. Concerning the dedication "To citizen Karl Marx" heading "Le Capital": "Dans le dernier paragraphe rectifié il y a ces mots 'ne se laisseront pas arrêter dans leur lecture par l'exposition de vos méthodes analytiques'. Il y a ici un malentendu [.]" ("The last revised paragraph reads 'they will not let themselves be stopped from reading by the explication of your analytical methods'. This is a misunderstanding. I do not explain my method but I apply it from the beginning [.] My photograph will be taken tomorrow [.]", 20 March 1872). - II. About Joseph Roy, the French translator of "Das Kapital", the publication of the second German edition of "Das Kapital" and the Russian translation of the first edition, a possible reissue of Marx's "The Poverty of Philosophy", and the poor health of his grandson Étienne Lafargue: "Vous vous trompez! Monsieur Roy est français. Il a été (mais quand il était déjà un homme fait) pendant quelques années en Allemagne [.]" ("You are mistaken! Mr Roy is French. He spent (but when he was already a grown man) some years in Germany. He translates simple passages too literally but shows his strengths when it comes to more difficult things. Nevertheless, your corrections will always serve me as useful material for the final correction [.]", 1 May 1872). - III. Concerning a manuscript that got lost on the way to the printer Louis Justin Lahure: "Vous savez que j'avais envoyé du manuscrit à M. Lahure le 8 Octobre. Le 19 Oct. je reçus une lettre de M. Lahure m'annoncant que le manuscrit n'était point arrivé à son adresse. Alors a commencé une correspondance entre moi et l'administration supérieure de la poste anglaise [.]" ("You know that I sent the manuscript to M. Lahure on October 8. On October 19, I received a letter from M. Lahure announcing that the manuscript had not arrived at his address. Thus began a correspondence between the higher administration of the English mail and me [.]", 1 Nov. 1872). - IV: Probably to Paulin Franques, a Paris employee of Lachâtre: "Je n'ai plus de copie. Le 16 février j'écrivis à M. Vernouillet qu'elle me faisait défaut depuis des semaines. Alors il devait écrire directement à M. Roy et après un nouveau laps de temps je reçus enfin de la copie mais pas assez. De cette manière des interruptions continuelles sont occasionnées [.]" ("I have no more copy. On February 16th, I wrote to M. Vernouillet that I have had none for weeks. So he had to write to M. Roy, and after another period of time I finally received more copy, but not enough. This way of doing things occasions constant interruptions [.]", 17 March 1873). - V: About payments for the translator and the process of revising his work: "J'ai écrit à M. Vernouillet pour l'autorizer à payer 300 f. à M. Roy [.] D'après une lettre de M. Roy il n'a pas encore reçu un seul fascicle imprime! Je trouve cela très étrange! Comment voulez vous qu'il ait activé son travail en ne voyant rien apparaître? Encore, ce n'était que par l'étude des fascicles imprimés qu'il avait été amené à changer sa méthode de traduction [.]" ("I have written to M. Vernouillet authorizing him to pay M. Roy 300 f. [.] According to a letter from M. Roy he has not yet received a single printed fascicle! I find this very strange! How do you expect him to keep up his work without seeing anything that is released? After all, it was only by studying the printed fascicles that he was made to change his method of translation [.]", 29 March 1873). - VI: Sending a biographical sketch of himself: "Ci-inclus la biographie que vous avez demandée. Longuet l'a faite, mais il ne font pas le nommer. J'ai ajouté un de mes photographes dont la reproduction dans le 'Capital' est tres mauvaise. L'état de ma santé ne me permet pas encore de travailler que quelques heures de la journée. De là manque de manuscrit pour M. Lahure. Néanmoins, il reçoit aujourd'hui des épreuves qui comprennent déjà une partie de la trente deuxième feuille [.]" ("Enclosed is the biography you asked for. It was written by Longuet but he does not need to be mentioned. I have added one of my photos, the reproduction of which in 'Capital' is very poor. My state of health does not allow me to work more than a few hours a day. Hence the lack of a manuscript for M. Lahure. Still, he receives proofs that already include part of leaf 32 today [.]", 4 August 1873). - VII: Complaining of slow progress: "J'étais très malade pendant les dernières semaines et je suis encore souffrant. Cependant M. Lahure a reçu les dernières épreuves le 8 septembre. Il a tout et plus qu'il ne lui faut pour publier les 5 et 6 livraisons. Pourquoi ne procède-t-il donc pas? Je trouve qu'il agit très impolitiquement, et vous m'obligerez en m'informant sur les raisons de ce retard [.]" ("I have been very ill during the last weeks and am still suffering. Meanwhile M. Lahure has received the last proofs on September 8th. He has everything and more of what he does not need to pu.

No Binding. Etat : Fine. C. H. Caruthers Railroad and Locomotive History Archive The long-lost visual archive of Charles Henry Caruthers (1847-1920), consisting of 194 of his highly detailed pen and ink and watercolor drawings of locomotives of the Pennsylvania Railroad Company drawn between 1896 and 1919; plus 4 pen and ink drawings (on versos of his colored drawings). The archive also includes 35 cyanotypes of Caruthers locomotive drawings; 4 photograph albums, containing 477 photographs in all, plus 7 large format photographs including the very rare large format production: Pennsylvania Railroad Co. Motive Power Department. May 1st, 1868. A Collection of Photographs of Locomotives, Typical of Each Class On the Pennsylvania Railroad at this Date, Also, Photographs of the Standard Wheels, Axles, Brake Hangers and Shoes, Brass Cocks, etc, etc., (with 67 albumen photographs), as well as several related ephemeral items, including two photographically illustrated trade catalogs issued by the Baldwin Locomotive Company, dated 1871 and 1881. The rediscovery of this long lost archive represents a significant new and untapped resource for scholars and researchers of 19th and early 20th century transportation history. Caruthers can be considered an "Audubon" of the early railroad age.

Couverture souple. Etat : Très bon. Edition originale. "COLLECTION d'environ 90000 DOCUMENTS ORIGINAUX" Pour cause de prise de ma retraite je mets à la vente l'ensemble de mes collections constituées en 45 années de ma vie professionnelle, c'est une composition d'environ 25000 affiches originales publicitaires tous thèmes et de cinéma publiées entre 1880 et 1980 + environ 7000 photos originales la majorité des années 30 + environ 3000 dessins, gravures et peintures + environ 40000 vieux journaux et magazines originaux publiés entre 1870 et 1980 + environ 5000 livres + environ 5000 partitions musicales publiées entre 1860 et 1960 + environ 5000 vieux papiers divers. Sont inclus dans ce lot exceptionnel les près de 15000 articles qui constituent ma boutique MAD MUSEUM sur AbeBooks et qui vous donnent un aperçu de la qualité de mes collections. Possibilité de scinder en plusieurs lots thématiques (exemple : que les affiches de cinéma, que les affiches publicitaires, que les photos, que les vieux papiers, que les journaux et magazines, que les livres, que les bandes dessinées, que les dessins, gravures et peintures, etc.) / Collection visible sur rendez-vous près d'Avignon (Téléphone: 04 90 38 56 82).

A vast archive of correspondence featuring approximately 395 letters, postcards and correspondences from the iconic American author John Steinbeck sent to family members over the course of twenty-nine years. The scope is incredible, spanning from the publication of his masterpiece Of Mice and Men to two years before his death. Provenance: from the estate of John's sister, Mary Dekker Steinbeck. The bulk of John's correspondence, over 300 letters, is written to his younger and much-adored sister Mary. These letters span a sweeping twenty-eight year period, beginning in 1937 and continue until right before Mary's death in 1965. The remainder of John's letters are written to other family members, primarily his sisters Beth and Esther, Mary's daughter Joan and her husband David Heyler. These letters continue up until 1966. The majority of the letters and postcards are autograph, though roughly 93 are typed or typed and signed; including roughly 14 typed and sent in triplicate by John to his three sisters. The vast majority of John's letters are accompanied by their original transmittal envelopesover the years postmarks come from various locations such as New York City, Sag Harbor, California, Mexico, the Virgin Islands, Europe and more, detailing John's life by location. The condition varies, but most range from Near Fine to Very Good. A spreadsheet of the contents can be provided upon request. A partial transcription is available as well (serious inquiries only). The archive additionally includes 165 pieces of communication from other family members mostly sent within the family and a small assortment of ephemera. The majority of these peripheral letters were sent by John's second wife Gwyn Conger Steinbeck (m. 1943-1948) and third Elaine Steinbeck (m. 1950-1968) to Mary. These correspondences begin in 1940 when William (Bill) Dekker, a World War I pilot, sends his wife Mary a letter home. Bill would disappear in action over Italy in July, 1943, and John would detail attempts he made overseas with his military correspondent connections to locate Bill in letters he sent Mary. The family letters stretch onward until 1997, nearly 30 years after John died, with letters from Elaine written to Joan and David. Included in the assorted ephemera is a note from Mary to John's editor and friend Pat Covici on the necessity of the title East of Eden, notes, two typescripts, seven snapshot photographs depicting John and several others on a boat and one depicting John in a yard being greeted by a dog. Several telegrams are present; including the one John sent to Mary relaying the news of the birth of his second son, John IV (June 12, 1946): "A BOY BOTH FINE 5 POUNDS 4 OUNCES. LOVE= JOHN". These letters portray a sweeping and intimate look at Steinbeck's life, as told in his own words and the words of those closest to him, through deeply personal letters, covering his private and professional life during his most artistically productive years. He ranges over countless topics from the mundane minutia of daily life, such as stockpiling meat in his new deep freeze to save a few pennies per pound should meat prices raise, to the profoundchildhood memories, the births of his sons, the collapse of his marriage to Gwyn, his grappling with depression, mortality and much more. Despite John's worldwide acclaim and success, winning both the Pulitzer and Nobel Prizes, his nostalgic thoughts often drift back to a green cliff overlooking the Carmel River of his youth. He writes at length of his professional life, his work and milestones, from being a war correspondent, to novelist and playwright. He expounds on the ups and downs of his writing processfrom research, to starting new work, becoming frustrated and throwing work out, finishing work and starting again. Collections of this magnitude and breadth regarding such a major American author are virtually unobtainable in the marketplace, with most material already held by institutions. Because this corres.

paperback. Etat : Good. Cover shows some surface wear. See photos. The binding is in good shape. The pages of this book are clean and unmarked. A good solid copy. FAST SHIPPING & FREE TRACKING!

