|
RICHARD CLIFF: (1940- ) British Pop Singer. Vintage signed 7.5 x 9.5 photograph, the image depicting Richard seated in a full length pose on a bed with fellow musician Hank Marvin seated alongside. Signed (‘Sincerely, Cliff Richard’) in bold blue fountain pen ink to a clear area of the image. Also signed by The Shadows individually, comprising Hank Marvin, Bruce Welch, Jet Harris and Tony Meehan. All have signed in blue fountain pen inks to clear areas of the image. VG £100 - 150
|
|
|
SHADOWS CLIFF RICHARD & THE: Vintage signed 9.5 x 8 photograph by Cliff Richard and The Shadows individually, comprising Hank Marvin, Bruce Welch, Jet Harris and Tony Meehan. The image depicts three of the band members standing in three quarter length poses together, each with their guitars. All have signed in blue fountain pen inks, most to clear areas of the image or the lower white border, only Richard’s signature across a slightly darker area of the image. A few very light, extremely minor surface creases, VG £100 - 150
|
|
|
ELLIOT CASS: (1941-1974) American Singer, a member of the folk rock vocal group The Mamas & the Papas. Rare D.S., Ellen Cohen, one page, small oblong 8vo, London, n.d. The partially printed document is a Landing Card completed entirely in Elliot’s hand, confirming her name, place (Baltimore) and date (19th September 1941) of birth, her nationality and occupation (‘Entertainer’) as well as her passport number (‘J941573’) and place of residence in the United Kingdom (Dorchester Hotel, London). Signed by Elliot with her real name (and as such a rare form of her signature) at the foot of the document. Autographs of Elliot are rare in any form as a result of her untimely death in London at the age of 32. Some extremely light, very minor age wear, VG £200 - 300
|
|
|
ABBA: Individual signed album pages by the two female members of the Swedish pop group, Agnetha Faltskog and Anni-Frid Lyngstad. Both have signed in blue inks. Each page is neatly annotated in ink by a collector to the lower corner. VG, 2 £100 - 150
|
|
|
BOWIE DAVID: (1947-2016) English Singer & Musician. A printed 4to First Class Captain’s Club menu issued by Qantas Airlines, signed (‘All my best wishes, Bowie’) by Bowie to a clear area of the Singapore-Bahrain sector of the menu and dated 15th March 1983 in his hand. About EX £100 - 150
The present menu was issued for the Qantas flight QF1 from Sydney to London and the date on which Bowie signed the menu is of particular interest; the singer had been in Australia to shoot the video for one of his biggest hits, Let’s Dance. Bowie had driven 650km from Sydney to a pub in Carinda, New South Wales, and arrived in the small parched, dusty outpost unannounced to make the video.
Let’s Dance was released on 17th March 1983, just two days after Bowie signed the present menu. The single, taken from his album of the same name, went on to become one of the musician’s biggest selling tracks, as well as fastest selling, topping the United Kingdom and United States charts, and reaching number two in Australia itself. The album Let’s Dance has been described as the commercial peak of Bowie’s work.
|
|
|
FLEETWOOD MAC: An official folio printed programme from the British-American Rock band’s Behind the Mask world tour of 1990 individually signed by five band members comprising Mick Fleetwood, John McVie, Christine McVie, Billy Burnette and Rick Vito. All have signed in bold black inks with their names alone to clear areas of the front cover. Some slight smudging to Burnette’s signature. Together with an unsigned folio printed programme from a different tour and a few original tickets and photographs etc. G to generally VG, 7 £100 - 150
|
|
|
POPULAR MUSIC: Selection of signed postcard photographs and slightly larger, some 8 x 10s, signed handbills etc., by various popular singers and musicians including Vince Hill, Kiki Dee, David Essex, Noddy Holder, Nana Mouskouri, Grace Kennedy, Suzi Quatro, Eric Clapton, Sandie Shaw, P. J. Proby, Stephane Grappelli, Lena Horne, Mark Knopfler, Chaka Khan, David Cassidy, Martine McCutcheon, Charlie Watts, Girls Aloud, Courtney Pine, Coldplay, Joe Brown etc. G to VG, 46 £100 - 120
|
|
|
BAKER CHET: (1922-1988) American Jazz Trumpeter. Signed album record sleeve for Broken Wing (1978), signed by Baker in blue ink to the front cover featuring a close-up portrait of the musician playing his trumpet. Dated 1986 in his hand. Partially signed across a darker area although perfectly legible. Record still present. Scarce. About EX £200 - 300
| CLASSICAL MUSIC, OPERA & BALLET |
|
|
  |
GILBERT W. S.: (1836-1911) English Librettist, recognised for his collaborations with the composer Arthur Sullivan. A good A.L.S., W S Gilbert, two pages, 8vo, Kensington, 16th October 1871, to [Annie Hall] Cudlip (‘My dear Mrs. Cudlip’). Gilbert informs his correspondent ‘I have a piece - a comedy - in rehearsal at the Court Theatre to which I want to give the title “On Guard”‘ and asks is she has any objection, and, if she has, to not hesitate to say so and it will be altered immediately. The librettist further writes ‘The title is so peculiarly applicable to my comedy, & is so good in itself that I should very much like to use it, if you will let me do so’ and concludes ‘I don’t know whether you are still at Yealmpton - or whether you are advancing by easy clerical stages towards London. For my letter’s sake I hope that the former is the case - for my own sake I hope the latter’ and sends his regards to Mr. Cudlip. A letter of interesting association. VG £200 - 300
Annie Hall Cudlip (1838-1918) British Writer & Novelist. The wife of theology author Rev. Pender Hodge Cudlip, she was considered one of the most prolific writers of romantic fiction during the Victorian era.
Cudlip’s work On Guard had been published in 1869, three years after having refused an offer of marriage from W. S. Gilbert in 1866.
|
|
   |
ELGAR EDWARD: (1857-1934) English Composer. A.L.S., Edward Elgar, three pages, 8vo, Forli, Malvern, 21st March 1895, to Messrs. Novello & Co. (‘Dear Sirs’). Elgar writes to answer his correspondent’s enquiry, explaining ‘I don’t think much is gained in the way of facility to the players in printing the two violin parts together as in the specimen (now returned) (no longer present) If, in setting out the pages, the engraver can leave sufficient ‘rest’ for turning over it might be a slight advantage to print together: however, the ‘turning over’ is of vital importance & I suggested ‘separate’ parts as this is generally so much easier to manage in setting out a single line.’ In concluding the composer thanks his publishers for their courtesy in referring these points to him. With a partial received date stamp at the head of the first page, only very slightly affecting the place and date, which remain quite legible. VG £200 - 300
|
|
   |
ELGAR EDWARD: (1857-1934) English Composer. A.L.S., Edward Elgar, three pages, 8vo, Forli, Malvern, 8th April 1895 (the day lightly struck through and altered to 10 in another hand), to Messrs. Novello & Co. (‘Dear Sirs’). Elgar informs his music publishers that, by registered post, he has sent them Number Six ‘of the set of six part songs for Chorus & Orchestra completing the set Mr. Tours kindly took charge of Nos. 1-5 which I left with him when I called at your establishment ten days ago’ and further writes ‘The collective title ‘From the Bavarian Highlands’ is intended to go on each number - there are subsidiary titles also. My idea was that the set should be published together in book form & that they should be also procurable separately’. The composer also states ‘Nos. 1, 3 & 6 wd. make a very useful suite for orchestra alone, or for piano -duet or solo. I submit the work to you with confidence as I believe from the character of the music it will find easy acceptance in many quarters’. Elgar explains in a postscript ‘The words only are partially arranged….from Volkslieder - the music is my own’. With a purple ink received stamp to the verso of the final page and with a few ink and pencil annotations (most erased) at the head of the first page. Some slight creasing and a few small pinholes, only very slightly affecting a few words of text but not the signature, about VG £200 - 300
From the Bavarian Highlands (Op.27) is a work for Choir and Orchestra by Elgar. The set of six choral songs were composed by Elgar as a remembrance of a holiday he and his wife had spent in Upper Bavaria, mainly at Garmisch, in the autumn of 1894. The song lyrics were adapted to Elgar’s music by his wife Alice to imitate the spirit of the dances from the folk songs Volkslieder and Schnadahupfler. Interestingly, Novello initially rejected the work and the songs were first published by Joseph Williams & Co. in December 1895. The songs were first performed just over a year after the present letter was written, on 21st April 1896, by the Worcester Festival Choral Society conducted by Elgar.
|
|
    |
ELGAR EDWARD: (1857-1934) English Composer. Illustrated A.L.S., Edward Elgar, four pages, 8vo, Forli, Malvern, 16th April 1895, to Messrs. Novello & Co. (‘Dear Sirs’). Elgar informs his music publishers that he is returning the proofs (no longer present) of two part songs for Ladies voices and requests ‘that some footnote goes on the first page of each of them to the effect that the violin accompaniments are procurable separately’, further continuing ‘It might be as well to print also a note (on the Violin copies) something like the following “If the Chorus is numerous these accompts. may be played by two or more Violins to each part” This might eventually assist the sale of extra Violin copies’. The composer further states ‘I have made a note on the proofs of the places where the turn-over for the Violins is not well managed, if possible it would be best to print those parts to lay open [at this point of the letter Elgar has added a simple illustration in his hand of two numbered pages opened to the viewer] so as to avoid the turn’. Elgar also asks that the works be ready in early May so that they can be introduced during the next school term and encloses a list (no longer present) of schools affiliated to the Royal College of Music and Royal Academy of Music examinations ‘which gives a useful list for any purposes of special advertisement of this class of music’. With a purple ink received stamp to the head of the first page and a few other ink and blue indelible annotations, not affecting the main body of text or signature. VG £200 - 300
|
|
    |
ELGAR EDWARD: (1857-1934) English Composer. A.L.S., Edward Elgar, four pages, 8vo, Forli, Malvern, 14th February 1897, to Messrs. Novello & Co. (‘Dear Sirs’). Elgar informs his music publishers that tomorrow he will send them ‘the final portion of the p.[iano] f.[orte] score of ‘St. George’ completing the work’ and adds ‘I suggested to Mr. Manns that he shd perform the Imperial March at his own (benefit) Concert….If the March were played at the Opening of the Exhibition it would be well unless you have any views: I imagine it is hopeless to think of the Earls Court (or wherever it is) Exbn?’, also adding ‘If you wd. like me to proceed with Mr. Manns concerning the March I wd. send him the proof (p.f.) copy you let me have to orchestrate from’ and further asking ‘Will you let me at once know the ‘note’ or otherwise you wish to prefix to ‘St. George’ in reference to the orchestration: I remember there are some limitations proposed’. With a light purple ink received stamp to the head of the first page, only very slightly affecting the date and name of the recipients. About EX £300 - 400
The Banner of St. George (Op.33), a ballad in two scenes for chorus and orchestra and with a libretto by Shapcott Wensley, was commissioned by Novello & Co. as they hoped to profit from celebrations throughout the United Kingdom (and, indeed, the Empire) in Queen Victoria’s Diamond Jubilee year. It was first performed on 18th May 1897 at St. Cuthbert’s Hall Choral Society in London.