Tall quarto (277 x 194 mm). Contemporary black quarter roan, dark brown pebble-grain cloth over boards, green page marker. 2 engraved title pages, 1 engraved portrait frontispiece with autograph, facsimile autograph letter from Marx to the publisher, dated 18 March 1872, with Lachatre's reply to verso, engraved head- and tailpieces. Text in two columns. First edition in French, first issue, a fine presentation copy, inscribed by Marx to the Frankfurt banker Sigmund Schott, with whom Marx exchanged ideas central to his philosophies and work: "Mr Sigmund Schott, de la part l'auteur, Londres, 3 Novembre 1877" to the first engraved title page. Presentation copies of Capital are exceptionally rare, with only seven others having been offered at auction in the last 60 years, just two of those being the first edition in French as here. Sigmund Schott was a German bank director and journalist. He was also a literary critic, bibliophile, and corresponded with some of the most important intellectual figures of the epoch. In certain editions of Marx's correspondence, Schott was misidentified as the German politician (1818-1895), with whom he shared the same name. As a result, the importance of the relationship between the young banker and the philosopher has perhaps been underexposed. Schott and Marx wrote to one another on a number of occasions over several months, and in the letter that originally accompanied the present volume - and bears the same date as the inscription: 3 November 1877 - Marx details his approach to constructing Capital. "Dear Sir," Marx begins. "My best thanks for the packages. Your offer to arrange for other material to be sent to me from France, Italy, Switzerland, etc. is exceedingly welcome, although I feel reluctant to make undue claims on you. I don't at all mind waiting, by the by, nor will this in any way hold up my work, for I am applying myself to various parts of the book in turn. In fact, privatim, I began by writing Capital in a sequence (starting with the 3rd, historical section) quite the reverse of that in which it was presented to the public, saving only that the first volume - the last I tackled - was got ready for the press straight away, whereas the two others remained in the rough form which all research originally assumes." Marx then goes on to mention the volume now offered: "I enclose a photograph herewith, because the copy of the French edition that goes off to you at the same time as this letter only contains a very far from flattering likeness done from a London photograph by a Parisian artist. Your most obedient Servant, Karl Marx." This letter, so frequently referenced in critical treatments of Capital, not only sheds light on the genesis of one of the most significant philosophical works to emerge in the last two centuries, but also underscores the author's openness and perhaps even his humour. Additionally, it offers an important contextual background for the presentation copy at hand. Given the nature of other examples of correspondence between the two men, it would seem that Schott and Marx regularly exchanged ideas pertaining to banking and social economy. In a letter sent from London, and dated 29 March 1878, Marx wrote to Schott: "I have, though somewhat belatedly, obtained Volume IV (Industrieactien) of the Saling, to which you so kindly drew my attention. I did not wish to reply to your letter until I had at length had time to run through the thing, and have found it very useful Finally, I have one more thing to ask of you, namely to be so kind, provided it is not too time-consuming, as to let me have a list of the names of Perrot's published writings on the subject of joint-stock companies, etc." Given the tenor of this letter, it would seem that Marx quite relied on Schott for information relating to the financial theories of the day, and that Schott was eager to supply Marx with literature relevant to his work. Le Capital was published in France in 44 "livraisons" between August 1872 and May 1875. Marx began revising Capital for the second German edition in December 1871, which was also the month in which Lachâtre agreed to publish a French edition. In January 1872 Marx recruited Joseph Roy to prepare a French translation and concluded a publishing agreement with Lachâtre. As well as making important revisions for the second German edition, Marx began "to revise, indeed rewrite, the translation" (Draper, p. 174) over the next three years. While the second German edition was published in 1873, Marx continued to exert strict control over the French edition, making additions and corrections to the galley proofs for the parts even as they were being published (Draper, p. 190). He was very clear about its unique value as distinct from the second German edition and strongly advised that even those familiar with the German language editions consult the French edition for further accuracy. For this reason these changes were "taken into account when at length the first English translation, by Samuel Moore and Edward Aveling, appeared in London, in 1887, four years after Marx's death, under the editorship of Engels" (PMM). When the final fascicule was printed in November 1875, the complete set was published in 10,000-11,000 copies. From certain indications found in the correspondence of Marx, it seems likely that the French government, who must have frowned upon the appearance of Das Kapital in French, tried to prevent its publication, which for a certain time was interrupted by the authorities. When the publication was finally completed, rumours abounded that its sale was to be forbidden and the publisher Lachâtre hesitated to sell copies. As noted, any presentation copy of Capital is exceedingly rare. - The volume present here ranks among the finest of these presentation copies. The correspondence surrounding it yields a particularly unique and significant sense of historical context, offering an important point of association related to one o.

8vo. 488 pp. Publisher's original brown leatherette binding. - Offered together with the diplomatic archive of Charles Meyer, 1961-1965: a trove of documents and photographs, including on the relations between Cambodia and China. First French edition, containing an extremely rare calligraphic inscription, brush-written by Mao Zedong in 1965 shortly before the Great Proletarian Cultural Revolution, to the foreign diplomat Charles Meyer (1923-2004). - The French national Meyer spent 25 years in Indochina, including 15 years in Cambodia during the 1950s and 1960s, serving King (and later Head of State) Norodom Sihanouk as media and public affairs advisor. He formed part of the Sangkum government's inner power circle and served as the author and editor of many official government publications. He also wrote several books on Cambodia, including the historical accounts "Behind the Khmer Smile" (Plon, 1971) and "The French in Indochina: 1860-1910" (Hachette, 1996). Meyer left the country in 1970 in the wake of the coup d'état and the advent of the Khmer Republic. - When in the early 1960s Prince Sihanouk came to recognize revolutionary China as Cambodia's most valuable ally, Meyer took part in several high-level meetings in Beijing and on the Yangtze River that the Prince held with Mao Zedong, Zhou Enlai, and Chairman Liu Shaoqi. He was present at the 1964 talks with Zhou Enlai to promote Khmero-Chinese friendship and a member of the Cambodian delegations in 1964 and 1965. It was on one of these diplomatic missions that Mao Zedong honoured Meyer by this exceptionally rare token of his esteem. - Finely preserved. The complete diplomatic archive assembled by Meyer in the course of his service in the East has survived with this inscribed volume and is available separately. - OCLC 42966802.

Etat : Near fine. Paul McCartney's handwritten, working manuscript (as Beatle) for "Lovely Rita," from the album Sgt. Pepper's Lonely Hearts Club Band. the most famous album in the entire panorama of modern music. This is the very first (rough) draft, 10 lines (in ink), all in Paul's handwriting and all written on a single side of an irregular scrap of lined paper (7 1/2" X 5") torn from a spiral notebook. 7 lines in black are Paul's first concept. 3 lines of changes have been added later in blue, such as, "writing all the numbers in her little black book" changed to "filling in a ticket with her little blue pen" and still later recorded as "filling in a ticket in her little white book." Near fine condition. Lavishly matted, and framed with a full size, uncorrected, 1st state proof photograph of the album cover, varying in that McCartney is kneeling, the band instruments have been passed around, and 2 people are among the onlookers who would not sign releases, and therefore did not appear on the published album. ExButterfield's, Dec. 12, 1993. Rare. Icon time. Beatles manuscripts from Sargent Pepper held all the rock & roll world records until Bob Dylan's Like a Rolling Stone sold at auction for $2,000,000 in 2014. But it's been a while now and another Sgt. Pepper manuscript will take the record back eventually and someday soon the only way to see one will be in a museum, at the end of a long line, behind velvet ropes. The last authentic Sgt. Pepper manuscript at auction (A Day in the Life, admittedly a greater song), sold for $1,202,500 at Sotheby's in 2010. The last real McCartney manuscript of a Beatles song at auction was an abridged, later, fair copy of 10 condensed lines from Hey Jude that he wrote out to be used as a key by a backup musician at a recording session ($910,000 at Julian's in 2020) and that one, in contrast to ours, was not a working manuscript carrying his thoughts, inner debates, and changes. The handwritten lyrics to "Lovely Rita, Meter Maid" represent an intimate window into The Beatles' conceptual shift during their psychedelic period, showcasing McCartney's evolving storytelling approach. Unlike their earlier love songs centered on direct romantic sentiments, this track exemplifies their move toward character-driven narratives with whimsical scenarios and playful humor. This creative direction coincided with broader cultural movements challenging conventional structures and celebrating the previously overlooked aspects of daily life. The track's transformation of a mundane authority figure into the subject of amorous pursuit subtly subverted social norms while maintaining a façade of innocent charma hallmark of the band's distinctive cultural impact during this period. McCartney's composition emerged during a pivotal moment in Western society when art was increasingly blurring distinctions between "high" and "low" culture. The Beatles' work on "Sgt. Pepper" helped legitimize popular music as culturally significant, with songs like "Lovely Rita" demonstrating how seemingly simple pop compositions could contain nuanced social observation. The character sketch format allowed the band to adopt personas and perspectives outside their own experiences, expanding their artistic range while connecting with the era's interest in identity exploration and social role-playing. This approach positioned the band as both participants in and commentators on the rapid social changes reshaping 1960s culture, making even their lighthearted works like "Lovely Rita" meaningful cultural documents of their time.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. 1st Edition. HAWAII, rare early publications "The FRIEND". A complete set of 36 issues, Jan 1844 -- Dec 1845, volumes 2 and 3 complete. Also very rare single side Broadside of Dec 16, 1844 + folding whale vessel chart. Published at Honolulu by Samael C. Damon, Editor. 318 pp. Also wood engraved views of towns etc. Varying paper indicates 1st printings of all. In original 9 1/4" x 11 1/2" Hawaii "spatter" paper-on-boards binding. Original ownership signature of "JYB Knox 1846", probable whaling ship captain. All matter Fine, clean, complete. Binding has some wear. $495,000. See photos.