In the present letter Elgar also refers to his Imperial March (Op.32), a piece composed for full orchestra and also commissioned by Novello & Co. for Queen Victoria’s Diamond Jubilee. The first performance of the work was at a Crystal Palace concert on 19th April 1897, conducted by August Manns. It was also played at a Royal Garden Party on 28th June (the actual anniversary of the Queen’s Coronation) and created a great impression as popular music for the mood of the public at the time, firmly establishing Elgar’s name in London.
|
|
 |
ELGAR EDWARD: (1857-1934) English Composer. A.L.S., Edward Elgar, three pages, 8vo, Malvern, 19th February n.y. (1897), to Messrs. Novello & Co. (‘Dear Sirs’). Elgar informs his publishers that he is returning the full score and 8vo copy (neither present) of St John’s Eve and explains ‘I have made a note of the direction in the full sc:- an asterisk appears to be omitted to the 3rd & 4th Horns (see note in 8vo). In St. George I think I must make the Cornets (or at least one) obbligato - the quasi-military character of the work demands this’. Elgar concludes by adding that he is also enclosing another setting (no longer present) of the Epilogue as requested and in a postscript seeks confirmation if they have received another of his letters. About EX £200 - 300
St. John’s Eve is a Secular Cantata composed by the British Pianist, Conductor and Composer Frederic Cowen (1852-1935) in 1889.
|
|
|
CUI CESAR: (1835-1918) Russian Composer. A.L.S., C. Cui, one page, 8vo, St. Petersburg, 19th January 1886, to a gentleman, in French. The composer states that he has just returned home and thanks his correspondent for their letter ‘which I received during the second presentation of The Prisoner’ and remarks ‘It touched me greatly, coming from a musician such as you and a man of such great sincerity’. Cui concludes by adding that he is counting on his correspondent’s promise and hopes to receive their compositions shortly. VG £100 - 150
The Prisoner of Caucasus is an opera in three acts by Cui which was composed in three versions. Initially it consisted of two acts in 1857-58 (later becoming Acts I and III) and Cui revised the work in 1881-82, adding a new middle act (Act II) and another dance to Act III. This version constituted the score for the Russian premiere in 1883, however, with the prospect of a Belgian production, the composer expanded the finale of Act II, thereby creating a third version.
|
|
|
PUCCINI GIACOMO: (1858-1924) Italian Composer. Vintage signed postcard photograph, the image depicting a panorama of the Uffizi Gallery in Florence. Signed (‘Giacomo Puccini’) by the composer with his name alone in fountain pen ink to a clear area at the head of the image. VG £200 - 300
|
|
   |
ENESCU GEORGE: (1881-1955) Romanian Composer, Violinist, Pianist & Conductor. A.L.S., Georges Enescu, three pages, 8vo, Paris (although also with a Bucharest address at the head of the page), 10th March 1935, to an unidentified female friend, in French. The composer states that their mutual friend Fleg had informed him of his correspondent’s illness and adds ‘I had intended to go to see you....since I have not at all forgotten the debt of gratitude that I have towards you....and then the Parisian and artistic hustle and bustle upset my plans’, continuing to remark that the time has now come for him to depart although hoping that she is now getting better, concluding ‘A little note on the corner of a postcard would reassure your most respectful and faithful admirer’. About EX £100 - 150
|
|
|
POULENC FRANCIS: (1899-1963) French Composer & Pianist, a member of Les Six. A folio printed piano score entitled Album of Six Pieces for Piano, featuring various compositions by Poulenc including Mouvement Perpetuel No.1. and Francaise, published by J. & W. Chester Ltd., London. Signed and inscribed by Poulenc in bold, dark fountain pen ink to the title page, ‘To Miss Schneider with many thanks for her Staout, Francis Poulenc’ and dated 1945 in his hand. Some light age wear and a few minor stains to the paper covers, otherwise VG £200 - 300
|
|
|
PORTER COLE: (1891-1964) American Composer. Vintage signed sepia 4.5 x 6.5 photograph of Porter in a head and shoulders pose. Signed in dark fountain pen ink to a clear area of the background of the image. One very slight, extremely minor smudge to one letter of the signature. VG £150 - 200
|
|
|
CARUSO ENRICO: (1873-1921) Italian Tenor. Vintage signed postcard photograph, an appealing image of Caruso standing in a full length pose. Signed (‘Enrico Caruso’) in bold fountain pen ink with his name alone to a light area at the base of the image. Neatly dated 1915 in ink in another hand beneath his signature. VG £200 - 300
|
|
|
CALLAS MARIA: (1923-1977) American-born Greek Soprano. Blue ink signature (‘Maria Meneghini Callas’) at the head of an oblong folio page removed from a visitor’s book, also signed by twelve other individuals including her husband Giovanni Battista Meneghini, the cellist Gregor Piatigorsky etc. Dated February 1957 in an unidentified hand. One very slight, extremely minor smudge to one letter of the signature, VG £100 - 150
|
|
|
PAVLOVA ANNA: (1881-1931) Russian Ballet Dancer. Vintage signed postcard photograph of Pavlova standing in a full length pose, in costume, en pointe. Signed (‘Anna Pavlova’) in black fountain pen ink with her name alone to the lower white border. Some slight silvering to the edges of the image, otherwise VG £200 - 300
|
|
   |
LOPOKOVA LYDIA: (1892-1981) Russian Ballerina, wife of the economist John Maynard Keynes. An interesting autograph M.S., Lydia Lopokova, three pages, 4to, n.p. (London), n.d. (July 1929). The manuscript is a review of The Ball, a Russian Ballet at Covent Garden, which Lopokova prepared for publication in The Nation, and states, in part, ‘After the throbbing “Prodigal Son” M. Diaghileff has presented us again with a sort of patisserie in a lighter vein; This time I find the a new ballet whose form it is difficult to understand, because it is so modern or perhaps because there is not much in it. The ingenuity of Balanchin’s poses and movements is over-startling; there are so many different elements in his composition, steps and positions movements coming once and never repeated or developed, that they seem, sometimes, to lose significance’. Lopokova further expresses her views on the choreography (‘lively, muscular and pretty - but not inspiring’), praises the dancing of Dolin and Danilova and criticises the music of Rieti (‘too thin for the occasion’) and also writes of the set design, ‘The joy and beauty of this ballet is to be found in Chirico’s décor. One could foresee that his talent would be suited to the stage, but the effects surpassed expectations. The vision to the eye is fascinating, chic and beautiful at the same time. This is the smartest ballet we have seen for many seasons’. She concludes with her thoughts of Boris Kochno, ‘The public is getting used to seeing Mr. Kochno’s name on the programme, but they may not appreciate how much the new ballets owe to him. He has played a much greater part in devising and putting on these ballets than used to belong to the writers of the scenarios. Though I do not like “The Ball” so well, I think that in “The Prodigal Son” M. Kochno has brought very important touches to the ballet, and one hopes he will continue along these lines, and perhaps, join with Balanchine to bring back some kind of new classical ballet which shall absorb the inspiration of the new technique in the same sort of way that the painters to-day have absorbed the lessons of Cubism’. With several light pencil annotations in an unidentified hand and also with various ink alterations (marked in bold in the above description), most likely in the hand of John Maynard Keynes. Some very light, extremely minor age wear, VG. £150 - 200
The Ball is a ballet written by librettist Boris Kochno to music by Vittorio Reiti and choreographed by Georges Balanchine. It was first performed at the Monte Carlo Opera on 7th May 1929 and was performed eight times during July 1929 at Covent Garden.
Boris Kochno (1904-1990) Russian Poet, Dancer & Librettist. In 1920 Kochno became Sergei Diaghilev’s secretary, librettist and eventually main collaborator.
|
|
|
BALLET: Selection of signed programmes, various pages removed from programmes, some signed photographs etc., some vintage, by various ballet dancers and also including some classical musicians and opera singers etc., including Alicia Markova, Anton Dolin, Darcey Bussell, Svetlana Beriosova, Irek Mukhamedov, Sylvie Guillem, Carl Davis, Leonard Bernstein, John Lill, Constance Shacklock, Dennis O’Neill etc., also including a selection of vintage unsigned postcard photographs (6 and one 8 x 10) and programmes (19) relating to various ballet dancers and performances, subjects include Margot Fonteyn, Robert Helpmann, Alexis Rassine etc. G to VG, 57 £100 - 120
ART & LITERATURE
|
|
  |
TURNER J. M. W.: (1775-1851) English Painter. An extremely rare, early ink signature, William Turner, on a slim 8vo page removed from the Attendance Book of the Plaister Academy at the Royal Academy, London, n.d. (16th October 1790?). The fifteen year old Turner’s bold signature appears at the foot of the page, and above his signature appear those of twelve other fellow students, with a further fifteen signatures to the verso. Included are the signatures of artists John Naish, Thomas Nugent, William Hobday, John Mowson, James Oliver, James Earl, Francis Wingrave, James John Russell, Robert Saunders, Thomas Kearsley, Robert Porter, Matthew Haughton, Thomas Hellyer, James Chapman and Thomas Hargreaves, a few appearing more than once. Some very light, extremely minor age wear and very slight traces of former mounting to the right edge of the verso, otherwise VG £300 - 400
Joseph Mallord William Turner, known within his family as William, entered the Royal Academy Schools as a promising student at the age of 14. The young Turner first worked in the Plaister Academy, drawing from casts of antique sculpture. In the biography Turner In His Time (1987) Andrew Wilton notes that Turner’s ‘name appears fairly frequently in the registers between 21st July 1790 (the earliest record extant) and 8th October 1793.