No binding. Etat : Very Good. Substantial archive of his handwritten school writing and math books, personal and family correspondence, diaries, and manuscripts. Detailed description on request. As Lincoln's Secretary of the Navy, "old Neptune" played an essential role in fencing off and defeating the Confederacy."There is a good deal of stir among the soldiers, who are coming in numbers daily, and we shall soon have the city [Washington] more full than any before in our country. A good feeling prevails among almost the whole population. Traitors are getting at discount here, and I hope they will be despised everywhere." (Welles letter to his son, April 7, 1861)Gideon Welles (1802-1878) was a Connecticut native, journalist, Democratic state legislator, Hartford postmaster, and chief of the Bureau of Provisions and Clothing for the Navy early in his career. In 1848, Welles left the Democratic Party over the expansion of slavery. He founded an influential Republican organ, the Hartford Evening Press, in 1856. Collection HighlightsGideon Welles' Schooling. Autograph Manuscripts Signed.Autograph Workbooks, ca. 1817 to 1821, from his time as a student at the Episcopal Academy of Cheshire, Connecticut, and the American Literary, Scientific, and Military Academy at Norwich, Vt. (later Norwich University), reflect both the seriousness and whimsy of a young man.Autograph Student Notebook, over a foot in height, adorned with humorous caricatures-a theme that carries over to several individual sheets. Some of the figures are patriotic, others risqu, or some combination.Autograph Notebook devoted to handwriting exercises, containing many examples of Welles's efforts to establish his own proper signature.Autograph Mathematics Workbook, which includes questions of compound interest, simple interest, and problems of "Division of Vulgar Fractions." A poem on the last page begins: "When stormy winds are o'er and past / Shall pleasant calm appear / For oft times heard in ashes deep / The burning coals of fire."Gideon Welles, 145 Autograph Letters Signed, to his son Thomas Glastonbury Welles, mostly during the Civil War.Sept. 28, 1862, re Battle of South Mountain: "Had a letter to day from Robert . the dead lay in rows so that he had to pick his way along for fear of stepping on them. The ground was covered, and they were in heaps behind the walls & fences, all dead, boys and old men side by side." Feb. 19, 1863, after Thomas entered the Navy rather than finishing his education: "I rec'd your letter and resignation this morning, just as I was putting on my coat to attend a special cabinet meeting. It of course unfitted me for any duty, for I thought if my children would throw away advantages, I might as well give up also the labors and burdens that oppress me." May 3, 1863: "I did not read the testimony of McClellan until I got your letter calling my attention to it. You are right and he is guilty of a gross perversion of the real facts. the government has done well in displacing him. Whether Hooker will prove himself a better general and a better man, time will disclose." April 18, 1865, on Lincoln's assassination: "The great calamity which has befallen the country has . disarranged everything. Nothing since the death of Washington has ever cast so great a gloom over the whole country. That one so gentle, and so kind, whose feelings would permit him to harm no human being, should have been so assaulted and slain is among the most appalling acts ever recorded. General Ord will not commit the mistake of Weitzel. R.M.T. Hunter and Judge Campbell must not think that they are to dictate terms, or negotiate treaties. They are conquered rebels, and have no rights." Additional materialGideon Welles, Autograph Letters Signed, to other family members.More than 230 letters to Welles, most from close family members.Four of Welles's diaries; and additional family manuscripts, photographs, and printed ephemera.Leather portfolio, gilt. (See website for full description). Archive.

Hardcover. Etat : Very Good. 1st Edition. THE FOUNDATIONAL DOCUMENT OF THE NATIONAL PARK SERVICE. First edition. Boston: Louis Prang and Company, [1876]. Folio (21" x 17"). With 15 chromolithographs (each 9 3/4" x 14") (one a proof plate; all framed) in addition to 2 maps and the accompanying text. Bound in the publisher's red cloth portfolio. Moran's imagery revealed the scale and splendor of that still untouched landscape and provided evidence of the need to establish the first national park. Based on Moran's work during Hayden's 1871 expedition to northwestern Wyoming, the fifteen views were the first imagery of the region to become Yellowstone National Park. Louis Prang was the finest color-printer of his day, and he declared Moran's Yellowstone series his masterpiece. In 1876, it was undoubtedly the most elaborate and successful work of chromolithographic printing undertaken in the United States. The work's publication marked the beginning of Prang's dominance of the finest American chromolithographic work in the last quarter of the century (Reese). In his definitive book on chromolithography, Democratic Art, Peter Marzio writes: ".each chromo is a masterpiece. This is Prang's greatest work and represents the high tide of chromolithography in America. Moran's painting technique, grounded by an apprenticeship in commercial printshops and refined by his admiration for Turner, was perfectly suited to the demands of color printing from stone, and he remains to this day one of the most gifted artists to have worked in the medium." Born in Bolton, England, Moran immigrated to the United States in 1844. He received his first art instruction from his elder brother Edward and later found employment as an illustrator in New York City. Moran was on assignment for Scribner's Magazine in 1871 when he was selected to accompany Ferdinand V. Hayden's geological survey to the headwaters of the Yellowstone River. No more suitable company could have been assembled. For sixteen days, Moran sketched, and William Henry Jackson photographed the most compelling features of what was to become Yellowstone National Park, from the impressive geothermal formations of geysers and hot springs to the vivid colors of the river canyon itself. Hayden presented Moran's watercolors and Jackson's photographs to Congress as part of his successful effort to designate Yellowstone as America's first national park. The strategy worked. Even more than Hayden's oratory, the pictures persuaded the legislators that the park must be preserved, a decision that resulted in the establishment of the first national park. Later, Moran visited California's Yosemite Valley and, in 1873, joined John Wesley Powell's exploration of the Colorado River. Moran published his views of the Far West in various periodicals and produced several large paintings, including The Great Canyon of the Yellowstone and Chasm in the Colorado, which the U. S. Congress purchased. Over the next forty years, he traveled widely. Many of his favorite sketching sites in the West were set aside as national parks and monuments, notably Yellowstone, Yosemite, and the Grand Canyon of the Colorado in Arizona. He was elected to the National Academy of Design membership in 1884 and produced a large body of work in his later years. Moran was in tune with the spirit of his age, and this, combined with his phenomenal artistic talent, brought him significant acclaim. Moran provided an image of the American continent's infinite potential as symbolized by its dramatic, majestic landscape. Howes H338; Graff 1830; Eberstadt 127:310; Bennett, p. 80; K.M. McClinton Chromolithographs of Louis Prang p. 159; Joni Kinsey, Moran and the Art of Publishing in Thomas Moran (Washington: 1997), pp; Clark, Thomas Moran: Watercolours of the American West, pp; Reese, Stamped with a National Character 99; Streeter sale 2112; Wheat, Trans Mississippi 1269; Reese, Best of the West 189. THE BOBINS SET AT CHRISTIE'S NEW YORK 16 JUNE 2023 SOLD FOR $453,600.

Amassed over the last fifty years and covering four centuries of relevant material, the present collection spans all aspects of the history and development of the breeding of Arabian horses. It comprises within itself many books from the Le Vivier collection: fine press books of racing and thoroughbred literature produced by Eugene Connett's famous Derrydale press, as well as numerous important items from the library of Duke Maximilian in Bavaria (1808-88), himself a great enthusiast of Arabic horses. Including items of exceptional rarity, such as the rare, beautifully illustrated first German edition of Friedrich von Eisenberg's famous riding school (1747), which lauds Arabian horses as "the finest produced by the Orient". Also, we here find the early Arabian Horse Registry of America Stud Books, and many items also bear presentation inscriptions from the authors (Carl Raswan, Gladys Brown Edwards, etc.). The common practice in such a specialized field, most of the publications here were issued for a very limited circulation in runs of 1000 or fewer individually-numbered copies. As a reference library for breeding the collection is unparalleled: almost any Arabian horse's forefathers will be found amongst the exhaustive stud books and breeding serials from the 18th to the 20th century, from Australia, Poland, Spain, Russia, the USA, etc., often with accompanying photographs. Perhaps the most famous reference work is the Raswan Index, of which only 380 copies were printed (and many destroyed by a flood). Raswan became an expert on the Arabian breed through his lengthy trips to the desert, where he lived with the Bedouins and learned their language and customs. Several scarce early 20th century works also testify to the Western fascination with the Bedouin and desert roots of the Arabian horse: Homer Davenport's My Quest of the Arabian Horse (1909) and Raswan's The Black Tents of Arabia: My Life Amongst the Bedouins (1935). Alongside modern surveys of the key centres of horse-breeding in the Arab world, the early Western classics are also found here in their scarce first editions. French and German authors are also well-represented, including the text and first French translation of the Hilyat al-fursân wa-shi'âr ash-shuj'ân, an abridgement of Ibn Hudhail's horse treatise, prepared around 1400. Finally, the owner's collection of notable catalogues and magazines paints a fascinating composite picture of the evolution, and heyday, of Arabian horse-breeding in the Arab world, Poland, America, and the United Kingdom. Also contained in this magnificent collection are the classic reference works on Arabian and Anglo-Arabian racehorses and their breeding. These standard works and encompassing sets of specialised thoroughbred literature include not only the indispensable guides to horse pedigrees, the Racing Calendar, General Stud Book, Spanish, American and Australian Stud Books, Bloodstock Breeders' Review, and Prior's Register of Thoroughbred Stallions, in near-complete runs stretching back as far as the 18th century, but also British and international horseracing history, and several volumes of exquisite coloured plates. The size and comprehensiveness of the present collection cannot be overstated; it is safe to say that it represents the largest private collection of its kind which has come up for sale in recent decades. Many of the items found here can be located in just a handful of public institutions worldwide. Such items come into the market so rarely (and have recently, like the Raswan Index and the AHRA Stud Books, commanded prices of five figures) that it would be impossible to build a comparable collection item-by-item; the volumes here represent a lifetime of serious dedication to the task. Yet the value of such a collection lies not simply in its impressive number of important publications, but in the vast amount of practical knowledge contained within. As the introduction to one manual expresses it, "The horses shown and described form the foundation ancestry of a major number of breeding programs being propagated today. They appear in every area of endeavour. Yet pictures and facts are not easy to obtain. A knowledge of what has been and is, what proved successful and what endured, is pertinent to the maintenance of type and quality in the Arabian. Whatever your chosen bloodline this is a worthy study."Illustrated catalogue available upon request.