Provenance: Some of the Attendance Books now in the Library of the Royal Academy were once the property of the renowned British collector Charles Fairfax Murray (1849-1919) and bear his Ex-Libris to the inside boards. Upon the dispersal of his large collections, the Registers, with a number of pages removed, were apparently re-acquired by the Royal Academy. The present, previously missing page, were re-discovered in Australia, tipped into an old Victorian album.
|
|
|
LEAR EDWARD: (1812-1888) English Artist, Illustrator, Author and Poet, remembered for his literary nonsense and limericks. A.L.S., Edward Lear, one page, 8vo, Upper Seymour Street, Portman Square, n.d., to Mrs. [Julia Margaret?] Cameron. Lear thanks his correspondent for their extremely kind letter and adds ‘I will try not to eat more than will make my old sister suppose I am dining with her at two o’clock. Then, having seen her on her way home, I will come down with Holman Hunt’. With blank integral leaf. A few light, minor ink smudges to a few words of text, not affecting the signature. VG £600 - 800
William Holman Hunt (1827-1910) English Painter, one of the founders of the Pre-Raphaelite Brotherhood.
In 1852 Lear was introduced to Holman Hunt and a long association between the two followed; despite Lear’s sixteen years seniority to the painter he was aware of the advances that the younger generation had made in terms of the use of colour and the understanding of light and Lear shared their reverence for the detail of nature, and was determined to learn from them.
It is possible that the present letter was written to the British Photographer Julia Margaret Cameron (1815-1879). Indeed, several letters to her from Lear and Holman Hunt written between 1859-79 are held in the Rosenbach Library in Philadelphia.
|
|
    |
TENNIEL JOHN: (1820-1914) English Illustrator of Lewis Carroll’s Alice’s Adventures in Wonderland. Series of nine A.Ls.S., John Tenniel, fourteen pages (total), 8vo, Portsdown Road, Maida Hill, 1882-1892, all to Mrs. Skirrow. Tenniel writes a largely genial series of letters to his correspondent, thanking her for various gifts on his birthday and at Christmas, accepting and declining invitations etc., in part, ‘How good of you to remember my poor old birthday, & how kind of you to send me such a “sweet” little present, but you are always good & kind in everything & I really do not know how sufficiently to thank you, words being indeed too weak to express my very grateful acknowledgements. Failing utterly in that direction, it only remains to me to request you to add to the obligation & therefore in begging the favour of your kind acceptance of the accompanying portrait (no longer present) - the latest taken - I am sure I need hardly assure you that it would make me very happy & very proud to be allowed a little corner in your “Gallery” of friends. The likeness is supposed to be a very good one, inclusive of the fact that it is about twenty five years younger than the original!’ (2nd March 1886), ‘How can I thank you sufficiently for your kind remembrance of my birthday? - a very old birthday now! - & for the “dainty” little present…’ (28th February 1887), ‘How good of you to send me such a nice little Christmas “remembrance”‘ (1st January 1889), ‘Pray forgive this hurried note, being as I am, in the annual agonies of the “Punch Alamanck” which naturally becomes more & more difficult & troublesome as the years roll by.’ (27th October 1892), ‘I am very proud in sending you my new portrait (no longer present) to replace the older one - which is also the younger one (!) - a paradox of previous years. This - the latest - was taken only last year’ (9th November 1892). Some of the letters with blank integral leaves. Generally VG, 9 £200 - 300
|
|
   |
SARGENT JOHN SINGER: (1856-1925) American Portrait Painter. A.L.S., John S. Sargent, three pages, 8vo, Tite Street, Chelsea, n.d. (‘Monday’), to Mrs. [Margot] Asquith. Sargent states that he chooses 25th May, being the first of the three days she mentions, ‘in case we have to have more than one sitting’, although adding that the drawings ‘ought to come off at one go’. The artist further remarks ‘I thought Solomon’s Mr. Asquith good excepting for a look of being throttled by a very small collar’ and concludes by referring to two mutual acquaintances, one of whom ‘suffers at the R.A.’. A letter of good content and association. VG £150 - 200
Margot Asquith (1864-1945) Anglo-Scottish Socialite, wife of H. H. Asquith (1852-1928) British Prime Minister 1908-16. Sargent executed a chalk drawing of Margot Asquith in 1897, now housed in the National Portrait Gallery, London.
Solomon J. Solomon (1860-1927) British Painter who had painted Asquith’s portrait whilst Prime Minister in 1909.
|
|
|
DAGUERRE LOUIS: (1787-1851) French Artist and Photographer, one of the fathers of photography who invented the daguerreotype process of photography. Rare A.L.S., Daguerre, one page, 8vo, n.p. (Paris), n.d. (c.1830), to Monsieur Dauptain, in French. Daguerre asks his correspondent, if he has the funds in question, to give them to the bearer of the letter. With integral address leaf. A few light stains, only very slightly affecting a few letters of text and the paraph of the signature, about VG £400 - 600
|
|
|
GARNIER CHARLES: (1825-1898) French Architect of the Opera de Monte Carlo. A.L.S., Charles Garnier, one page, 8vo, Rue de l’Ecole de Medicine, 9th February 1860, to a gentleman, in French. Garnier writes to accept a meeting proposed by Lenoir and Feydain (?) for Saturday, 11th February at the Rue de L’Universite. Some extremely light, very minor age wear, otherwise VG £100 - 120
|
|
  |
PISSARRO CAMILLE: (1830-1903) French Impressionist Painter. A.L.S., C. Pissarro, two pages, 8vo, Paris, 1888 (‘Dimanche’, annotated in pencil in another hand 19th February 1888), to his wife, Julie Vellay, (‘Ma chere Julie’), in French. Pissarro states that he read his wife’s letters yesterday and regrets that she had not written earlier about the symptoms of Paulo’s illness, although adding that he has written to Dr. Leon Simon and asked him to send her some medicines. The artist further sends news of their sons, ‘Lucien has no artwork in progress, Van Gogh is in the process of trying to obtain some work doing illustrations in a journal at Goupil for him, but it is doubtful. As for Georges, he made some progress but his employer is unbearable with the burdens that he has to carry, he is sometimes worn out. However, it was agreed that he would only carry letters’ and of his own activities ‘I hope for a better deal in the coming days, but one does not dare say, amateur art buyers are so difficult’. Pissarro concludes by commenting that Lucien has made a very good drawing which he is going to take to the Courrier francais and remarks ‘write to me if you have received the 300 francs, half of the sum received from Van Gogh’. A letter of good content. Very slightly irregularly torn to the right edge, not affecting the text or signature, otherwise VG £800 - 1200
Lucien Pissarro (1863-1944) French Painter, son of Camille Pissarro.
Georges Henri Manzana Pissarro (1871-1961) French Painter, son of Camille Pissarro.
Vincent Van Gogh (1853-1890) Dutch Post-Impressionist Painter. Pissarro and his son Lucien were acquainted with Van Gogh in Paris and the present letter is written in the month that the Dutch artist left the French capital, feeling worn out from life in Paris. In the two years he had spent in the city he completed over 200 paintings.
Goupil & Cie was a 19th century leading art dealership, based in Paris. The art dealer Vincent Van Gogh (1820-1888), uncle of the painter, worked with the firm from 1861-72.
Le Courrier francais was an illustrated weekly journal founded and edited by Jules Roques which ran from 1884-1914.
|
|
   |
TOULOUSE-LAUTREC HENRI DE: (1864-1901) French Painter & Illustrator. A.L.S., T-Lautrec, three pages, 8vo, Paris, n.d. (1898?), to ‘Mon cher Theo’ (van Rysselberghe), in French. The artist informs his friend that he has returned from Spain, where he met Dario, and is now leaving for London in four days, asking van Rysselberghe to supply him with the address of a dealer in London where he can buy some items. Toulouse-Lautrec also enquires as to when his correspondent will be in Paris next as they must go to see a home when it is finished. In concluding he remarks that a mutual acquaintance will be going to Brussels shortly and will meet van Rysselberghe. Autograph letters of Toulouse-Lautrec are rare as a result of his untimely death at the age of 36. One slight paperclip rust stain to the first page, not affecting the text or signature, otherwise VG £2000 - 3000
Theo van Rysselberghe (1862-1926) Belgian Neo-Impressionist Painter who played a pivotal role in the European art scene at the turn of the 20th century. Co-founder of Les XX (1883). Rysselberghe had first met Toulouse-Lautrec in 1887 and was highly appreciative of his talent.
Toulouse-Lautrec’s family were Anglophiles and, though not as fluent as he pretended to be, the artist spoke English well enough to travel to London, exhibiting works at Goupil’s Gallery in May 1898. Whilst in London Toulouse-Lautrec made posters, including the ‘Confetti’ poster, and the bicycle advert ‘La Chaine Simpson’. It was at this time that he also met and befriended Oscar Wilde.
|
|
|
BONNARD PIERRE: (1867-1947) French Painter. A.L.S., P Bonnard, one page, 8vo, Paris, n.d., to a lady, in French. Bonnard informs his correspondent that he is sending 500 francs for an orphanage and continues ‘I remember your Good Saviour and pray that you accept my respectful sentiments’. The artist again writes his name (‘Pierre Bonnard’) along with his Paris address at the foot of the letter. With blank integral leaf. VG £200 - 300
|
|
  |
RODIN AUGUSTE: (1840-1917) French Sculptor. A.L.S., Aug Rodin, on two sides of a printed correspondence card, Montrozier, 28th September 1898, to Miss Emilia Camino (‘Ma Chere amie’), in French. Rodin thanks his correspondent for all of the information and remarks ‘Sir Arthur Hayter and his wife have left my house, I believe well disposed, since the gentleman wrote to me to say that they were enchanted’. The sculptor concludes by thanking Camino for her troubles, adding ‘it is proof to me of your tender sympathy for this old artist’. Accompanied by the original envelope (stamp torn away) hand addressed by Rodin. VG £250 - 350
Arthur Hayter (1835-1917) 1st Baron Haversham. British Politician who served as Financial Secretary to the War Office under William Gladstone 1882-85.