Folio (447 × 315 mm). 125 mounted original salt prints, letterpress captions to mounting leaves and tissue-guards, 3 small engravings to the introductory text, double-page engraved plan of Karnak, single-page plans of Medinet-Habu and the island of Philae. Recent half brown cloth, marbled boards, original spine, brown hard-grained morocco laid down, title gilt direct, low flat bands with dotted roll gilt, double fillet panels to the compartments, new endpapers, original marbled free endpapers retained. Extremely rare first edition, complete, illustrated with 125 salt prints from wet paper negatives (Blanquart-Evrard process) mounted one to a page. Maxime Du Camp's monumental survey, "Égypte, Nubie, Palestine et Syrie", was the first of its kind, the first travel album to be completely illustrated with photographs of archaeological monuments. - A young man of independent means, Du Camp learnt the craft of photography from Le Gray in 1849 in preparation for his second journey to North Africa. By the time he came to Abu Simbel in March 1850 to explore the rock-cut temples built by Ramesses II (reigned 1292-1225 BC), Du Camp was thoroughly at ease with the medium. With official backing from the French Government, and travelling in the company of the novelist Gustave Flaubert, Du Camp returned with over 200 paper negatives of the antiquities of Egypt and the Near East, of which 125 were published in the present work. The illustrations were produced at the photographic printing works of Louis-Désiré Blanquard-Évrard at Lille and their distinctive cool neutral tones are due to the prints being chemically developed rather than merely printed-out in sunlight. - Distinguished as it was, Du Camp's photographic career was short-lived. After the completion of his magisterial survey of the antiquities of the Near East, he abandoned photography entirely in favour of literary pursuits. - Soundly bound, presenting well on the shelf. Front hinge slightly cracked towards the head at the first blank, some very light foxing throughout, but altogether an excellent copy. - Parr/Badger, The Photobook, I, 73. QNL Inaugural Exhibition (2018), 153.

The largest collection of its kind in private hands. 330 works in more than 1100 volumes. Mostly original or first editions. Published in Austin, Cairo, Chicago, Hildesheim, London, Marburg, Moscow, New York, Philadelphia, Riga, Tehran, Warsaw and other places in the years 1788 to 2011. Amassed over the last fifty years and covering four centuries of relevant material, the present collection spans all aspects of the history and development of the breeding of Arabian horses. It comprises within itself many books from the Le Vivier collection: fine press books of racing and thoroughbred literature produced by Eugene Connett's famous Derrydale press, as well as numerous important items from the library of Duke Maximilian in Bavaria (1808-88), himself a great enthusiast of Arabic horses. We here find the early Arabian Horse Registry of America Stud Books, and many items also bear presentation inscriptions from the authors (Carl Raswan, Gladys Brown Edwards, etc.). The common practice in such a specialized field, most of the publications here were issued for a very limited circulation in runs of 1,000 or fewer individually-numbered copies. - As a reference library for breeding the collection is unparalleled: almost any Arabian horse's forefathers will be found amongst the exhaustive stud books and breeding serials from the 18th to the 20th century, from Egypt, Australia, Iran, Spain, Russia, the USA, etc., often with accompanying photographs. Perhaps the most famous reference work is the Raswan Index, of which only 380 copies were printed (and many destroyed by a flood). Raswan became an expert on the Arabian breed through his lengthy trips to the desert, where he lived with the Bedouins and learned their language and customs. Several scarce early 20th century works also testify to the Western fascination with the Bedouin and desert roots of the Arabian horse: Homer Davenport's 'My Quest of the Arabian Horse' (1909) and Raswan's 'The Black Tents of Arabia: My Life Amongst the Bedouins' (1935). - Alongside modern surveys of the key centres of horse-breeding in the Arab world, the early Western classics are also found here in their scarce first editions. French and German authors are also well-represented, including the text and first French translation of the 'Hilyat al-fursân wa-shi'âr ash-shuj'ân', an abridgement of Ibn Hudhail's horse treatise, prepared around 1400. Finally, the owner's collection of notable catalogues and magazines paints a fascinating composite picture of the evolution, and heyday, of Arabian horse-breeding in the Arab world, Poland, America, and the United Kingdom. - Also contained in this magnificent collection are the classic reference works on Arabian and Anglo-Arabian racehorses and their breeding. These standard works and encompassing sets of specialised thoroughbred literature include not only the indispensable guides to horse pedigrees, the Racing Calendar, General Stud Book, Spanish, American and Australian Stud Books, Bloodstock Breeders' Review, and Prior's Register of Thoroughbred Stallions, in near-complete runs stretching back as far as the 18th century, but also British and international horseracing history, and several volumes of exquisite coloured plates. - The size and comprehensiveness of the present collection cannot be overstated; it is safe to say that it represents the largest private collection of its kind which has come up for sale in recent decades. Many of the items found here can be located in just a handful of public institutions worldwide. Such items come into the market so rarely (and have recently, like the Raswan Index and the AHRA Stud Books, commanded prices of five figures) that it would be impossible to build a comparable collection item-by-item; the volumes here represent a lifetime of serious dedication to the task. Yet the value of such a collection lies not simply in its impressive number of important publications, but in the vast amount of practical knowledge contained within. - Illustrated catalogue available upon request.

Hardcover. Etat : Fine. Large oblong folio. 39 albumen prints, on thick card mounts, recto and verso, comprising: 29 mammoth (approx. 20 x 16 in.), 4 large format (approx. 8 x 10 in.) and 6 medium format (approx. 5 x 8 in.) prints. Six of the mammoth photographs bear the Taber imprint and the Watkins negative number. Contemporary half red morocco gilt, gilt edges. Minimal wear, some fading to the handsome binding. Foxing to mounts. Minor fading. A splendid volume with the prints generally in excellent condition. This magnificent American West photograph album contains an astounding 21 mammoth photographs by leading photographers including Carleton Watkins, Charles R. Savage, and Isaiah West Taber, as well as other important photographs. The album features a major new discovery, Carleton Watkins's Sentinel Rock, Down the Valley, from U. Point, Yosemite, which is not in Naef and Hult-Lewis, Carleton Watkins: Complete Mammoth Photographs. Weston Naef has examined this print and confirms that it is the only located example of the long-sought negative 684, known only from inventories until now. "As specimens of the photographic art they are unequaled. The views are indescribably unique and beautiful. Nothing in the way of landscapes can be more impressive." New York Times on Watkins's Yosemite photographs, 1862. Carleton Watkins and Yosemite Carleton Watkins was the greatest of the first generation of photographers of the American West. His early photographs of Yosemite and Utah have never been surpassed. The scale of Watkins's monumental subjects was matched by his ambition and drive, which dwarfed that of his competitors. The photographer commissioned a San Francisco cabinetmaker to create a camera capable of accommodating glass plates as large as 18 x 22 inches. In a series of grueling expeditions over several decades, he took into the wilderness a wagon and a train of mules carrying hundreds of pounds of equipment and heavy glass plates. The amazingly detailed photographs made with the unique mammoth-plate camera brought Watkins international renown. The first four Yosemite photographs in this album date to Watkins's first expedition (1865-1866). Watkins chose thirty of these for exhibition at the 1867 Paris Exposition, where he won the first-prize medal for landscape photographs. Four of those photographs are present here. For more than 150 years Watkins has retained his place as one of America's greatest photographic artists. Watkins's views are "the finest landscape photographs produced by an American in the nineteenth century, and some of the most sophisticated and arresting images ever produced with a camera" (Nickel). The album includes the following mammoth Watkins prints: Section of the Grizzly Giant with Galen Clark, Mariposa Grove (1865-1866); Yosemite Falls, from Glacier Point (1865-1866); Cathedral Spires, Yosemite (1865-1866); Grizzly Giant with a Group of Hunters at the Foot of the Tree, Mariposa Grove, Yosemite (1865-1866); The City from the Residence of Bishop Kip, Rincon Hill, San Francisco (1864-1865); Sugar Loaf Island and Seal Rocks, Farallon Islands (1868-1869); and Sentinel Rock, Down the Valley, from U. Point, Yosemite, Cal. (c. 1870). The last of these is not in Naef and Hult-Lewis. Weston Naef reports that this is undoubtedly Watkins's Sentinel Rock, the long-sought negative 684. According to Naef, this may be the only extant print of this photograph. Yosemite and San Francisco by Isaiah W. Taber Isaiah Taber was a dominant figure in Western photography after the Civil War. He came to San Francisco in 1864 and founded a gallery in 1871. In the winter of 1875-76, Carleton Watkins went bankrupt, and Taber acquired his gallery and his enormous collection of negatives. "Once he had acquired Watkins's gallery and negatives, Taber began his bid for the exalted position of premier photographer of the west coast" (Palmquist, Pioneer Photographers of the Far West). Many of Watkins's prints were released with Taber's imprin.

Pas de couverture. Etat : Comme neuf. Edition originale. "RARE COLLECTION de 3800 photos originales PARAMOUNT FRANCE" Essentiellement des photos argentiques de plateau et d'exploitation réservées exclusivement pour les services de presse chargés de la promotion des films produits par la firme PARAMOUNT tournés aux Studios de Saint-Maurice et certains aux Studios Pathé de Joinville-le-Pont / Environ 3200 photos aux format: 25,5x20,5cm et 600 photos au format 13x10cm toutes en très bon état sinon parfait état / cela concerne 57 films réalisés entre 1930 et 1938 par René GUISSART, Pierre-Jean DUCIS, Roger CAPELLANI, Charles ANTON, Louis MERCANTON, Harry LACHMANN, Alexandre ESWAY, Louis J. GASNIER, JAQUELUX, Léo MITTLER, Claudio DE LA TORRE, Adelqui MILLAR, Alexandre KORDA, CHRISTIAN-JAQUE, Alberto CALVACANTI, André BERTHOMIEU, Robert VILLERS, Max DE VAUCORBEIL, Marcel PAGNOL, etc. / avec comme acteurs principaux Jean GABIN, Pierre BLANCHAR, DRANEM, Charles VANEL, SAINT-GRANIER, TRAMEL, Fernand GRAVEY, Pierre BERTIN, Lucien BAROUX, PAULEY, Albert PRÉJEAN, Claude DAUPHIN, Henry GARAT, DRÉAN, Louis JOUVET, NOËL-NOËL, CARETTE, André LUGUET, Thomy BOURDELLE, Pierre BATCHEFF, Pierre RICHARD-WILLM, Victor BOUCHER, Max DEARLY, Ivan KOVAL-SAMBORSKI, Willy ROZIER, RAIMU, Pierre FRESNAY, etc. / avec comme actrices principales Madeleine ROBINSON, Marguerite MORENO, Madeleine RENAUD, Jeanne FUSIER-GIR, Danièle DARRIEUX, Ginette LECLERC, Elvire POPESCO, Edwige FEUILLÈRE, Marcelle ROMÉE, Simone SIMON, Meg LEMONNIER, Suzy VERNON, Orane DEMAZIS, Jeanne HELBLING, Alice COCÉA, Edith MÉRA, Jackie MONNIER, Betty STOCKFELD, Alice TISSOT, Rosine DERÉAN, etc. / Collection visible sur rendez-vous près d'Avignon (Téléphone: 04 90 38 56 82).