|
|
|
LAURENCIN MARIE: (1883-1956) French Painter. Brief A.L.S., Marie Laurencin, one page, 4to, Rue de Penthievre, n.d., to a gentleman, in French. Laurencin states that she has received news of her correspondent that morning and is very pleased that the picture (presumably one of her own) is in his house. VG £80 - 100
|
|
  |
[VAN GOGH VINCENT]: (1853-1890) Dutch Post-Impressionist Painter. VAN GOGH ELISABETH (1859-1936) Dutch Poet, the sister of Vincent Van Gogh. Author of the controversial book Vincent Van Gogh – Personal Reminiscences of an Artist (1910). Autograph Poem Signed, E H de Quesne Van Gogh, two pages, 8vo, Baarn, 12th December 1919, in Dutch. The verse is addressed to the Noran family and states, in part, ‘On her celebration day/ Her heart is a buttercup/ Equal only to pure gold/ Her heart is a cornflower/ So sweet, friendly and familiar/ She raves towards the sunshine/ and the summer feeling/ But is still sad for a while/ If it goes the way it is pouring/ And soon there is sunshine/ On lightless days/ She herself is the sunshine/ A song her silent smile….’. Signed by Van Gogh at the conclusion with a brief note in her hand to Noortje, ‘this song has been versed for you by your loving old friend….’. Some light overall age wear and a few minor stains, one just affecting the place and date, and with a couple of small, neat splits to the upper and lower edges of the central vertical fold, G £200 - 300
|
|
|
MUCHA ALPHONSE: (1860-1939) Czech Art Nouveau Painter & Decorative Artist. A.L.S., Mucha, one page, 8vo (folding Carte Pneumatique), n.p. (Montparnasse, Paris), n.d. (February 1903), to Monsieur Duberry (‘Cher ami’), at the Comedie Francaise, in French. Mucha thanks his friend for their letter and remarks ‘well, if you would like to, and can, and if by chance that day doesn’t clash with the dress rehearsal at Mme. Sarah’s house - please think of me for the four places for next Monday’. A few minor, light ink blots to a few letters of the text, but not the signature, and some extremely light age wear, otherwise VG £200 - 300
Mucha evidently refers to Sarah Bernhardt (1844-1923, French Stage Actress) in the present letter. The artist had first designed an advertising poster for a play in which the actress appeared in January 1895 and, Bernhardt being very satisfied with the results, engaged in a six year contract with Mucha.
|
|
|
KOLLWITZ KATHE: (1867-1945) German Painter, Printmaker and Sculptor. A.L.S., K. Kollwitz, on one side of a plain postcard, n.p. (Berlin), n.d. (25th January 1922), to Gerda Rosenthal, in German. Kollwitz sends her regards to her correspondent and adds that she has just received her letter ‘and the drawing which I really like’. Hand addressed by Kollwitz to the verso. Some very light age wear, otherwise VG £150 - 200
Gerda Rosenthal-Rotermund (1902-1982) German Artist.
|
|
|
PICASSO PABLO: (1881-1973) Spanish Painter. A printed 8vo programme for Hommage a Picasso - Dessins Choregraphiques, being a ballet based on ideas drawn from the works of Picasso and performed by the Marquis de Cuevas company at L’Hotel Martinez, Cannes, on 4th April 1957. Signed (‘Picasso’) in blue ink with his name alone to a clear area at the head of the front cover. Some light age wear and creasing and a few very small, minor stains to the edges of the front cover, not affecting the text or signature. About VG £300 - 400
The ballet was choreographed by Hjalmar Boyesen and Michael Ashlin and each dance is based on a period or theme from Picasso’s life and career, including Spain, The Dove, Blue, Cubism etc., and the accompanying music was by composers including Alboreas, Mozart, Ravel and Stravinsky.
|
|
  |
PICASSO PABLO: (1881-1973) Spanish Painter. Vintage signed and inscribed sepia 7 x 5 photograph, the image depicting Picasso seated in a half length pose at a table alongside his muse, Jacqueline Roque. On the table appear a selection of coloured pencils, some removed from their box, and Roque can be seen striking a match to light the cigarette in her mouth. Photograph by Delille. Signed (‘Picasso’) in bold pencil by Picasso to the verso and dated Cannes, 9th May 1957 in his hand. Also signed (‘Jacqueline’) and inscribed by Roque to the verso in pencil. About EX £600 - 900
Jacqueline Roque (1927-1986) French Muse and second wife of Pablo Picasso from 1961-73. The couple met in 1953 and Picasso created over 400 portraits of Roque, more than any of his other loves.