A life-sized, hand-coloured photograph of the famous world map made around 1450 by Fra Mauro, the greatest medieval map of the world and the largest surviving European map of such an early date: an astonishing accomplishment of art history, cartography and photography. Perhaps the largest photograph ever made at the time, the "Naya Fra Mauro" belongs to a class of colossal early photographs that includes Eadweard Muybridge's 13-sheet panorama of San Francisco (1878) - though each sheet measured only about 46 x 55 cm - and George R. Lawrence's photograph of the Alton Limited on a 244 x 137 cm glass plate (1899). It also appears to be the first large-format map produced photographically.Fra Mauro's map is "considered the greatest memorial of medieval cartography" (Almagià). Containing hundreds of detailed illustrations and some 3000 descriptive texts, it was the most detailed repres-entation of the world so far produced. It remains one of the most important works in the history of cartography, marking the end of Bible-based geography in Europe and the new embrace of more scientific methods that placed accuracy ahead of religious or traditional beliefs. Strikingly, it is oriented with south at the top, recalling the Arabic tradition and more specifically al-Idrisi's famous 12th century world map, copies of which Fra Mauro may have known: Europe is shown at the foot, and Africa and Asia dominate the image, with Arabia (not Jerusalem) at the centre. Fra Mauro incorporated "the discoveries of Marco Polo and the Portuguese" as well as "many countries later known, which the learned monk doubtless shaped after ideas gathered from the oral narratives of occasional travellers" (Müller). Much of the map's novel information was lost to early modern cartographers when printed Ptolemy atlases proliferated in the final decades of the 15th century, replacing the manuscript mappa mundi tradition.Today the original Fra Mauro Map, drawn on vellum, is held by the Biblioteca Nazionale Marciana in Venice and shown at the Museo Correr. The British antiquarian William Frazer prepared an impressive manuscript facsimile in 1804, now in the British Library; a large engraving was made in Paris in 1849, and in 1869 the Venetian bookseller Münster produced the first photographic reproduction, albeit at a much smaller scale, measuring a mere 62 × 68 cm. Carlo Naya's monumental Fra Mauro photograph renders the map in its full original size. Although it is mentioned in a number of books on early Italian photography, it was always extremely rare: the only photographic copies of the map ever to have surfaced in the trade were that of Münster (lot 1581 at the 1884 sale of the library of Henry C. Murphy, U.S. ambassador to the Netherlands under Lincoln) and the more common four-print photofacsimile published in 1879 by Ongania (E. P. Goldschmidt, cat. 22, London 1930, lot 32). By contrast, Naya's magnum opus was never sold except through his own concern. The Royal Geographical Society was presented with a specimen in 1873 (the gift of John Benjamin Heath, once Governor of the Bank of England), and the British Library holds another, as does the Marciana (all uncoloured). National Library of Wales, Aberystwyth, has a very fragile and faded example, cut into 16 sheets and mounted on modern paperboard.Carlo Naya (1816-82) was an Italian photographer known for his fine views of Venice. He settled there in 1856, opening a photo studio that catered to "grand tourists" who wished to take home mementoes of the city's spectacular art and architecture. His mappa mundi photograph was prepared around 1871 under the supervision of the Venice-based English historical scholar Rawdon Brown (1806-83), a friend of Ruskin's. Naya exhibited his photograph at the 1873 World's Fair in Vienna, winning a medal for it. In the 1880s the Nayas were still advertising the map, the pride of the company, as a "fac-simile of the Planisphere of Fra Mauro A.D. 1459, the largest photograph hitherto made (a square 7 ft. 4 inch)". It was priced at a stupendous 200 francs. After Naya's death, his wife and then her second husband continued his studio for three and a half decades.With ink stamps of the publisher Osvaldo Böhm on the back of the photograph, who bought most of Naya's archive when the family closed the shop in 1918. Later the photograph was part of the collection of Dr. Edward Luther Stevenson (1858-1944), one of the most important scholars of early cartography active at the end of the 19th and the first half of the 20th century. Stevenson was responsible for numerous carto-bibliographic books, including the first translation of Ptolemy into English, as well as a series of impressive facsimile maps. Stevenson, who viewed reproductions as integral to the study of early cartography, committed himself to building an unparalleled collection of photographs of early maps and globes. Much of his collection was donated to Yale University after his death, but the present item comes from a large corpus of photos, manuscripts and related material retained by the family. In very good condition.l Almagià, Monumenta cartographica vaticana, vol. 1 (1944); Becchetti, Fotografi e fotografia in Italia 1839-1880 (1978), p. 124; Falchetta, Storia del Mappamondo di Fra' Mauro (2016); Müller, Venice: her art-treasures and historical associations: a guide to the city (1873) p. 113; Zannier, Venice: the Naya collection (1981). Mounted and framed. Hand-coloured photograph, ca. 223 × 223 cm.

Hand-coloured photograph of the Fra Mauro mappamundi, ca. 223 x 223 cm. A life-sized, hand-coloured photograph of the famous world map made around 1450 by Fra Mauro, the greatest medieval map of the world: an astonishing accomplishment of art history, cartography, and photography. In its day one of the largest photos ever made, the "Naya Fra Mauro" belongs to a class of colossal early photographs that includes Eadweard Muybridge's 13-sheet panorama of San Francisco (1878) and George R. Lawrence's photograph of the Alton Limited on an 8 × 4.5-foot glass plate (1899). It also appears to be the first large-format map produced with photography. - Fra Mauro's map is "considered the greatest memorial of medieval cartography" (Almagià). Containing hundreds of detailed illustrations and some 3000 descriptive texts, it was the most detailed representation of the world so far produced. It remains one of the most important works in the history of cartography, marking the end of Bible-based geography in Europe and the new embrace of more scientific methods which placed accuracy ahead of religious or traditional beliefs. Strikingly, it is oriented with south at the top, recalling the Arab tradition and more specifically al-Idrisi's famous 12th century world map, copies of which Fra Mauro may have known: Europe is shown at the bottom, and Africa and Asia dominate the image, with Arabia (not Jerusalem) at the centre. Fra Mauro incorporated "the discoveries of Marco Polo and the Portuguese", also showing "many countries later known, which the learned monk doubtless shaped after ideas gathered from the oral narratives of occasional travellers" (Müller). Much of the map's novel information was lost to early modern cartographers when printed Ptolemy atlases proliferated in the final decades of the 15th century, replacing the manuscript mappamundi tradition. - Today the original Fra Mauro Map, drawn on vellum, is held by the Biblioteca Nazionale Marciana in Venice and shown at the Museo Correr. An impressive manuscript facsimile, now in the British Library, was prepared in 1804 by the British antiquarian William Frazer; a large engraving was made in Paris in 1849, and in 1869 the Venetian bookseller Münster produced the first photographic reproduction, albeit at a much smaller scale, measuring a mere 62 × 68 cm. Carlo Naya's monumental Fra Mauro photograph renders the map in its full original size. Although it is mentioned in a number of books on early Italian photography, it was always extremely rare: the only photographic copies of the map ever to have surfaced in the trade were that of Münster (lot 1581 at the 1884 sale of the library of Henry C. Murphy, U.S. ambassador to the Netherlands under Lincoln) and the more common four-print photofacsimile published in 1879 by Ongania (E. P. Goldschmidt, London 1930: cat. 22, lot 32). By contrast, Naya's magnum opus was never sold except through his own concern. The Royal Geographical Society was presented with a specimen in 1873 (the gift of John Benjamin Heath, once Governor of the Bank of England), and the British Library holds another, as does the Marciana (all uncoloured). A very fragile and faded example, cut into 16 sheets and backed onto modern board, is kept at the National Library of Wales, Aberystwyth. - Carlo Naya (1816-82) was an Italian photographer known for his fine views of Venice. He settled there in 1856, opening a photo studio that catered to Grand Tourists who wished to take home mementoes of the city's spectacular art and architecture. His "mappa mundi" photograph was prepared around 1871 under the supervision of the Venice-based English historical scholar Rawdon Brown (1806-83), a friend of Ruskin's. Naya exhibited his photograph at the 1873 World's Fair in Vienna, winning a medal for it. In the 1880s the Nayas were still advertising the map, the pride of the company, as a "fac-simile of the Planisphere of Fra Mauro A.D. 1459, the largest photograph hitherto made (a square 7 Ft. 4 inch)". It was priced at a stupendous 200 francs. After Naya's death, his studio was continued by his wife, then by her second husband, for three and a half decades. - Provenance: the reverse has ink stamps of the publisher Osvaldo Böhm, who bought most of Naya's archive when the family closed the shop in 1918. Later in the collection of Dr. Edward Luther Stevenson (1858-1944), one of the most important scholars of early cartography active at the end of the 19th and the first half of the 20th century. Stevenson was responsible for numerous carto-bibliographic books, including the first translation of Ptolemy into English, as well as a series of impressive facsimile maps. Stevenson, who viewed reproductions as integral to the study of early cartography, committed himself to building an unparalleled collection of photographs of early maps and globes. Much of his collection was donated to Yale University after his death, but the present item comes from a large corpus of photos, manuscripts, and related material retained by the family. - A. Müller, Venice. Her Art-Treasures and Historical Associations. A Guide to the City (Venice 1873), p. 113. I. Zannier, Venice: the Naya Collection (Venice, 1981). P. Becchetti, Fotografi e Fotografia in Italia 1839-1880 (Roma 1978), p. 124. R. Almagià, Monumenta cartographica vaticana, vol. 1 (Città del Vaticano, 1944). P. Falchetta, Storia del Mappamondo di Fra' Mauro (Rimini, 2016).

Etat : Fine. First edition. STUNNING LARGE HISTORIC PHOTOGRAPH OF TESLA, SIGNED AND INSCRIBED BY TESLA TO EDWARD EVERETT BARLETT. Albumen print, signed and inscribed by Tesla on the original gray mount: "To my friend E. E. Bartlett, New York, June 9, 1896, Nikola Tesla." The photograph shows Tesla in profile seated before the spiral coil of his high-voltage transformer at his East Houston St., New York, laboratory. The photograph, in addition to being arguably the most famous and dramatic portrait of Tesla, is scientifically significant, for it served as a demonstration of the power of his new technique of providing illumination with vacuum tubes. A reproduction of the photograph appeared in the May 20, 1896 issue of Electrical Review, alongside an article where a reporter interviewed Tesla about the novel circumstances of the creation of this photo: "As to his continuous efforts to improve his system of lighting by vacuum tubes, with which he has been identified during a number of years, Tesla said that he has been more successful than he had ever dared to hope. His methods of conversion from ordinary to high-frequency currents are rendered simple in the extreme, the devices are thoroughly reliable and require no attention. Last, but most important of all, he has succeeded in increasing the candle-power of the tubes to practically any intensity desired. "A remarkable and most telling result of the advances he has made in the last direction is a portrait, which he has reluctantly allowed us to use, and which was obtained by two seconds' exposure to the light of a single vacuum tube of small dimensions. Tesla stated further that photographs obtained by the light of such powerful tubes show an amount of detail which no picture taken by the sun or flash light is capable of disclosing. This feature is only faintly shown in the reproduction on this page. The photograph was made by Tonnelé & Company, artists' photographers, who aided Mr. Tesla in his attempts to photograph by the light of phosphorescent tubes about two years ago. "When asked, Mr. Tesla said, in explanation of the picture, speaking with deep feeling, that the volume he was reading was one of the 'Scientific Papers,' of Maxwell, given to him as a token of friendship by Professor Dewar; the chair a gift of his warmest friend, Mr. E. D. Adams; and as to the queer coil to his left, Mr. Tesla hesitatingly remarked that it was the object 'dearest of all in his laboratory,' having been a most valuable instrument in his many-sided investigations. "Mr. Tesla added, good humoredly, that, had it not been for the extraordinary manner in which the photograph was taken, he would not have given this explanation even to such an important personage as the representative of the ELECTRICAL REVIEW." Tesla was correct in insisting that the lighting from the vacuum tubes produced a high-level of detail in the photograph; the intricacies of the coil, in particular, appear remarkably sharp. Overall, the photograph has an orange tint, almost certainly the result of his novel lighting technique. Although this is the only signed example of this photograph we are aware of, it has been reproduced in recent years many times, including serving as the cover image for Marc J. Seifer's groundbreaking biography of Tesla, Wizard. Provenance: The recipient, Edward Everett Bartlett (1863-1942) was a celebrated New Yorker (both he and Tesla were featured in Moses King's Notable New Yorkers, 1896-1899), who founded Bartlett & Co., (later Bartlett Orr Press) on lower Broadway, in 1888. Variously described as an artist, illustrator, printer, and engraver, Bartlett was internationally known as "an expert on newspaper type, and he was credited with the development of much of the linotype type used in newspaper offices throughout the country"; additionally he published several works on the art of the book. (New York Times, Obituary, 1942). Size: Image, 7 3/4 x 9 1/2 inches; with mount, 8.5 x 11 inches. Archival matting and framed with UV-protecting museum glass to an overall size of 16.5 x 19 inches. Small closed tear in extreme blank bottom margin (matted out). Fine condition. SIGNED TESLA PHOTOGRAPHS ARE EXCEEDINGLY RARE ON THE MARKET AND THIS IS, WITHOUT QUESTION, THE FINEST WE'VE SEEN.

A previously unknown photograph of two unidentified sheikhs of the Trucial Coast, in a photograph album compiled by a British Navy officer, captioned "Sheik of Sharjah and Staff". The photograph, measuring 84 by 108 mm, was taken aboard H.M.S. Argonaut during Lord Curzon's state tour of the Gulf in 1903. The only previously known comparable photograph, a very rough group portrait taken aboard H.M.S. Hardinge on the same day, is kept at the National Maritime Museum at Greenwich (Al-Qasimi, plate 3: identified as showing Sheikh Saqr, the ruler of Sharjah). A further photo, held at the British Library, shows the full audience of Curzon's reception, but no specific Gulf state ruler ruler is recognizable, as they sit with their backs to the camera ("Durbar on board R.I.M.S. Argonaut, Shergah", BL Visual Arts coll., 49/1/7). Exceedingly few photographs of Muscat, Oman and the Trucial Coast survive from the pre-war years; the present example must therefore be considered the first portrait of any ruler of the Trucial States and an extremely important survival, documenting the early history of the future United Arab Emirates.The album, compiled by Captain Charles Courtenay Bell (1883-1966), covers the first decade of his career in the Royal Navy. Its Gulf section comprises five images of Muscat and Oman, also including a fascinating, uncommon snapshot of pearl divers in action. These images must date from November 1903, when H.M.S. Argonaut was employed to escort the Viceroy of India, Lord Curzon, on his important official tour of the Gulf. From Muscat the fleet moved further up the littoral to the Trucial States: there, anchored off Sharjah on 21 November, Curzon commenced a durbar aboard the Argonaut. The rulers of "Abu Dhabi, Dubai, Sharjah, Ajman and Um al-Quwain" (Al-Qasimi, p. 39) were invited aboard. It was surely this event that gave Bell (or one of his shipmates) the chance to photograph the two seated sheikhs, flanked by dignitaries and looking straight into the camera. Not a single portrait of the rulers of Abu Dhabi or Dubai survives from this era, nor indeed does any earlier portrait of any ruler of today's United Arab Emirates. Hence, this chance discovery in the present album provides us with the hitherto unknown portrait of two as yet unidentifiable Gulf sheikhs who participated in the Durbar aboard the Argonaut (one of which was identified by the album's owner - possibly in error - as the "Sheik of Sharjah").Minor foxing to album leaves, with photographs unaffected; some light fading only. Otherwise in excellent condition.l Cf. Kristopher Radford, "Curzon's Cruise: The Pomp and Circumstances of Indian Indirect Rule of the Persian Gulf", in: The International History Review 35.4 (August 2013), pp. 884-904. Sultan Bin Muhammad Al-Qasimi, Tale of a City, vol. I (English ed., Bloomsbury, 2017). Contemporary half black morocco. With 91 albumen photographs pasted in, plus 10 loose at the rear, ranging from panoramas of 16 × 43.7 cm to smaller photographs of 5.5 × 6.5 cm. Pages: [15] ll.

Albumen print, ca. 115 x 85 mm, under brown cardboard matte (17 x 13 cm). A very rare example of a signed Lenin portrait. Dated in his own hand "26/V 1920" and signed in French as "Vladimir Oulianoff". Additional signature of the photographer, Moses Solomonovitch Nappelbaum (1869-1958), in pencil in the lower right corner of the cardboard matte. Nappelbaum shot the famous portrait at the Smolny Institute in St Petersburg in 1918. The present print shows typical graphic retouching by the artist to the background and lapel areas. A near-identical print, inscribed by Lenin on 15 April 1920, is in the Corrêa do Lago collection (Magia del Manoscritto catalogue, p. 206). - By tradition, this photograph was presented by Lenin to the English socialist politician George Lansbury (1859-1940), who had visited the Soviet Union in early 1920 and hat met the leader of the Revolution in Moscow on 22 February. Later that same year, Lansbury published a widely received account of his journey, "What I Saw in Russia", in which he gave a highly flattering portrayal of Lenin. - Occasional insignificant scuffs; dark areas show some silver mirroring due to the oxidative-reductive process. Nappelbaum's signature is rather faded, while that of Lenin remains stark and well-defined. - Provenance: Swiss private collection; accompanied by a description from Diana J. Rendell, Inc., Massachusetts.

Oblong folio (275 x 188 mm). 15 ff. (plus 8 blank ff.). 91 albumen photographs pasted in, plus 10 loose at the rear, ranging from panoramas of 160 x 437 mm to 55 x 65 mm. Contemporary half black morocco. A previously unknown photograph of two unidentified sheikhs of the Trucial Coast, in a photograph album compiled by a British Navy officer, captioned "Sheik of Sharjah and Staff". The photograph, measuring 84 by 108 mm, was taken aboard H.M.S. Argonaut during Lord Curzon's state tour of the Gulf in 1903. The only previously known comparable photograph, a very rough group portrait taken aboard H.M.S. Hardinge on the same day, is kept at the National Maritime Museum at Greenwich (Al-Qasimi, plate 3: identified as showing Sheikh Saqr, the ruler of Sharjah). A further photo, held at the British Library, shows the full audience of Curzon's reception, but no specific Gulf state ruler is recognizable, as they sit with their backs to the camera ("Durbar on board R.I.M.S. Argonaut, Shergah", BL Visual Arts coll., 49/1/7). Exceedingly few photographs of Muscat, Oman and the Trucial Coast survive from the pre-war years; the present example must therefore be considered the first portrait of any ruler of the Trucial States and an extremely important survival, documenting the early history of the future United Arab Emirates. - The album, compiled by Captain Charles Courtenay Bell (1883-1966), covers the first decade of his career in the Royal Navy. Its Gulf section comprises five images of Muscat and Oman, also including a fascinating, uncommon snapshot of pearl divers in action. These images must date from November 1903, when H.M.S. Argonaut was employed to escort the Viceroy of India, Lord Curzon, on his important official tour of the Gulf. From Muscat the fleet moved further up the littoral to the Trucial States: there, anchored off Sharjah on 21 November, Curzon commenced a durbar aboard the Argonaut. The rulers of "Abu Dhabi, Dubai, Sharjah, Ajman and Um al-Quwain" (Al-Qasimi, p. 39) were invited aboard. It was surely this event that gave Bell (or one of his shipmates) the chance to photograph the two seated sheikhs, flanked by dignitaries and looking straight into the camera. Not a single portrait of the rulers of Abu Dhabi or Dubai survives from this era, nor indeed does any earlier portrait of any ruler of today's United Arab Emirates. Hence, this chance discovery in the present album provides us with the hitherto unknown portrait of two as yet unidentifiable Gulf sheikhs who participated in the Durbar aboard the Argonaut (one of which was identified by the album's owner - possibly in error - as the "Sheik of Sharjah"). - Minor foxing to album leaves, with photographs unaffected; some light fading only, in excellent condition. - Cf. Kristopher Radford, "Curzon's Cruise: The Pomp and Circumstances of Indian Indirect Rule of the Persian Gulf", in: The International History Review 35.4 (August 2013), pp. 884-904. Sultan Bin Muhammad Al-Qasimi, Tale of a City, vol. I (English ed., Bloomsbury, 2017).