|
|
|
DALI SALVADOR: (1904-1989) Spanish Surrealist Painter. Bold blue ink signature (‘Dali’) to the verso of a colour picture postcard promoting the historic Paris restaurant La Tour D’Argent. Neatly annotated in black ink in the hand of a collector beneath the signature. Some very light age wear and minor traces of former mounting to the recto. About VG £100 - 150
|
|
|
DELVAUX PAUL: (1897-1994) Belgian Surrealist Painter, famous for his paintings of female nudes. Signed and inscribed colour 6 x 4 postcard, being a reproduction of his work entitled La Ville Rouge (‘The Red Town’, 1943-44), the image depicting several female nudes and a skeleton. Signed (‘P. Delvaux’) in bold black ink to a clear area of the verso. A light smudge only very slightly affects the last two letters of the signature. VG £100 - 120
|
|
|
CHAGALL MARC: (1887-1985) Russian-French Artist. T.L.S., Marc Chagall, one page, 4to, New York City, 1st January 1947, to Oliver Simon of Signature in London. Chagall informs his correspondent that he was extremely pleased with the article and reproductions in Signature and remarks ‘I think that the engravings are admirably reproduced. If you still have some copies I should like very much to order 10 more, at my own expense of course, as I feel they are well worth having’. The artist concludes by stating that he hopes his correspondent will visit Paris and meet Chagall, who will be there in May or June with his daughter. VG £200 - 300
|
|
|
NASH PAUL: (1889-1946) English Artist. Vintage signed Christmas greetings card, the stiff oblong 8vo folding card featuring a colour reproduction of Nash’s surrealist painting entitled Nocturnal Landscape to the front cover. Signed (‘from Paul & Margaret Nash’, also on behalf of his wife) by Nash in fountain pen ink beneath a printed greeting. Some light age wear, VG £100 - 120
|
|
|
NASH PAUL: (1889-1946) English Artist. Vintage signed Christmas greetings card, the stiff oblong 8vo folding card featuring a colour reproduction of Nash’s surrealist painting entitled Ballard Phantom to the front cover. Signed (‘from Paul & Margaret’, also on behalf of his wife) by Nash in fountain pen ink beneath a printed greeting. Nash has further added an A.N.S. with his attractive monogram, PN, beneath his signature, in full, ‘Something more to follow, love from…’ and also added his telephone number (‘Hampstead 6446’) in his hand above the printed greeting. Some light age wear, VG £100 - 120
|
|
|
CALDER ALEXANDER: (1898-1976) American Sculptor and Artist, inventor of the mobile. A.L.S., Sandy Calder, one page, 4to, Roxbury, Connecticut, 29th December 1949, to Kaufmann. Calder apologises for being late, explaining that he had to make two trips to Boston in the week, and adding ‘I did something for a play - and though I had made the mobile, it wasn’t dry enough to pack’. In concluding he asks for his affection to be relayed to Hans and Miriam Etz. A boldly penned letter in dark fountain pen ink. VG £150 - 200
|
|
|
MOORE HENRY: (1898-1986) English Sculptor and Artist. T.L.S., Henry Moore, one page, 8vo, Perry Green, Much Hadham, Hertfordshire, 21st March 1952, to Elkan Allan. Moore thanks his correspondent for their letter and continues to inform him ‘We shall not be going to the Coxons for the boat race ‘at home’ as it means a day off from work. We shall probably watch the actual racing part on television’, further adding that they should therefore keep their arrangement as agreed for the following Saturday at 4pm. VG £80 - 100
Elkan Allan (1922-2006) British Television Producer and Journalist.
|
|
|
FRINK ELISABETH: (1930-1993) English Sculptor. Signed 5.5 x 8 book photograph, evidently removed from a publication, the image depicting Frink standing in a full length pose in her studio, working on a life-size sculpture. Signed in black ink with her name alone to a clear area of the image. Together with a signed printed 8vo exhibition catalogue for Elisabeth Frink – Sculpture and Drawings at the Dorset County Museum, Dorchester, 17th July – 18th September 1982. Signed by Frink with her name alone in black ink to the front free endpaper. Also including a T.L.S., Elisabeth Frink, one page, 8vo, Blandford Forum, Dorset, 25th March 1985, to Mr. G. Hedley, thanking him for his letter and apologising for not having replied to an earlier one and remarking ‘I am enclosing a catalogue including a photograph of me which I have signed. I hope you will find this interesting’. VG to EX, 3 £80 - 100
|
|
|
WARHOL ANDY: (1928-1987) American Pop Artist. Book signed, being a hardback edition of the Exhibition Catalogue for Warhol at The Tate Gallery, 17th February - 28th March 1971, First Edition published by The Tate Gallery, 1971. With a foreword by Norman Reid and an essay by Richard Morphet, the catalogue also features numerous illustrations (a few in colour, most are black and white). Signed (‘Andy Warhol’) in bold black ink with his name alone to the front free endpaper. Bound in the original publisher’s aquamarine cloth with silver titles to the upper board and spine. Although lacking the dustwrapper, the hardback edition of this catalogue is rare as most were published as paperbacks. Some extremely light, very minor age wear, about EX £300 - 400
|
|
|
BOTY PAULINE: (1938-1966) British Painter, a founder (and only female member) of the British Pop Art movement. An extremely rare vintage signed and inscribed 6 x 9 photograph, the image depicting Boty seated in a half length pose and smoking a cigarette. Photograph by John Aston. Signed by Boty in dark fountain pen ink to a largely clear area at the base of the image. Autographs of Boty are extremely rare in any form as a result of her tragically early death at the age of 28. Some extremely light, very minor surface creasing, VG £200 - 300
|
|