Very good. 37 volumes that measure 43 linear inches, or 3.58 linear feet. Volumes are not uniform thickness. Some volumes have front cover removed or wear to binding. Includes color and black and white photographs, folded maps and aerial photographs, and thousands of pages of text. Size 17 x 12 Inches. This is a 37-volume archive of documents from the 1971 My Lai Massacre court-martial of Colonel Oran K. Henderson. Henderson was the highest-ranking officer tried in connection with My Lai, one of the most horrific events in American military history, and the last soldier to face a court-martial. The court-martial lasted 62 days and on December 17, 1971, Henderson was found not guilty. Henderson's court-martial ties for the longest court-martial in U.S. Army history with that of Lieutenant William Calley, the only member of the U.S. Army found guilty in connection with My Lai. My Lai Massacre The My Lai Massacre took place on March 16, 1968, during the Vietnam War. It is one of the most notorious events in U.S. military history. A unit of the American Army, Charlie Company led by Lt. William Calley, descended on the hamlet of My Lai in South Vietnam with the belief that it was harboring Viet Cong soldiers. Over the course of a few hours, American soldiers systematically killed and raped between 347 and 504 unarmed Vietnamese civilians, mostly women, children, and elderly. The event was initially covered up, but once exposed, it intensified anti-war sentiment in the United States and globally. Lt. Calley was the only one found guilty and was sentenced to life in prison, though his sentence was later reduced, and he served just three and a half years under house arrest. The Archive Consisting of 37 volumes, the archive breaks down as follows Investigating Officer's Report: Volumes 1 and 2 (410 pages) Testimony: Volumes 3 - 12 (1256 pages) Indexes: Volume 13 (39 pages) Exhibits 1 - 200-1: Volumes 14 - 31. (Includes maps, photographs, and thousands of pages of text) Background Exhibits: Volumes 32 - 37 A Closer Look at the Exhibits Some of the exhibits are visually quite astounding. Exhibit 195, for example, is a large two-sheet wall map of My Lai (4) that marks buildings, roads, and other locations within the hamlet. Over a dozen folding aerial photographs bearing notations appear throughout and trace the events of March 16 as a visual representation of some of the witnesses' testimony. Exhibit 179 is Volume 1 of the Report of the Department of the Army Review of the Preliminary Investigations . Photographs Four exhibits (7, 9, 18, and 94) are photographs, both color and black and white. Exhibit 7 is 47 color and black and white photographs of the massacre, taken by Specialist Ronald L. Haeberle, of the 11th Brigade Public Information Detachment, who was at My Lai that day because command had said that Public Information soldiers should be at all major operations. Haeberle volunteered to go on the mission and took three cameras with him. Two Army cameras loaded with black and white film and one personal camera, loaded with his own color film. Haeberle developed the color film one month after getting out of the Army. He testified that the photographs in Exhibit 7 'are a fair and accurate representation of what he saw on 16 March 1968' (Volume 4 Page 295). Exhibits 63 and 64 are aerial photographs marking where these photographs were taken. Photocopies of Ronald Haeberle's black and white contact sheets (Exhibits 65 and 66) are included. Exhibit 9 is one color photograph of the massacre. Other photographs that may not have been taken by Haeberle are included as well. Among these are Exhibit 18, a photograph of two soldiers, and Exhibit 94, two photographs taken from a helicopter, showing My Lai burning. The Charges Against Colonel Oran K. Henderson After an investigation, on February 26, 1971, the Army announced that Colonel Henderson faced formal charges and a court-martial. Per the Investigating Officer's Report included in this archive: The accused, Colonel Oran K. Hendersonâ¦is charged with one specification of dereliction of duty in that he willfully failed to conduct a thorough and proper investigation of allegations or reports of excessive killing of noncombatants, and a confrontation between a helicopter pilot and ground forces; and one specification of failing to obey a lawful general regulation, MACV Directive 20-4, dated 27 April 1967, in that he did not report to his Commanding Officer incident and acts thought or alleged to be war crimes, the intentional infliction of death or injury upon noncombatant Vietnamese civilians both in violation of Article 92, Uniform Code of Military Justice. The accused is further charged with two specifications of giving false official statements, with intent to deceive, before the Peers Inquiry in that he stated that he had requested Major Gibson to conduct a survey of his pilots and that Major Gibson made a report that none of his pilots had observed anything, and that Lieutenant Colonel Luper had investigated whether artillery landed on the village, both in violation of Article 107, Uniform Code of Military Justice. Finally, he is charged with one specification of making false statements under oath with knowledge of their falsity before the Peers Inquiry, to the effect that he was positive that he had not talked to Warrant Officer Culverhouse or Specialist Colburn on or about 18 March 1968, in violation of Article 134, Uniform Code of Military Justice (Exhibit 1). (Volume 1, pgs. 1-2) General Ira Hunt, the Investigating Officer and from whose estate we obtained these documents, wrote in his Report: Colonel Henderson as Brigade Commander was in a pivotal position in the chain of command. He was the interface between both Major General Koster, Commanding General of the Americal Division who had the responsibility for initiating the field investigations and between Lieutenant Colonel Barker, deceased, Commanding Officer of Task Force Barker, and Capt.

an Bord der HMS Challenger 1872-1875. 4to. Band 1: 378 S., Band 2: 98 S. Mit zahlreichen Skizzen und Plänen im Text. Halblederbände der Zeit, in neuer Lederbox. Sehr gut leserliche Handschrift meist in deutscher Sprache. Original-Tagebuch des deutschen Biologen von der Reise der HMS Challenger. Gestorben auf Tahiti. Die letzten Eintragungen des Biologen stammen vom 2.September 1875 auf Hilo (Hawaii). Die Reise führte weiter Richtung Tahiti, unterwegs, am 13.September 1875 starb Willemoes-Suhm. Sein Tagebuch ist eine Fundgrube an Reisenotizen und wissenschaftlichen, sowohl zoologischen, als auch botanischen, Eintragungen. Unterteilt ist sein Tagebuch nach den Stationen, u.a. Azoren, St. Paul, Tristan-Inseln, Pince Edwards Islands, Crozet-Insel, Kerguelen, Antarktis, Australien, Neuseeland, Tonga, Fiji, Ovalau, Api, Neue Hebriden, Arafui, Ari, Ke Dulan, Ternate, Lamboanga, Manilla, Cebri, Humboldt-Bai ? Neu-Guinea, Yeddo, Yokohama, Hiogo. Yokohama ? Sandwich-Inseln, Honolulu, Hilo. 1872-1875. Important manuscript by one of the leading naturalists on the voyage. Original scientific travel journal titled ?Challenger? Rudolph von Willemoes Suhm ?Journal No.? ?I (& II).? Scientific Travel Journal of the German Explorer and Zoologists aboard HMS Challenger. Text in German but occasionally in English. 2 Vols. 21 Dec. 1872-6. Sept. 1875. 4to, 378; 98 pp., illustrated with sketches and 1 photograph, original half calf, fitted half morocco case. Autograph journal kept by the German naturalist Rudolf v. Willemoes-Suhm during his 3-year journey with the Challenger. Suhm was mainly concerned with Crustaceans, and several new species were named by him. His journal covers the entire voyage until his tragic death from erysipelas on 13th September,1875, while the ship was at Tahiti in the Pacific. His travel report remains unpublished and is a leading, yet apparently untapped source on the history of the Challenger Expedition as well as research and discovery of the sea. Suhm, born on 11. September 1847 in Glückstadt on the Elbe River studied in Bonn, Munich and Göttingen already at the age of 24 years he was a Professor of Zoology at the University of Munich. in 1872 he was appointed by Sir Charles Wyville Thomson, the Scientific Director of the Challenger Expedition as the only German on the staff of the research carried out on behalf of the Royal Society. The posthumous journal covers the entire period from Suhms trip to a few days before his death, in which his illness forced him to stop writing. It contains a wealth of information, particularly the geographical and zoological research of the ?Challenger? Suhm illustrated his records with small designs, including many maps and some small Zoological representations. Die britische Challenger-Expedition (1872-1876) war die erste rein wissenschaftliche Forschungsreise. Das Expeditionsschiff HMS Challenger legte bei Ihrer Reise ca. 130.000 km zurück und durchzog damit beinahe das gesamte Weltmeer. Mit dieser Expedition wurde der Grundstein für die Ozeanographie gelegt. Wichtige Forschungsstationen waren die Bahamas, die Marion-Inseln im südlichen Eismeer, Neuseeland, die Auckland-Inseln und Neu-Guinea. Die Ergebnisse wurden in 50 Bänden veröffentlicht.

Small 8vo (112 x 179 mm). 4 pp. on bifolium (torn through the fold, thus in two separate leaves). Watermark: St. Margarets' Superfine. - (Includes:) Cabinet photograph of Helene Demuth (albumen print, vintage), 100 x 141 mm on cardboard (100 x 160 mm) of the studio Charles J. Gearing, London (after 1880). - (And:) Extract from the birth registers of St. Wendel, illustrating the kinship between Adolf Riefer and Helene Demuth. 2 pp. in-folio. To Adolf Riefer in Sarrebourg, Lorraine, announcing the death of Riefer's aunt Helene Demuth, who had long served as housekeeper to Marx and Engels: "Ich habe Ihnen heute die traurige Mittheilung zu machen, daß meine langjährige Freundin & seit sieben Jahren Hausgenossin, Ihre Tante Fräulein Helene Demuth am 4. des Mts. nach kurzer Krankheit sanft & schmerzlos gestorben ist. Wir waren seit 1845 befreundet, & als sie nach dem Tode meines Freundes Marx mir die Ehre & Freude erwies, die Leitung meines Hauswesens zu übernehmen, fingen für mich Jahre der Zufriedenheit, Ruhe & ich kann wohl sagen des häuslichen Glücks an, wie sie mir seit dem Tod meiner Frau 1878 nicht mehr gegönnt gewesen. Das ist nun alles dahin und für immer. Wir haben sie am Freitag, 7. Novbr. in demselben Grabe, wo auch Marx & Frau Marx beerdigt sind, zur Ruhe gelegt. Mit mir & den Töchtern von Marx betrauern Tausende von Freunden aller Nationen, in den Ebenen Amerikas wie in den politischen Gefängnissen Sibiriens & in allen Ländern Europas ihren Verlust. Die Verstorbene hat ein Testament gemacht, worin sie den Sohn einer verstorbenen Freundin, den sie von klein auf sozusagen an Kindesstatt angenommen, und der sich allmählig zu einem braven & tüchtigen Mechaniker herausgebildet, Frederick Lewis, zu ihrem alleinigen Erben eingesetzt hat. Derselbe hat seit längerer Zeit aus Dankbarkeit und mit ihrer Einwilligung den Namen Demuth angenommen [.]". Engels states the value of the inheritance ("etwa vierzig Pfund Sterling") and inserts the original English text of Demuth's will, with a German translation. Her last will is dated 4 Nov. 1890 and is declared in the presence of the three witnesses: Engels, Eleanor Marx-Aveling (Marx's youngest daughter), and her husband Eduard Aveling. - After the death of her father in 1826, Helene Demuth (1820-90) had to work as a maid servant early in her life. In 1837 she entered the service of the respected Westphalen family of Trier; their daughter Jenny married Karl Marx in 1843. In 1845 Demuth was sent to Brussels to support the couple as housekeeper; she would remain with the Marx family also in Paris, Cologne, and during their exile in London. Jenny Marx passed away in 1881, Karl Marx in 1883; subsequently, she was responsible for Engels' household. - Scholarship accepts that her sole heir, Frederick Lewis Demuth (1851-1929), was almost certainly the illegitimate son of Karl Marx and Helene Demuth. All her life the mother concealed the identity of the boy's father, lest the affair provide Marx's political enemies with ammunition; even in this letter Engels obscures the young man's ancestry. Named Frederick (after Engels), the child was given into the care of the Lewis family, whose surname he took; his relations to his half-siblings are said to have remained easy all his life. Undoubtedly he ended up happier than they did: "Four of Marx's children predeceased him, and the two survivors both killed themselves. The only member of the family to escape the curse was Freddy Demuth, who lived and worked quietly in east London. He died of cardiac failure on 28 January 1929, aged seventy-seven. To the end, neither he nor anyone else suspected that Freddy might be a son of the man whose face and name were, by then, known throughout the world" (Wheen, Marx, p. 386). - Includes an original cabinet photograph of Helene Demuth, showing the housekeeper nearly in full figure at an advanced age (identified on the verso by a later hand in pencil and dated "1890"). - Further includes extracts from the birth registers of St Wendel, which show how Adolf Riefer was related to Helene Demuth: she was the sister of his mother, Katharina Riefer, née Demuth. - Further includes a typed letter from the Institute for Marxism-Leninism at the SED Central Committee, to be issued by Tenner to the successful bidder, requesting a "high-quality photocopy" and "precise description of the photographs" (10 Oct. 1984, 1½ pp., 4to), signed by the Institute's deputy director, Professor Dr. Heinrich Gemkow (1928-2017). - Spuren alter waag- und senkrechter Mittenfaltung; Durchrisse in der Querfaltung fachmännisch restauriert (geringfügige Beeinträchtigung einer Zeile in der deutschen Übersetzung des Testaments). - 1) Tenner, Heidelberg, sale 149 (1984), lot 16 & 17 (catalogue entries included in photocopy). - 2) German private collection. - 3) Hermann Historica, Grasbrunn, 17 Oct. 2023, lot 3343.

Hardcover. Etat : Near Fine. 1st Edition. FIRST EDITION, FIRST ISSUE of the most famous photographically illustrated American book of the nineteenth century. This landmark work is the most celebrated collection of Civil War photographs. Gardner s Photographic Sketch Book of the War contains many of the most graphic and memorable Civil War images that have come down to us (ICP). The photographs cover the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as mementos of the fearful struggle, recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady s studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady s sight deteriorated in the 1850s, Gardner became the studio s chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady s New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions. It is believed that about 200 copies of this lavishly produced book were published. The staggering $150 price doomed the project to financial failure. In the past 140 years many copies have been broken up for their individual photographs, and this trend will undoubtedly continue, with the result that complete sets will become ever more difficult to obtain. This is a lovely set of this American classic, the best example we have ever seen. George Eastman House, Imagining Paradise, 182-183. ICP Encyclopedia of Photography 221. The Truthful Lens 68. Two volumes. Oblong folio (12 x 16 in.). 100 albumen prints (approx. 7 x 9 in.) mounted on larger sheets with lithographed frames and captions. Fine lithographed title pages of camp scenes. Two versions were issued, distinguishable by the printed captions on the mounts. The first issue states Incidents of the War in each caption, as in the present copy (the second issue omits the phase and adds plate numbers). Light wear to binding, minor damp staining to a few mounts, just touching a single print. The photographs are generally in excellent condition, typically with rich tones and good contrast, with only minor occasional fading. Original black morocco gilt. A superb set.

Hardcover. Etat : Near Fine. 1st Edition. FIRST EDITION, FIRST ISSUE of the most famous photographically illustrated American book of the nineteenth century. This landmark work is the most celebrated collection of Civil War photographs. Gardner s Photographic Sketch Book of the War contains many of the most graphic and memorable Civil War images that have come down to us (ICP). The photographs cover the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as mementos of the fearful struggle, recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady s studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady s sight deteriorated in the 1850s, Gardner became the studio s chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady s New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions. It is believed that about 200 copies of this lavishly produced book were published. The staggering $150 price doomed the project to financial failure. In the past 140 years many copies have been broken up for their individual photographs, and this trend will undoubtedly continue, with the result that complete sets will become ever more difficult to obtain. This is a lovely set of this American classic, the best example we have ever seen. George Eastman House, Imagining Paradise, 182-183. ICP Encyclopedia of Photography 221. The Truthful Lens 68. Two volumes. Oblong folio (12 x 16 in.). 100 albumen prints (approx. 7 x 9 in.) mounted on larger sheets with lithographed frames and captions. Fine lithographed title pages of camp scenes. Two versions were issued, distinguishable by the printed captions on the mounts. The first issue states Incidents of the War in each caption, as in the present copy (the second issue omits the phase and adds plate numbers). Light wear to binding, minor damp staining to a few mounts, just touching a single print. The photographs are generally in excellent condition, typically with rich tones and good contrast, with only minor occasional fading. Original black morocco gilt. A superb set.

Screenprint in colours, 1984, on Lenox Museum Board, signed in pencil and numbered 140/225 from the edition of 225 (there were also 30 artists proofs), printed by Rupert Jasen Smith, New York, published by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 101.6 x 81.3 cm. (40 x 32 in.) Andy Warhol's portrait of Grace Kelly is an homage to golden-age Hollywood glamour. The portrait, based on a still from Kelly's 1951 debut film 'Fourteen Hours', depicts her looking defiantly at the camera, with her face tightly cropped to fill the entire foreground. Warhol has added his characteristic lines to the image, transforming photo into drawing, and overlaid it with block colours that serve to enhance the contours and shadows of Kelly's iconic face. Fixated on the theme of celebrity tragedy, Warhol completed the edition in 1984, two years after Grace Kelly's death at the age of 52. He produced the portfolio as a fundraising effort for the Institute of Contemporary Art in Philadelphia, Kelly's birthplace, and just hours from his own hometown of Pittsburgh. Feldman and Schellmann II.305.

Etat : Good. .Constitution. II. Of Monarchy and Hereditary Succession. III. Thoughts on the present state of American Affairs. IV. Of the present Ability of America; with some miscellaneous Reflections. [two lines from Thomson]. first Connecticut edition; octavo (19 cm. tall), 56 pp., signatures [A]4 B-G4; general toning with age staining throughout, a light damp stain near center of title leaf and the verso has ink signatures of two previous owners, one modern and the other in an old hand (Eliphalet House?), untrimmed and string tied in self wrappers; all 1776 printings of Common Sense are now very scarce and this first Norwich printing is less frequently seen than the second; Evans 14857. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country. Photos available upon request.

No Binding. Etat : Near Fine. Provenance: Emma Frances Johnston (1834-1905), with her inscriptions dated 1858, 1864 and 1904; her niece, Anne R. Hanson, with her inscription dated March 1915. This tremendous discovery is the extensive photographic archive of the little-known Victorian photographer Emma Frances Johnston. This is apparently the earliest comprehensive archive of a female photographer in private hands. Beginning around 1858, Johnston made this wonderful series of portraits of her friends and extended family comprising the intellectual and social world of nineteenth- century Hampstead in London. The introduction of the wet collodion process in the 1850s brought a minor wave of amateur photographers, very few of them women. At around the time that Emma Johnston was making her portraits in Hampstead, Lady Clementine Hawarden began to make her photographs. Julia Margaret Cameron took up photography when she received a camera as a gift in 1863. This unique collection is essentially the only known source for the study of Emma Johnston and her portraits. She was one of the three children of James, a solicitor, and Mary. Her sister Jane married the Reverend Hesketh Hanson, but Emma never married. She took up photography in her twenties, posing family and friends for hundreds of portraits, often outdoors. Most of these photographs were taken in the gardens of her home Manor House. Several pieces of furniture reappear in what a later caption describes as a Pond Street house. A few images show Manor House, North End Gardens, and nearby cottages. Miss Johnston also experimented with stereoscopic photography. Her Numerical List manuscript index details some 37 stereo negatives. Three survive in this archive, depicting the photographer s mother and various children outdoors in Hampstead. This manuscript list of negatives, a rare survival, reveals that Emma Johnston made some three hundred exposures that she considered worth listing. The introduction of passenger rail service connecting Hampstead with central London in the 1860s accelerated the growth of the picturesque village. Johnston knew and photographed a wide range of scientists, intellectuals, diplomats, architects, and artists, and she also valued her interactions with the friends, children, and pets of the neighborhood. Sitters include: Emma herself; her mother Mary Ellen Johnston; her sister Jane with others; James Hickson, solicitor, Highgate; Marianne and Adeline Ainger (sisters of Alfred Doubleday Ainger, man of letters); Alfred himself; his father, the architect behind Emma s final home Bayswater Terrace; William Wilkinson Wardell (1823-1899), Australian architect of St Mary s Cathedral, Sydney, and St. Patrick s, Melbourne; Frederick Erasmus Edwards and other geologist-palaeontologists; James De Carle Sowerby (1787-1871), son of the English Botany editor; George Robert Waterhouse (1810-1888), curator at the Zoological Society of London; Clarkson Stanfield R.A. (1793-1867), marine painter; Theodore Trezevant (1806-1868) of South Carolina; one of the Farquhar Trezevant children in the doorway of a house on Pond Street; Lady Hanson, wife of Sir Reginald Hanson (Lord Mayor of London) with her Bingley and Hawkes relations; Henry Alabaster (1836-1884), diplomat; Juno the dog; Joanna Mary Boyce (1831-1861), artist and Pre-Raphaelite sister; her brother George (1826-1897); Lydia Reed and sister, our cook s children ; Harriet, another cook and assistant photographer ; William Charles Thomas Dobson R.A. (1817 1898); Charlie the Good, a spaniel; Bram the Beautiful ; and Rev Sam Hawkes (1832- 1888), possibly a photograph of a daguerreotype. Johnston was a woman of independent means who had the talent, determination, and wherewithal to pursue her interest in the male-dominated field of photography. She died in 1905 at age seventy. This is a major resource for the study of early photography by women. The discovery of a major intact archive by an accomplished early female photographer is an.